#speaker coverage calculator

[av-industry-blog]

😫 Struggling with poor sound from ceiling speakers? #AVsoundwoes 😣 Not thinking about room dimensions, seating, acoustics? #AVdesignflaws

🤦‍♂️ Bad speaker placement kills sound quality fast. Do it right!

🎶 Follow these simple tips for ceiling speaker placement:

🔊 Focus on sound coverage, not aesthetics #AVpriority 📏 Mind room size, ceiling height, seating #AVenvironment 🧑‍🤝‍🧑 Consider standing vs sitting listening height #AVexperience 📐 Angled speakers for elongated rooms #AVbalance 🤝 Cluster speakers above gathering areas #AVsocialspaces 🌀 Avoid placing speakers near vents! #AVnoise

🎧 Nail ceiling speaker placement for top notch sound now! #ceilingspeaker#speakerplacement#ceilingspeakerlayout

[avtechnologysworld]

How to Choose the Right Number of Speakers for Any Room

Choosing the right number of speakers for any room is a crucial decision that can significantly impact your audio experience, whether it’s for a home theater, music studio, or even a simple living room setup. The sound quality and spatial sound greatly depend on how many speakers you integrate into your space. Utilizing tools such as a ceiling speaker placement calculator can help you determine optimal speaker placement to achieve the best audio performance. With over 15 years of experience in content creation, I aim to provide you with a comprehensive guide that covers everything from the basics of speaker configuration to advanced integration techniques for audio-visual (AV) systems.

The Importance of Choosing the Right Number of Speakers for Any Room

Selecting the appropriate number of speakers is not just a matter of filling a room with sound; it's about creating an immersive experience. The right configuration can enhance clarity, depth, and emotional engagement with whatever audio content you are enjoying. Here are a few reasons why this choice is vital:

Sound Quality:

Too few speakers may result in poor sound distribution, while too many can cause audio distortion and muddiness.

Room Dimensions:

The size and acoustics of your room play a significant role in determining the right number of speakers. Purpose of the Setup: Different audio setups cater to varying needs—be it music, movies, or gaming.

Budget Considerations:

More speakers often mean higher costs. Understanding your needs helps streamline expenses.

Future Upgradability:

Knowing the right number of speakers allows for easier integration of new technology as it becomes available.

In this blog, we will explore the best practices for choosing the right number of speakers, including considerations for room size, speaker types, and integration with AV system integration software.

Understanding Room Acoustics

The Role of Room Size and Shape

Before diving into how many speakers to choose, it’s essential to assess your room’s dimensions and layout. The size and shape of a room greatly influence sound behavior. Here are key aspects to consider:

Volume:

Larger rooms may require more speakers to fill the space adequately.

Shape:

Rectangular rooms may have different sound reflections compared to square rooms, affecting how sound waves travel.

Surface Materials:

Hard surfaces reflect sound, while soft furnishings absorb them. Consider how this will impact your setup.

Measuring Room Acoustics

The use of software tools, including AV system integration software, can help analyze your room’s acoustics. This analysis will guide you in selecting the appropriate speakers and their placement.

Types of Speakers

Passive vs. Active Speakers

Understanding speaker types is essential for choosing the right configuration.

Passive Speakers:

Require an external amplifier to power them. They often provide better sound quality but require more complex setup.

Active Speakers:

Have built-in amplifiers and are generally easier to set up. They are perfect for smaller rooms or simpler configurations.

Surround Sound Systems

For home theaters, a surround sound system typically includes:

Front Speakers: Left, Right, and Center

Surround Speakers: Usually placed beside or behind the listener

Subwoofer: For deep bass sounds

In-Wall and Ceiling Speakers

In-wall and ceiling speakers can be an excellent solution for maintaining a clean aesthetic while providing quality sound. The ceiling speaker placement calculator can guide you in determining their optimal positioning.

How to Determine the Right Number of Speakers

Step 1: Assessing Room Dimensions

Measure your room’s length, width, and height. Use these metrics to determine the volume of the space, which will inform how many speakers are necessary.

Step 2: Define the Purpose of the Audio System

Identify what you’ll primarily use the audio system for—music listening, movie watching, gaming, etc. Each use case may require a different number of speakers.

Step 3: Use a Ceiling Speaker Placement Calculator

Utilizing a ceiling speaker placement calculator can simplify the placement process. Input your room dimensions and desired audio configuration to receive personalized recommendations.

Step 4: Consider Speaker Types and Configuration

Decide whether you want a stereo setup, surround sound, or a combination of both. Here are some configurations to consider:

2.0 Stereo System: Two speakers for simple music listening.

5.1 Surround Sound: Five speakers and one subwoofer for immersive movie experiences.

7.1 Surround Sound: Adding additional surround speakers for an even richer audio experience.

Step 5: Future-Proofing Your Setup

Consider whether you may want to upgrade your system in the future. Opting for a slightly larger system might allow for easier integration of additional speakers later.

Frequently Asked Questions

How many speakers do I need for a small room?

For small rooms, a 2.0 stereo system or a 5.1 surround sound setup can work well, depending on your audio needs.

Can I mix different types of speakers?

Yes, mixing different types of speakers is possible, but ensure they have compatible specifications to avoid sound quality issues.

Do I need a subwoofer?

If you enjoy bass-heavy content, a subwoofer is highly recommended, especially for movies and music genres like hip-hop or electronic.

What’s the best placement for surround speakers?

Surround speakers should be placed to the side or slightly behind the listening area, generally at ear level.

Can ceiling speakers replace traditional speakers?

Yes, ceiling speakers can effectively replace traditional speakers, especially in spaces where aesthetics are a priority.

How do I know if my room needs acoustic treatment?

If you notice excessive echo or sound distortion, consider acoustic treatments like panels or sound-absorbing materials.

What software can help with AV integration?

Popular AV system integration software includes Crestron, Control4, and Savant, which can simplify setup and control.

Is 7.1 better than 5.1?

A 7.1 system provides a more immersive sound experience, but 5.1 is often sufficient for most home theater setups.

Conclusion

Choosing the right number of speakers for any room is a thoughtful process that requires consideration of many factors, including room size, desired audio experience, and future expandability. Utilizing tools like a ceiling speaker placement calculator and leveraging AV system integration software can enhance your setup significantly. By following the guidelines outlined above, you can create an audio environment that not only meets your needs but also elevates your listening experience to new heights.

The right number of speakers can transform your space, making it feel alive with sound. Whether you're a casual listener or a serious audiophile, thoughtful planning will yield the best results. This blog will serve as an extensive resource for anyone looking to optimize their audio experience, making it an essential read for those interested in sound design and home entertainment.

[sirfrogsworth]

Understanding the Inverse Square Law

(Without Math)

When I was first getting deep into photography, I kept running into lessons about the inverse square law. They would always tell you the effects and the math but they never explained the cause. Why does the light do this?

It's like when the doctor gives you a pill to fix something. You swallow it, wait a bit, and eventually you feel better. But you rarely know what the pill is actually doing.

So when it comes to lighting, you have to decide if you want to be the doctor who understands the why or the patient who just swallows the pill and gets the desired effect.

Every tutorial will say if you double the distance of a light from a subject, the intensity will drop by 1/4. They will give you a formula so you can do exposure calculations.

Sometimes they will refer to somewhat helpful diagrams with clues on what is happening.

But most just teach the easy version.

If you move the light closer, you will get quicker falloff into shadow and the background will be darker.

If you move it farther back, everything will be more evenly lit, but the background will be lighter.

The teacher will shoot some examples and show you something like this.

By the end of this post, I want everyone who reads it to *truly* understand what is happening.

Because if you understand it on that level, it will change how you think about light and photography. It will have the added bonus of explaining magnets and WiFi and even the sound coming out of your speakers.

If I am an effective teacher, this is something you will think about in your everyday life, even if you don't care about photography.

In a previous post, I talked about how light was a bit like a shotgun blast. The closer you are, the more concentrated the pellets. If you are farther away, the shot disperses.

But this wasn't the analogy I wanted to use. It was just the easiest to find visual examples of.

My preferred analogy was spray paint. And I'm hoping with some janky home-made visuals, I can do a better job of explaining the concept.

Let's start by explaining the humble photon. It's the fundamental particle (or wave) of light. Think of them like individual tiny globs of paint in a spray can. A photon is emitted when something loses energy. And unmodified light sources typically shoot out photon globs in all directions.

A point light source is a theoretical concept where a single point in space shoots light evenly in every direction. For our purposes we're just going to imagine a basic light bulb as the point source.

But our eyes and cameras have a limited field of view, so from here on out we are going to think of the light emitting from the bulb as having a cone shape. We are just concerned with what a camera can actually see.

Well, well, well... what does that cone of light look like?

I'm sure we have all used spray paint before. So let's imagine we are spraying a white ball against a gray wall. We spray for 1 second and hold the can at different distances.

In each scenario we are spraying for the same length of time and the exact same number of photon paint globs are emitted from the nozzle.

Let's think about what each scenario would look like from the camera's point of view.

Here is our unpainted ball and wall.

Here is the spray can held at Distance 1.

Note how the red paint is very concentrated and appears bold and saturated.

Distance 2.

Now the same amount of paint is dispersed over a wider area. The bold red spot in the center is more muted. And some of the paint is spilling onto the background.

Distance 3.

Everything appears to have a light red tint. The background and the white ball appear to have similar intensities of red. The coverage is very even. The same number of photon paint globs are being asked to cover a larger area so they are spreading out and diluting the color.

Okay, now let's exchange tiny photon paint globs for real photons.

I'm bringing back my baseball and showing these same 3 distances.

The nice thing about eyeballs and cameras... they can compensate for different light intensities. Our eyes have night vision and cameras have long shutter speeds, large lens apertures, and ISO amplification.

And if we compensate for the dimming caused by the dispersed light...

Photography teachers will tell you that if you move the light farther away, the background will get brighter. In reality, everything is the same level of dim and the camera exposure is brightened.

What if we wanted to spray the same area from far away without losing as much of the red saturation? We could add a super nozzle to our spray can that emits a bunch more photon globs in the same span of time.

This would be like turning up the power of the light. You have to emit a bunch more photons in that same time scale to compensate. Then you don't have to adjust your camera settings when you move the light farther away.

Let's look at a practical example of when you might think about the inverse square law to help solve a problem.

You have two subjects in a scene, and you put the light just out of view of the camera. You might be thinking that a larger light source is softer, so you want it as close as possible.

Unfortunately only one person is lit in the scene. She is getting the concentrated photons before they can disperse.

So if we want both people to have similar lighting, we can move the light farther away. You will have to comprimise a little softness. And you will have to change your camera settings or increase the power of the light.

Note that the intensity of light in the area they are standing in is very similar now.

By using a large light modifier, the photographer was able to move the light back and keep its general softness, but also evenly light both subjects.

And now I need to talk about one aspect of my spray paint analogy that does not work with the inverse square law. And it has to do with the specular highlight on the baseball.

Spray paint does not reflect paint. It just sticks to things. And reflection throws a tiny wrench into my explanation. Because parallel light rays do not obey the inverse square law. When you light something, the most central photons from the subject's perspective are going to be traveling in parallel. They have a direct path from the light to the camera lens or your eyeball.

Now if the reflection material is perfectly matte, the light will disperse and act as the inverse square law suggests. But if the surface is even a little glossy, the most concentrated parallel rays are going to bounce directly into your eye as a bright white spot.

And if you study this diagram a little closer, you might figure out why specular highlights are usually white.

If you look at the specular highlight on the baseball, even though the rest of the image gets dimmer as the light gets farther away, that spot stays bright.

Though the spot seems to disappear at Distance 1. Curious, eh?

It's still there. It's still reflecting directly into your eyeball. But the light around it is so concentrated and bright, the specular highlight blends in.

Which means if you have some nasty highlights on your photo subject, moving your light closer might make them go away. If someone has a shiny forehead, this can equalize the overall exposure and hide the shiny.

This guy has a bright spot on his nose. It is there in both photos.

But his face is so much brighter in the left photo that the spot blends in. It's a bit of a mind bender because the camera exposure is adjusted so the finished photos appear the same amount of bright.

You have to remember if you only move the light farther away and don't increase its power or increase the camera's exposure level, the photos would look more like this.

So if you make the rest of the face as bright as the highlight, it blends in.

Neat!

So, was I successful?

Does the inverse square law make more sense?

This is why WiFi gets weaker at a distance. This is why magnets lose their attraction when you pull them apart. This is why speakers get quieter when you move away from them.

I can't tell you how much knowing the why has affected my thinking about lighting. I see so many video and photo people talking about lighting setups who are just following memorized placements.

"Put a light above the subject at a 45 degree angle to get Rembrandt lighting."

But the second they encounter light doing something unexpected, things fall apart. They resort to trial and error and brute force the solution.

Knowing how the pill works can prevent that frustrating process.

I no longer care about the math. I can just visualize the cone of influence and predict what will happen. Understanding the behavior of light and not just the end effects has made everything more intuitive. I just wish it hadn't taken me so long to understand this. But, hopefully, this post has shortened that journey for you.

[readingthearticle]

I think there are fair and necessary criticisms to make of Atlantic coverage and this article in particular. I do not think this is one of them.

This is an article in which the writer argues that there are currently no reliable figures for the Gaza death toll. The article argues that Hamas figures are unreliable, that Israel has done nothing to show that its figures can be trusted, and that the UN has not done its due diligence in verifying the numbers it presents as fact. The second paragraph ends with the following lines: "The apparent downward revision was made without any accompanying statement to explain the change or sudden precision. Israel’s military did not make a big deal about it either, probably because there is no way to sound good when celebrating a reduction in the number of children you have killed." This article starts off by acknowledging that Israel has killed thousands of children and has not been honest about it.

The article alleges that Hamas's numbers are unreliable, both because Hamas is a "terrorist" group and because medical care has taken priority over cataloging the dead.

The article is extremely critical of Hamas. However, it also casts blame on Israel for not abiding by the accepted standard of modern armies purporting to adhere to international law — transparency to the press.

The paragraph in question is part of an analysis of the tactical considerations Israel is weighing when deciding not to let press on the battlefield, a decision the article deems a "calculated risk." I'm not saying I agree with the very clinical, both-sides way the article presents the issue of unreliable casualty numbers on the Gaza Strip. But I don't think this paragraph is intended to justify the deaths of children. The Atlantic is not responsible for the aspects of national and international law that allow the legal killing of children in war under certain circumstances. "It is possible to kill children legally" is a true statement, just like "It is possible to marry a 14-year-old in Mississippi" is a true statement — it's not necessarily an endorsement on the part of whoever's saying it, though it can be. Context is required to know whether the speaker is justifying something, presenting neutral information, or stating an obviously unjust law as an indictment of that legal system. The point of the paragraph is that, even if Israel kills children "legally," that makes no difference when it comes to how that death is regarded by the press and the public. As the next sentence says, the sight of a legally killed child is no less disturbing than the sight of an illegally killed one. The writer draws the conclusion that this may be a consideration for Israel keeping out press — that even legal wartime actions may be regarded negatively. The paragraph then goes on to explain that this practice has backfired, because most people don't have a favorable view of armies who carry out their operations out of view of the press.

So, no, I don't believe this article is justifying the genocide of Palestinians or the murder of children, legal or not. It's a condemnation of the UN for not using reliable numbers, an argument that Hamas is unreliable for casualty numbers, a statement that Israel hasn't done its due diligence in providing or verifying its data, an analysis of the PR reasons Israel might keep press out and the risks of that policy, and an expression of a desire for more reliable numbers for the sake of the dignity of the dead and evidence in genocide or war crime hearings.

Everything contained within this article is, of course, something one could absolutely disagree with or condemn The Atlantic for. These analyses are not meant to be an argument in favor of the author's position. But I think clarity and context is important when dissecting how media discusses and frames the genocide in Gaza.

Please feel free to add your personal thoughts and analysis.

If you, for some reason, still have a subscription to the Atlantic, cancel it

[musicinstrumentsins]

The Hidden Risks of Not Insuring Your Musical Instrument

Musical instruments, whether it is your darling guitar, a grand piano, a delicate violin, or a professional-grade saxophone, hold immense value. Most importantly, the value is not only in terms of monetary cost but also in sentimental and artistic importance. Right?

As a musician, you depend on these gears for your livelihood, creativity, and emotional expression. However, many musicians overlook the need for insurance. They assume that their equipment is safe or simply do not want to deal with the hassle or expense of getting coverage. What they fail to recognize are the significant risks involved in not insuring their musical instruments. Are you one of them? Read on to understand the risks of not insuring your gear with the best music instruments insurance policy.

Financial Loss

One of the most immediate and tangible risks is financial loss due to damage or theft. Musical devices, particularly high-end or vintage ones, can be incredibly expensive to replace. If you have been there, you know it.

A sudden drop, a careless bump, or a calculated theft can leave you facing outrageous repair or replacement costs. Let's take the example of a professional cellist whose custom-made gear, valued at tens of thousands of dollars, is damaged in transit.

Without insurance, the burden of repair or replacement falls entirely on the musician. It may potentially hinder their ability to perform and earn a living. For a struggling artist, such a financial setback can be catastrophic, jeopardizing their career and passion.

The Elements of Nature

Beyond simple damage, environmental factors pose a significant threat. Humidity, temperature fluctuations, and water damage can wreak havoc on delicate devices, causing warping, cracking, and irreversible damage.

A sudden flood or a leaky roof can render a beloved piano or a meticulously crafted wooden flute unplayable.

Without coverage, you are left to bear the financial burden of these unforeseen environmental assaults.

The Damage On-the-Go

Loss or damage during travel is another critical risk. Musicians frequently transport their instruments for performances, rehearsals, and recording sessions. The rigors of travel, whether by car, plane, or train, increase the vulnerability of instruments to damage or theft.

Baggage handlers, crowded venues, and unpredictable weather conditions can all contribute to the risk. A guitar damaged in an overhead compartment or a keyboard lost in transit can derail a musician's schedule and lead to significant financial losses.

A comprehensive music instrument insurance designed for musical appliances can cover these travel-related risks, offering peace of mind and financial protection.

The Emotional Pain

The emotional toll of losing or damaging a cherished instrument should not be underestimated. For many musicians, their instrument is a companion, a confidante, and a source of creative expression. The loss of such a deeply personal object can be emotionally devastating, impacting their motivation and ability to perform.

The financial stress associated with replacing a lost instrument can further exacerbate this emotional burden. While proper coverage cannot replace the sentimental value of an instrument, it can alleviate the financial strain, allowing musicians to focus on healing and rebuilding their artistic journey.

The Liability Problem

Liability issues are another often overlooked aspect of uninsured instruments. Musicians who perform in public venues or teach private lessons may be held liable for damages or injuries caused by their instruments or equipment.

A falling speaker, a damaged stage, or an accidental injury during a lesson can lead to costly lawsuits. General liability coverage, often included in instrument insurance policies, can protect musicians from these unforeseen legal expenses.

Missed Opportunities

The lack of insurance can hinder professional opportunities. Many venues and organizations require musicians to provide proof of insurance before allowing them to perform or use their equipment. You may be excluded from valuable gigs and collaborations without insurance, limiting your career prospects. This is especially true for touring musicians who rely on securing contracts with venues and promoters. Insurance becomes a prerequisite for participation in many professional settings, acting as a testament to the musician’s responsibility and professionalism.

[impaaktmagazine]

Bridging The Homeowners' Insurance Gap

For years, homeowners’ insurance was just there. It was a safety net, ready to catch the policyholder when disaster struck. 

Now that net is fraying and homeowners are having difficulty understanding why coverage is becoming so expensive or, in some areas, nearly impossible to obtain. 

Homeowners across the country, especially in wildfire-prone states, are seeing their premiums skyrocket, their policies cancelled or, in some cases, it’s challenging to find adequate affordable coverage. Insurers are feeling the pressure, too. For years, they relied on traditional risk models to calculate premiums, issue policies, and assume predictable loss patterns. The landscape has changed. Rising claims, extreme weather events, and economic pressures are pushing the industry to a breaking point. 

If we look at the years between 2013 and 2022, it’s clear that it’s becoming harder for insurers to stay profitable. During that period, insurers have had a combined ratio of 108, which means they spent 108% of their premiums. They’re paying out more than they’re taking in. That’s a dangerous thing. 

The insurance industry has been basically going through Einstein’s theory of insanity, doing the same things over and over again and expecting a different result. And with all the changes from 2013 to now, when carriers say they have a 108% loss ratio, I would estimate that’s on the low side. Carriers are losing money. 

When insurance carriers lose money, they pull out. Right now, they’re doing historic cancellations throughout California. We launched the WOWS program to combat this. What’s really scary is it’s not just happening in California. The Western United States is being affected by this. Unless we make changes — many of which are simple, common-sense adjustments for the industry — things won’t be sustainable. Rates will keep rising, and it will quickly become uncontrollable. And what’s happening in the housing market as insurance becomes either too expensive or difficult to obtain? 

We’re watching deals get destroyed or fall out of escrow because of incredible increases in rates. We’ve seen carriers double, triple, quadruple. We’re seeing 100% and 200% rate increases for the ones that are staying in. It’s only because it’s based on area and risk. So it puts a lot of pressure on the real estate market. 

I’ve been a speaker for the California Association of Realtors on insurance and fire zones. I speak throughout the different realtor associations on the WOWS program. One of the unique features is that it’s the first policy that’s fully transferable from sellers to buyers. When the policy that the seller has can be transferred to a buyer, that helps to stabilize the market. 

 The spread of risk is as important or more important than the actual fire scores themselves. One of the big negatives that’s happened in California is companies are oversaturated in markets. They have way too many policies in one area, and that’s causing these major losses. 

One of the biggest honors we’ve received comes from multiple reinsurance companies, from Munich to others. We’re now wholesaling products and bringing things back in to gain additional support.  

We continue to work with not just our own Wows Insurance program, but we’re also bringing other insurance companies in to help support the entire Western United States that’s dealing with fires. I’m referring to California, Nevada, Arizona, Oregon, Washington, and Utah.  

Things just have to change and we’re helping. I like to believe that we are leading the way. 

When I work with the Department of Insurance in multiple states, every department is in the same category. They’re all hands on deck, which is a great sign. 

Insurance companies are putting billions, and I use that word with a B… billions of dollars at risk. So, wouldn’t it make sense from a regulatory standpoint to spread it out? If a company is going to have $5 billion or $10 billion of risk in California, do you want it all primarily in one area, or do you want to make sure that the spread of risk happens where no more than one or two homes are possible in a fire? This is what affects insurance rates. 

There’s a rebuild cost for a kitchen fire, so if a kitchen fire burns the house down, it’s one home. There’s a cost. The cost of a shock loss or a catastrophe could be as high as 30 to 50% higher because of supply and demand. 

What are things that people in other states can be thinking of, whether it be mitigation or getting insurance?  

I’m very lucky to work with a lot of the different departments of insurance. I like to use Nevada as an example. Nevada and their Department of Insurance are not being reactive. They’re being proactive and they’re looking to make changes. That’s very inviting for us to be able to come in there and work with them.  

Consumers need to realize that mitigation is coming to the doorstep. The problems in California, those problems are already in Park City, Utah & Aspen, Colorado & Bend, and Oregon. These areas are all having problems with insurance. So, the mitigation’s going to be a key thing.  

Consumers need to be involved in mitigating risk. 

If you have open, exposed eaves, they need to be closed. Lean, Clean and Green is a program that Cal Fire started. That should be used everywhere in the Western United States. 

As we continue to develop the WOWS program and its core principles, we will shift the direction of the insurance industry in the right way, focusing primarily on risk distribution and transferability. We're proposing a range of initiatives as part of our program that we believe will be adopted by multiple insurance companies. These changes will help make insurance more affordable for consumers while ensuring profitability for the companies.

We need to change. We’ve got to be creative and inventive.  

Einstein’s theory of insanity doesn’t work. 

Learn more at https://wowsinsurance.com/.  

[exito123654]

Maximizing ROI from Business Events: Tips and Tactics

Maximizing Return on Investment (ROI) from business events requires careful planning, strategic execution, and effective follow-up. Whether it's a conference, trade show, seminar, or networking event, here are some tips and tactics to help you get the most out of your investment:

1. Set Clear Goals: Define specific and measurable goals for the event. Are you aiming to generate leads, increase brand awareness, network with industry professionals, or launch a new product? Having clear objectives will guide your planning and evaluation process.

2. Pre-event Preparation:

Research the event thoroughly: Understand the event's agenda, speakers, attendees, and exhibitors.

Plan your booth or presentation: Ensure your booth design and materials align with your branding and goals. If you're presenting, rehearse your content to ensure a smooth delivery.

Promote your participation: Use social media, email marketing, and your website to let your audience know you'll be attending. Encourage pre-event engagement and appointments.

3. Engaging Booth or Presentation:

Make your booth attractive: Use eye-catching visuals, banners, and displays to draw attendees in.

Offer interactive experiences: Incorporate product demos, interactive displays, or engaging activities to create memorable interactions.

Staff appropriately: Train your team to be approachable, knowledgeable, and equipped to answer questions.

4. Networking and Relationship Building:

Focus on quality over quantity: Prioritize building meaningful connections with a few key prospects rather than trying to collect as many business cards as possible.

Be a good listener: Understand the needs and pain points of your prospects before pitching your products or services.

Follow up promptly: Connect with your new contacts within a few days after the event to continue the conversation and nurture the relationship.

5. Data Collection and Lead Management:

Use technology: Utilize lead capture apps, QR codes, or other digital tools to streamline lead collection and data management.

Segment your leads: Categorize leads based on their level of interest and engagement to tailor your follow-up approach.

6. Content Creation:

Document the event: Create content during the event, such as live updates, photos, and videos, to share on social media and your website.

Share insights: Write blog posts, articles, or social media posts summarizing key takeaways and lessons learned from the event.

7. Post-Event Follow-Up:

Personalized communication: Craft personalized follow-up emails that address each lead's specific interests and needs.

Provide value: Share additional resources, whitepapers, or relevant content that further educates your leads about your products or services.

Nurture leads: Create a lead nurturing plan that includes regular touchpoints to keep your brand top-of-mind.

8. Measurement and Evaluation:

Calculate ROI: Measure the monetary value of the leads generated, contracts signed, and sales made as a direct result of the event. Compare these figures to the event's costs.

Assess non-monetary outcomes: Consider other benefits such as brand exposure, media coverage, and industry relationships.

Collect feedback: Gather feedback from your team and attendees to identify areas for improvement.

By implementing these tips and tactics, you can significantly increase the ROI of your business events and make the most of your investments in time, effort, and resources.

B2b events and conferences

Business events in Bangalore

B2b events

Tech summit

Business events in India

corporate events in India

Business Events

[stormhawksplanb]

Plan B: A Storm Hawks Fanfic

Chapter 8

https://myhushhushdarling.tumblr.com/PlanB

(The link above is the master list of the Chapters, but you can also check out the 3planb for mobile users <3) I gave a big sigh as I followed Piper and Aerrow to the ship. Silently thanking the Ancient Mages of Atmosia that Aerrow didn't tell me to stay behind on the Terra. Instead, I got to listened in on their conversation.

"The Rex Guardians had called us up for a mission. The whole terra has been experiencing tremors at an unnatural rate."

Piper nodded at him, understanding more than I could.

"Terra Rex isn't sitting anywhere near the edge of a tectonic plate, so that's not a good sign. Do you think it's possible that this is where she was heading?"

"Yes."

My heart fluttered in my chest. I wasn't scared, but not exactly excited. Maybe this was my chance to prove to the Storm Hawks my worth. That I was more than capable of joining them on their mission to stop Ravess.

On our way to the cockpit all we could hear was the sounds of Crashing Boxes and clinking Metal. The three of us looked at each other nervously and rushed to open the door.

The scene that was playing out in front of us earned a quick giggle from both me and Piper.

Stork and Finn was currently chasing Raddar and Gear around the room. The two small furry friends were playing keep away with a crtustal. Soon enough they realized we had eventually walked in, and they froze in place. Piper was the first to break the ice.

"What's going on here you guys?"

Stork stood up straight, clearing his throat. Acting like nothing happened.

"Uh- Nothing just... You know..."

"Isn't that Nova's... Nova Crystal?"

Piper seemed just as dissapointed in the situation as I was. It's nice to know that she at least listened to me when I told them not to touch my Crystal.

Finn was quick to defend himself as all eyes landed on him.

"What!? It started to make this really weird ringing sound, then it started to hiss and I thought it was going to explode!"

Piper turned her head at me, concern in her eyes. I shook my head at them, and Quickly took the Crystal from Raddar.

"Well for starters no one here should be touching this crystal with bare hands. You're lucky I treat the Nova Crystal with a water bath to dampen the effects."

Piper's hand shot back into her chest as it started to glow again. Burning my hand in return.

"OW! DAMMIT!"

Doubling over to my knees, I held my heated hand to my stomach. The high pitched hissing got louder, and everyone watched as the crystal started slowly sinking through the floor.

After I adjusted the red gauntlet on my burned hand, metal prongs extended from the fingers. Acting like a claw that let me pick up the crystal. The hissing seizing.

"Like I said... Shouldn't be touched with bare hands..."

After that everyone just kind of looked at me in bewilderment. Piper seemed the most astounded as she kept her eyes glued on the crystal.

"I didn't know the crystal could do that. I thought all it did was make clouds of colorful mist!"

I chortled at her.

"Actually, the Nova Crystal had a lot of similar properties of Leech Crystals. It developed on my Home terra, Argonia-"

I took a quick break in my explanation to store the Crystal back in its metal box.

"For a few hundred years no one knew it even existed. It was my own family line that discovered it, and ho dangerous it could be. The day they did was the day they decided to join the rest of Atmosia, and take on a Sky Knight. All while keeping knowledge of the Nova Crystal a secret."

Piper nodded at me, seemingly satisfied. Meanwhile Finn was scratching his head.

"So you really are a Sky Knight then?"

Stork scoffed at him.

"Wait, your telling me none of you realized it yet? The Nova Crystal? Her name being 'Nova'. The Name of her home Terra being Argonia?"

Collectively they all shook their heads at stork. He rubbed his temple.

"Then that means no one on this ship ever heard of 'The Raving Vultures'?"

I was impressed that Stork figured out that much.

But before anyone could ask any other questions the alert system on the ship went off, and Aerrow started to bark commands

"Stork, get the Condor moving again. Piper Identify where that alert is coming from!"

All at once they were at their stations. It was a stress signal coming from Terra Rex, only a few Klicks away from where we were.

And as if on cue Ravess was there as well. Along with a couple of her battle ships. And honestly with the size of the Condor, I'd rather be on her battle ship if a dog fight broke out.

The communication system turned on, and Ravess' voice came out from the speakers.

"Attention Terra Rex, and it's soon to be defeated Rex Guardians, Your Terra has something of great importance to me. So If you follow my instructions to the 'T' I might let you live. If not, I will most certainly obliterate your pathetic little Terra..."

Instead of any sort of compliance from the Terra there was a retaliation. Cannons shot out from somewhere on the ground. And a small group of fleet ships (Battle ships that are smaller, but built for speed and design) came out from behind us. It seemed like there was gonna be a fight one way or another.

"Fine, prepare yourselves, and your terra for it's doom!"

Just like that the Condor jerked forward, and we started taking puck shots at their battle ship with our energy cannons (As if it was going to do anything). My heart raced in my chest, and I can't lie. Images of my nearing death flashed in front of me.

We weaved in and out of the crossfir, barely missing the onslaught ammunition. Soon enough I heard Aerrow yelling toward stork to "perform 'Plan B'. Despite the panic I felt, I was already awaiting instructions from him as he turned to look at me.

"And by the way Nova. You're Plan B- Let's go".

My throat went numb, but I followed him to the hanger regardless. When I reached the doors he was already seated on his skimmer, and pointed at Finn's ride.

"Don't worry about trashing it. We have plenty of spare parts for it-"

It was time to tell the truth.

"I DON'T KNOW HOW TO FLY!"

I covered my mouth just as quickly as I could. Aerrow seemed amused.

"I know..." Then he started up his skimmer and flew off. It took me a few seconds to realize what he just did to me. It was either fly, or stay behind on a rocky ship. Naturally I chose the WRONG option, and decided to fly.

Turning the key on Finn's ride, and taking lessons from my previous crash, I took off swerving from the landing strip.

As the ground below me was getting closer, I heard the familiar humming of Aerrow's Skimmer. Looking to my side I was met with a very entertained face. Aerrow was still actually flying, but yet falling beside me. That is until he flipped a switch on the dashboard of my current ride. I screeches as the wings unfolded, and caught a draft forcing the skimmer to fly horizontal.

From then on out it was relatively easy to maneuver. My only problem was when the storm hawks precious leader told me exactly what Plan B was.

"So you want to prove that your a sky knight, huh?"

I nodded at him, and he pointed at the lower entrance of the ship, and I watched as a handful of "Cyclonians" dropped out on their own skimmers.

"I'm going to sneak aboard the ship. And you're gonna distract the Cyclonians..."

"I'm sorry, what?"

"Well, I figured your lack of experience riding a skimmer will make it harder for them to hit you. Good luck!"

I shook my head at him, hoping he'd change his mind. It was obvious he wasn't as he zipped past me and into the red ship.

Shaking off the growing fear I hit the throttle. I sped past in front of the group of enemies, successfully getting their attention.

I was being chased, and I was calculating the likelihood of my death. I felt my backpack shuffle around, and I saw gear crawl over my shoulder. Her claws digging in my shoulder as she tried to cling to me. We were going to need new gear if we plan on bobbing and weaving through the clouds like this more often.

Taking coverage in a thick and fluffy cumulus, I took out my Nova Crystal and attached it to the open space in my gauntlet. Then I took from gear a small, sanded down Blocking Crystal and equipped that into a deposit spot right above the Nova Crystal. The gauntlet came to life as the wired fingers reached out and locked themselves into the tips of the gauntlet rings. Giving me a different type of claw. After turning around the skimmer, I hit the throttle full force. Deciding to go head to head with the Talons.

I never had a dog fight before. And there was something about the current atmosphere, and the danger that made me feel almost free. My body felt warm against the wind, and I aimed my fingers at my opponents. My thumb was ready to pull the trigger attached to the gaunlet.

As soon as I pulled my thumb away the recoil from the energy blast jerked my whole arm back. I regained my senses in time to see the green ball of light collide, causing the guns on their skimmers to backfire, and explode. Before I knew it, the battle seemed to be heading in our favor.

"Gear, I need a reload!"

Like I said earlier, the Nova Crystal acts like a leech crystal. That means the smaller the fragment, the less shots it has. Sadly all I had on me was small shards of blocking crystals. Though it was more effective than I thought it would be.

My fighting continued as gear and I swindle down the supplies of ammo. Looking around me I could tell we were pushing back Ravess' forces, and I even watched one of her Battle ships fall from the sky. Soon enough we won the battle, and I was lead back onto the condor.

[profoundsheepbarbarian]

A Beginner's Guide To Acoustic Treatment

An account of an acoustic newbie's journey from bare walls to a well‑balanced, sonically pleasant space.

The physics of the propagation of sound is immensely complicated, and when the assortment of materials that make up the walls, floors and ceiling (plus any windows, doors and furniture) are added to the equation, it's very difficult to predict what will happen to sound waves once they've left their source. What's more, every room is different, and it's not just the dimensions that will dictate how the room will sound... Imagine two rooms of the same shape and size. One has two‑metre-thick concrete walls, and the other a single‑layer plasterboard stud-wall. Even with those brief, albeit extreme descriptions, you probably know already that the two rooms will sound very different. Add in the multitude of room shapes, sizes, wall‑construction methods and surfaces found in home studios, and it becomes impossible to provide a one-size-fits-all guide to acoustic panel treatment.

The subject of acoustics is regularly discussed in SOS, but plenty of readers still ask for the subject to be covered from a much more basic starting point. What follows is a look at installing acoustic treatment from a complete beginner's perspective: some basic, essential information, along with a bit of advice from acoustics professionals that should give you the confidence to get started. I'll follow this up by taking you step by step through my own recent experience of treating a room.

Why Bother With Acoustic Treatment?

Untreated rooms have an uneven frequency response, which means that any mixing decisions you make are being based on a sound that is 'coloured', because you can't accurately hear what's being played. In short, you can't possibly tell how your mix will sound when played back anywhere else. It isn't just an issue for mixing, though, because any recordings you make of acoustic instruments will bear all the hallmarks of the space in which you record them. That may be a good thing if the space in question is Ocean Way or SARM West, but probably preposterously bad if it's your living room or bedroom. So, if you want your mixes to transfer well, and your recordings to be free of room 'honk', you need to pay attention to the acoustic properties of your environment — no matter how good the gear you're using.

First Things First

The first thing to grasp is the outcome you want to achieve. It's a common misconception that acoustic treatment with acoustic ceilings or acoustic baffles should kill all reverberation, and that you want a room covered floor‑to‑ceiling with foam tiles: this isn't what you're aiming for. You also need to bear in mind the limitations imposed by space and budget: most home studios are small in comparison with the Abbey Roads and AIR Lyndhursts of this world, and many home‑studio owners simply don't have the funds for bespoke treatment solutions.

So what is the aim? Andy Munro, acoustic design specialist, remarks, "acoustic design is the science that restores a neutral sound balance”. Applying that science means interfering with the path of sound to control the sound energy. Jorge Castro, chief acoustician at Vicoustic, says that "in the case of affordable treatment, we need to control the energy of the sound first. Then we can take care of the sound quality. With small spaces, bass frequencies are always a problem, and we should control the low frequencies as much as we can.” In fact, he continues, "In small rooms, I've never heard people saying they have too much absorption of low frequencies.”

Absorption & Diffusion: What, Where, Why?

To achieve the right balance, there are two main approaches: absorption and diffusion. Products that have absorptive properties include foam and rigid mineral-wool (see the 'DIY & Rockwool' box), and they 'soak up' the sound energy, turning it into heat, through friction. Most effective on high‑frequencies, absorption is essential for reducing flutter echoes and for taming bright‑sounding or 'ringy' rooms. Bass trapping is also a type of absorption, but is specifically designed to absorb low‑frequency energy. A clever combination of soft, hard, thick and thin materials, including air, is used to make the most efficient bass trap, and an empty gap between the wall and the back of the trap helps to make it even more effective.

Diffusion is the scattering of sound energy using multi‑faceted surfaces. Diffusers are commonly made of wood, plastic, or even polystyrene. Jorge Castro explains: "diffusion helps in energy control and improves the sound quality in frequencies throughout the middle and high range of the spectrum, and also improves sweet‑spot image.” The 'sweet spot' is the place between the speakers where you should be sitting to get the best stereo image (imagine that your head and the two speakers form an equilateral triangle). That pretty much concludes the theory: now for the practice!

Getting Started

Before undertaking this project, I'd read plenty about acoustics, but had never attempted to properly treat a room myself: the nearest I'd come was propping foam panels against the walls to tame flutter in the spare‑room‑cum‑studio of my rented house. I hadn't been able to glue or screw anything to the walls, for fear of incurring my landlord's wrath, and the thought of retouching the paintwork after tearing strips of self‑adhesive velcro pained me too! So this was very much a learning experience.

The space in question included an area that would provide a reasonable‑sized live room, and another that would serve as a small control room, and although both were important, I really wanted to get the performance space right. I decided that I'd buy commercially available panels, because I simply didn't have the time, space or inclination for the DIY option. Most manufacturers of acoustic products also offer a consultation service, and they often have free on‑line calculators to help you decide on a suitable treatment option, too, so even if you choose the DIY route this can be a sensible place to start, and fabric acoustic panels are also available.

I chose to get my treatment from Vicoustic, a company relatively new to the UK acoustic‑treatment market who make a range of products for studios and home theatres. I told them that, as this was the only live room for a small project studio, it needed to be quite versatile, with both a 'dead' corner for dry recordings and a more ambient space to liven up acoustic recordings where needed. I'd expected a solution with almost complete wall coverage, foam panels and diffusers covering every square inch, but Vicoustic came back with a plan that surprised me, which suggested that total coverage wasn't necessary.

In fact, Jorge says that the typical home studio needs only between 30 and 40 percent coverage to adequately treat it. So don't go over the top: remember that we're trying to control the energy, or "restore the natural sound balance,” and not to kill the sound completely.

As for the proportion of diffusion to absorption, Jorge says, "some believe it should be 50 percent absorption and 50 percent diffusion. In the home studio, because of budget and space constraints, the actual proportion can vary considerably.”

Planning

So, you've decided on your acoustic foam treatment, you've had it delivered, and it's piled in the middle of the room. The next step is sticking it up on the walls, right? Well yes... but you also want to make sure that it goes in the right place, partly to optimise its acoustic performance, and partly because you don't want it to look like it's been put up by a two‑year old! As a first‑timer, I found it useful to have the 3D drawings Vicoustic had supplied, as they enabled me to plan precisely where each panel would go. You can create a computer‑generated version of your room yourself using a freeware 3D drawing programme such as Google Sketchup (http://sketchup.google.com). This may seem a bit over the top (sketches on the back of an envelope would do the job), but it can provide a useful guide to print out and use like a map during installation. What's more, you can plan the look of a room, moving tiles and panels around on the computer instead of having to rip them off the wall if they look silly.

Measure Twice, Stick Once

With my 'map' in hand, it was time to mark up the walls. The Vicoustic plans showed the panels equally spaced along the walls, but without any dimensions or measurements to indicate how to space the tiles, so I measured the whole room and planned the position of all the panels supplied. A quick and easy formula for plotting the position of a row of equally spaced panels soon emerged. To calculate the distance between each panel, and between the end panels and the walls, you just measure the length of the wall, subtract the total width of all the panels to be fixed to it, then divide that figure by the number of gaps between panels (or by the number of panels plus one). Marking up is then a cinch, but to get things looking good, you'll need to mark the corner points and will require a spirit level and a spare pair of hands. Once plotted and marked, it's also a good idea to double‑check that you have the same number of actual panels as you have on your plan!

Stick 'Em Up!

With the planning done, it's time to stick the panels to the walls and ceiling. The way you do this depends on the type of treatment you're applying. Large, framed panels will come with brackets and (hopefully) sturdy fixings, whereas foam‑based tiles will need to be glued, using an aerosol‑based product or a tube of paste‑like glue that needs a skeleton gun. Spray‑mounting can often give less than satisfactory results, so I was glad to discover that the Vicoustic delivery included the tube variety. With just two tubes supplied, though, I soon had to resort to alternatives, and found that the sticky gunk used to fix mirrors to walls worked exceptionally well.

To prevent the glue squidging out from the sides of the panels, I piped the glue on no less than an inch from the guide line on the wall and on the back of the panel itself, in different patterns, to increase the adhesion. With this kind of glue, I found that it would begin to set in about a minute, allowing just enough time to pull the panel off and turn it if it was the wrong way up. When sticking panels to the ceiling, I took the same approach. It was a textured ceiling, which called for lots of glue and a firm hand to seat the panels: again, it's useful if you can get a friend to lend a hand.

Hearing The Result

Once in place, the Vicoustic treatment worked very well. The main part of the room is now nicely controlled, if a bit on the 'live' side, and the diffusers ensure excellent intelligibility of speech: a sure‑fire sign of good acoustic control. I had a few spare corner traps, which were put into the dry corner, to make it even more 'dead', and it will be easy to add a few smaller foam tiles to dampen the sound further if it's found to be too 'roomy' further down the line.

Having tried some recordings in the room, I'm happy to say that excellent sound barrier can be achieved between acoustic instruments and vocals by using the different areas of the room. Because the sound inside the room is controlled, the ambience can be used to good effect if a roomy sound is desired on the recording.

Ultimate Control

So far, I've only addressed the dedicated live/recording space, and most home studios are single rooms, with both the monitoring and performance areas in the same space, so I asked Andy Munro to explain how to approach treating such a space. "The best approach,” he said, "is to sketch the room out, then divide each dimension into thirds. If the mixing position is on a third ratio, and so are the speakers, they will not stand on any of the half or quarter 'standing' wavelengths that cause a peak or trough in the bass [see the 'Standing Waves' box for more information]. The result will be a smoother sound, with fewer problems when the acoustic absorption and sound barrier is added. Ironically, most professional rooms are set up about the centre line, which tends to result in a 'hole' at certain frequencies.”

Also important in monitoring rooms is the control of early reflections. When a speaker cone is driven, it disperses acoustic energy to the listener's ears directly, and also to the walls and ceiling of the room, and the best example may be acoustic diffuser. Uncontrolled, these early reflections bounce back into the room and reach the listener a few milliseconds later than the direct sounds, because of the additional distance they've had to travel. Unless in a large room, this delay is not perceivable as a different sound; instead it disturbs the phase, and therefore the clarity, of the sound. To keep early reflections on a tight leash, the 'mirror points' of the room should be identified and treated. To do this, sit in the listening position and 'guesstimate' where a mirror would have to be placed to enable you to see each monitor cone from the sweet spot. Then apply absorption to these points. A 'ceiling cloud' can be positioned in a similar way, to control vertical reflections.

Conclusion

No matter how much you spend on instruments, amps, speakers and recording gear, you still need to pay attention to the space in which you use them. The treatment of home studios is tricky, because of their size and the construction materials used, not to mention the budget of the average home‑studio owner. It's impossible to get a 'pro-studio sound' from a space that's built as a spare bedroom, mainly due to the laws of physics, but also because 'proper' studios might have big bucks spent on acoustic design with soundproof materials. But if you can get your head around what you're trying to achieve, you can still make such a space perfectly usable, with only a small amount of money, some forward planning and a little bit of knowledge.

[mochirimi]

Meet Me at the Edge of a Memory [Bede x Gloria]

On her eighth birthday, Gloria makes a wish, meets a boy, and irrevocably changes the course of their lives. And she doesn’t remember any of it.

CHAPTER FOUR 

Read Here at A03

Everything is different now. 

When he started, the adrenaline that spurred him forward, pushed him out of the orphanage window towards a picture of open air, whirling nights, and a place that just wasn’t draped in tones of gray, was painted clearly in his mind. Every line of the vision was defined, clear. 

And now, the young boy just wasn’t so sure.

Walking with the tepig girl, things were loud. So loud, in color, and noise. Her presence was everywhere, and now it’s quiet. The world is muted, sounded to the background of looming figures and passing shadows of circus lamplights. 

At his side, the espurr tugs at his hand, calling Bede’s attention to its presence. Its unblinking lavender eyes are full of curiosity as it tilts its head to one side. 

He smiles just a little bit. “I’m fine, really.” 

The pokemon rubs its head against his side before it pulls him forward. Bede stumbles at the sudden rapid pace the espurr leads him forward. But he leans into it, leans into the pokemon’s judgment of where he’d fit best because as long as it's away it’s better than any place he’d already been.

The destination is dark before it’s light. Through a small tear in the canvas tent line, the pokemon pulls him into the darkness waiting. In the darkness, he can make out the sloping tiered seats, the hundreds of heads of a waiting crowd, and the hush whispers of a growing excitement waiting for something on the center stage.

A gold spotlight hits the center stage in a brilliant glow and the lone figure crouched there above a pool of crystal clear water. From an unknown corner, music softly fills the air in a slow unraveling and the figure comes alive.

Beside him, the espurr tugs him towards a waiting indeedee. The pokemon bows to the pair before leading them to an empty seat. He sits

But Bede doesn’t notice any of it, his eyes glued to the performance in the middle of the ring. Small lights fall in minute spiral descents to the ground, and the lone figure dances across the water’s edge. The moves are lithe, graceful and succinct. The performer moves, creates  ripples across the water and arches towards the sky and the lunatone and solrock in the light dappled sky above.

The real performance begins. Descending slowly towards the lone figure is another, the true star comes. Perched on the edge of a rounded hoop, she sits, her arm poised towards the ground. Around her a lunatone and solrock orbit, waltzing to the swell of a distant cello and flute. 

When she reaches her partner performer, the two begin a dance, her feet flitting across the waterscape as her partner gives chase around the ring. She twirls and dances with the silver ring, just out of reach of her partner’s grasp. Her coy smile, the way she calls and beckons to the other performer is a special form of magic.

Even without the wings, she tells the story of a fairy flirting with a human, drawn to him as he is to her. The silver ring she performs with is a mirror she toys with, and with a tug, just as her partner is about to reach her, touch her, she’s in the air, flying. Bending and twisting through the loop she is the shooting star across the tent nightscape. 

The performance ends with a flash of light, the twisting and turning of the ring and person so fast the performer is a blend of lilac and silver hues until suddenly she’s gone, and the partner and audience she leaves behind is awestruck.

When the gold spotlight closes, they are left in darkness once more, the world muted into silence, defined into what the world was before the performance and what it became after. And Bede knows. 

While the spectators around him rise to leave, Bede stays for the next performance, and the one after that. The crowd ebbs and flows around him until a voice announces  the closing of the bigtop. 

It is the end of the night.

When he steps out of the tent, the night’s festivities have completely ended, with only sparse groups of people walking through towards the exit. 

Turning his head from side to side, Bede surveys the area, looking for a place to stow away as the circus packs for its next destination. At his side, the little espurr yawns, rubbing its eyes before walking away.

“Am I supposed to follow you?” He calls after it. The pokemon had been a guide all night, leading him, walking by his side, taking him where he needed to be. But never once had it just completely let him go. 

Almost as if reading his mind, the pokemon calls out to him once, turning to walk through the light layer of snow. 

When it stops, they’re at the edge of the cufant and copperajah fence. Ducking through the metal bars, Bede follows the espurr to the other side of the temporary enclosure. The larger pokemon eye them warily, but pull at the cornsilk-colored straw hill cradled in a large bin in the corner for their cufants’ meal, while the young cufants stomp closer to their newest arrivals. One pulls at Bede’s worn coat and he stumbles.

“Hey, watch it.” He snaps.

The mother pulls back her child away from their guests, and the pokemon is soon onto the next adventure under their mother’s watchful eye.

Bede shakes his head, turns away for the small families to climb into the straw bin after the espurr. The stalks bend and snap under his weight as he settles in beside the pokemon, pulling the gold material over him for cover and warmth. The hiding place isn’t ideal but it’s warm and out of the way; no one would find him until it was too late, when they could no longer return him to the orphanage. 

A copperajah emphasizes his point as it leans against his bin, providing even more much needed warmth to the young boy hiding. Bede silently thanks the pokemon and curls his legs into his chest, allowing his jacket to offer greater coverage from the elements. A small struggling yawn escapes his lips.

Beside him, the espurr snores and turns to curl deeper into the straw. The sight of the sleeping pokemon begins to lose definition, blurring at the edges, the lines between colors seeping into each other and fading into total darkness. 

 ___________________________________

The scanners of the registers ring and beep in the distance and Beder rubs at his eyes, kicking the edge of the display podium his mother set him. In front him, she paces in an erratic rhythm, quickly turning on her heels at the slightest sharp sound, the bumping of a cart, the cackle of a matronly customer. 

“Mom, when are we going home?” The young boy yawns, his sleepy eyes watching the magikarp on their tanks bump lightly against the supermarket glass. 

The woman trembles slightly, her fingers dancing across her lips, as she calculates, her eyes darting back and forth across the floor as she thinks. Her silver-blonde hair, so much like her son’s is pulled back in a severe bun, the locks falling her head darts. 

“Mom, when are we going home!” The young boy whines, kicking the display under behind his feet harder as he demands an answer. 

She flinches at the impact, sharply turning and kneeling in front of her son. Her shaky hands flutter across his coat, pulling the garment tighter to his body, adjusting his scarf around his neck. “Hush, Little One.” She runs her fingers through his curled hair, rubs his cherub cheek. “Why don’t you read your book?” His mother emphasizes the point by opening the tome carefully in his lap. 

“I’ve read it five times already.” Bede whines, but his eyes are drawn to the gilded illustrations and he quiets, his attention absorbed in “Pokemon from Around the World.” 

His mother sighs, patting his head softly. The way her heaves, the way her eyes water and glisten, goes unnoticed by the boy as she kisses the top of his head. “Just read your book until I get back, okay?” 

“Where are you going?” The boy murmurs, his eyes glued to the images on the page. 

“Just away.” She says into his hair. “I’ll be back before you know it.” She places a curl behind his ear. “Will you be good for Mommy while she’s gone?” Her fingers don’t tremble, as she smiles down softly at her son. 

He mumbles an affirmative, kicking his feet as he traces the bold lines of a tepig, an oshawatt, and a snivy. The shadow and touch of his mother retreat, his book illuminated by the bright lights of the supermarket. 

Minutes echo into hours as Bede bores with his book. His lavender eyes begin searching for the familiar face of his mom, her kind eyes, her soft smile, finding none in the questioning eyes of passing patrons.  They reach around him for on sale canned goods, shaking their heads in disapproval at the lone child sitting on the pedestal. 

When the light dies outside and the speakers announce a last call for all shoppers, Bede steps down from the platform, calling out for his mother, the sound of his voice echoing off the near empty store.

[avtechnologysworld]

Common Mistakes to Avoid When Setting Up Ceiling Speakers

Ceiling speakers have become an increasingly popular choice for home audio enthusiasts, offering a sleek and unobtrusive way to enjoy immersive sound experiences. Whether you're setting up a dedicated home theater system or enhancing your whole-house audio, proper ceiling speaker installation is crucial to achieving optimal sound quality and performance. However, even the most well-intentioned DIY enthusiasts can make mistakes that can compromise the audio experience. In this comprehensive guide, we'll explore the common pitfalls to avoid when setting up ceiling speakers, ensuring that you can enjoy the full potential of your audio system. From incorrect speaker placement to improper wiring and calibration issues, we'll cover it all. Additionally, we'll delve into the importance of using tools like speaker coverage calculators to optimize your setup and achieve the best possible sound coverage.

The Importance of Avoiding Mistakes When Setting Up Ceiling Speakers

Setting up ceiling speakers may seem like a straightforward task, but even minor missteps can have significant consequences on the overall audio quality and performance. Improper installation can lead to a range of issues, including poor sound distribution, audible distortions, and an overall diminished listening experience.By avoiding common mistakes, you can ensure that your ceiling speakers deliver the intended audio performance, providing an immersive and engaging listening experience. Whether you're enjoying your favorite movies, music, or video games, properly installed ceiling speakers can elevate the audio experience to new heights, transporting you into the heart of the action.Furthermore, avoiding mistakes during the installation process can also help prevent potential damage to your equipment and ensure the longevity of your audio system. Incorrect wiring, for example, can pose a fire hazard or cause permanent damage to your speakers or amplifier.

Mistake #1: Incorrect Speaker Placement

One of the most common mistakes when setting up ceiling speakers is improper speaker placement. Positioning your speakers incorrectly can lead to uneven sound distribution, audio hotspots, and a lack of cohesion in the overall sound stage.To avoid this mistake, it's essential to follow the manufacturer's recommendations and industry guidelines for speaker placement. Here are some key considerations:

Room Dimensions: Measure your room's dimensions and use a speaker coverage calculator to determine the optimal speaker positions. This tool can help you visualize the sound coverage and ensure even distribution throughout the listening area.

Speaker Angles: Ceiling speakers should be angled towards the primary listening area. The recommended angle range is typically between 30 and 55 degrees from the listening position, depending on the speaker type and room acoustics.

Speaker Spacing: Maintain proper spacing between ceiling speakers to achieve a seamless and cohesive sound stage. A general rule of thumb is to space the speakers approximately 0.7 times the distance between the speakers and the listening position.

Obstructions: Identify and account for any obstructions in the room, such as beams, light fixtures, or ceiling fans, as they can interfere with the sound propagation and create audio shadows or reflections.

By carefully considering these factors and using tools like speaker coverage calculators, you can ensure optimal speaker placement, resulting in a more immersive and balanced audio experience.

Mistake #2: Improper Wiring and Connections

Improper wiring and connections can not only compromise the audio quality but also pose potential safety risks. This mistake is often overlooked, especially by DIY enthusiasts who may overlook the importance of proper wiring techniques.To avoid this mistake, follow these guidelines:

Wire Gauge: Use the appropriate wire gauge for your speaker setup. Thicker gauge wires are recommended for longer cable runs to minimize signal loss and ensure optimal power transfer.

Polarity: Ensure that all speakers are wired with the correct polarity. Reversed polarity can lead to phase cancellation, resulting in a thin or hollow sound.

Secure Connections: Tighten all speaker wire connections securely to prevent intermittent or loose connections, which can cause audio dropouts or distortions.

Grounding: Proper grounding is essential for preventing electrical interference and ensuring safe operation. Follow the manufacturer's guidelines for grounding your audio components.

Cable Management: Organize and secure your speaker cables neatly to prevent potential damage or interference from other electrical sources.

By adhering to these wiring and connection best practices, you can ensure optimal signal transfer and minimize the risk of audio quality degradation or potential safety hazards.

Mistake #3: Inadequate Acoustic Treatment

Room acoustics play a crucial role in the overall sound quality and performance of your ceiling speaker setup. Failing to address acoustic issues can lead to unwanted reflections, standing waves, and other audio anomalies that can negatively impact the listening experience.To avoid this mistake, consider implementing the following acoustic treatment solutions:

Absorption Panels: Install acoustic absorption panels on walls and ceilings to reduce unwanted reflections and improve sound clarity.

Bass Traps: Place bass traps in room corners and other strategic locations to minimize low-frequency resonances and improve bass response.

Diffusers: Use diffusers to scatter sound waves and minimize flutter echoes, creating a more natural and immersive sound stage.

Room Measurements: Employ room measurement tools or professional acoustic analysis services to identify and address specific acoustic issues in your listening environment.

By addressing room acoustics proactively, you can optimize the performance of your ceiling speakers and create a more engaging and immersive listening experience.

Mistake #4: Inadequate Power and Amplification

Underpowering your ceiling speakers can result in poor sound quality, limited dynamics, and potential damage to your audio components. It's essential to ensure that your amplifier or receiver is capable of delivering sufficient power to drive your ceiling speakers effectively.To avoid this mistake, consider the following:

Speaker Power Handling: Ensure that your amplifier or receiver can provide sufficient power to meet or exceed the power handling capabilities of your ceiling speakers.

Impedance Matching: Match the impedance of your speakers with the amplifier's rated impedance to ensure optimal power transfer and prevent potential damage.

Headroom: Allow for adequate headroom in your amplifier or receiver to accommodate dynamic peaks and prevent clipping or distortion.

Speaker Sensitivity: Consider the sensitivity rating of your ceiling speakers when selecting an amplifier or receiver. Higher sensitivity speakers may require less power to achieve desired volume levels.

By properly matching your amplification to your ceiling speakers, you can ensure that your audio system performs at its best, delivering clear and dynamic sound without compromising the longevity of your equipment.

Mistake #5: Improper Calibration and Setup

Even with proper speaker placement, wiring, and amplification, failing to calibrate and set up your ceiling speakers correctly can result in suboptimal performance and an underwhelming listening experience.To avoid this mistake, follow these steps:

Speaker Level Calibration: Use a sound pressure level (SPL) meter or your receiver's built-in calibration tools to ensure that all speakers are balanced and producing the correct volume levels.

Time Alignment: Adjust the delay or distance settings for each speaker to ensure that audio signals arrive at the listening position in sync, creating a cohesive and seamless sound stage.

Equalization: Utilize room equalization software or manual adjustments to compensate for room acoustic issues and achieve a more balanced frequency response.

Crossover Settings: Configure the appropriate crossover frequencies between your speakers and subwoofer to ensure smooth integration and optimal bass management.

Speaker Mode Settings: Select the appropriate speaker mode settings (e.g., Dolby Atmos, DTS:X) to enable the desired audio processing and immersive surround sound experience.

By taking the time to properly calibrate and set up your ceiling speakers, you can unlock their full potential and enjoy a truly immersive and engaging audio experience tailored to your listening environment.

The Importance of AV System Integration Software

While setting up ceiling speakers can be a rewarding DIY project, the process can be complex and time-consuming, especially for larger or more intricate audio systems. To streamline the installation and configuration process, consider leveraging AV system integration software.These powerful tools are designed to assist with various aspects of audio/video system design, installation, and optimization. Here are some key benefits of using AV system integration software:

Room Modeling: Create virtual 3D models of your listening environment, allowing you to visualize and experiment with different speaker configurations and placements.

Speaker Coverage Analysis: Utilize advanced speaker coverage calculators and simulation tools to ensure optimal speaker placement and sound distribution throughout the listening area.

Acoustic Analysis: Analyze the acoustic properties of your room and receive recommendations for acoustic treatment solutions to address potential issues.

System Configuration: Streamline the setup and configuration process by automating tasks such as speaker calibration, time alignment, and equalization.

Integration with Smart Home Systems: Seamlessly integrate your audio system with smart home automation platforms, enabling convenient control and operation through voice commands, mobile apps, or centralized interfaces.

By leveraging the power of AV system integration software, you can simplify the installation process, optimize your system's performance, and ensure a truly immersive and engaging audio experience tailored to your specific listening environment.

User Queries and Answers

How do I determine the optimal placement for my ceiling speakers? To determine the optimal placement for your ceiling speakers, consider using a speaker coverage calculator or consulting the manufacturer's guidelines. These tools and recommendations take into account factors such as room dimensions, speaker dispersion patterns, and desired sound coverage to suggest the best speaker positions. Additionally, aim to angle the speakers towards the primary listening area and maintain proper spacing between them for a seamless sound stage.

What wire gauge should I use for my ceiling speaker installation? The recommended wire gauge for ceiling speaker installations depends on the cable run length and the speaker's power requirements. Generally, a 16-gauge or 14-gauge wire is suitable for most residential installations with cable runs under 50 feet. For longer runs or higher-power speakers, consider using a thicker gauge wire (e.g., 12-gauge or 10-gauge) to minimize signal loss and ensure optimal power transfer.

How can I address acoustic issues in my room? To address acoustic issues in your room, consider implementing acoustic treatment solutions such as absorption panels, bass traps, and diffusers. Absorption panels can help reduce unwanted reflections and improve sound clarity, while bass traps can minimize low-frequency resonances and improve bass response. Diffusers can scatter sound waves and create a more natural and immersive sound stage. Additionally, consider seeking professional acoustic analysis services or using room measurement tools to identify and address specific acoustic issues.

What is the importance of proper amplifier matching for ceiling speakers? Proper amplifier matching is crucial to ensure that your ceiling speakers receive sufficient power and perform optimally. Underpowering your speakers can result in poor sound quality, limited dynamics, and potential damage to your audio components. Make sure your amplifier or receiver can provide sufficient power to meet or exceed the power handling capabilities of your ceiling speakers, and match the impedance of your speakers with the amplifier's rated impedance for optimal power transfer.

How do I calibrate and set up my ceiling speakers correctly? To calibrate and set up your ceiling speakers correctly, follow these steps: use a sound pressure level (SPL) meter or your receiver's built-in calibration tools to balance speaker levels, adjust the delay or distance settings for time alignment, utilize room equalization software or manual adjustments for frequency response optimization, configure appropriate crossover settings for seamless integration with your subwoofer, and select the correct speaker mode settings (e.g., Dolby Atmos, DTS:X) for immersive surround sound.

What are the benefits of using AV system integration software for ceiling speaker installations? AV system integration software offers several benefits for ceiling speaker installations, including room modeling and visualization tools, advanced speaker coverage analysis, acoustic analysis and treatment recommendations, automated system configuration and calibration, and seamless integration with smart home automation platforms. These tools can streamline the installation process, optimize system performance, and ensure a truly immersive and engaging audio experience tailored to your specific listening environment.

Can I install ceiling speakers in a room with a vaulted or sloped ceiling? Yes, it is possible to install ceiling speakers in rooms with vaulted or sloped ceilings, but it may require additional considerations and adjustments. You may need to use specialized mounting hardware or brackets to ensure proper speaker positioning and aim. Additionally, acoustic treatment may be more critical in these types of rooms to address potential reflections and standing waves caused by the irregular ceiling surfaces.

How do I determine the appropriate speaker mode settings for my audio system? The appropriate speaker mode settings for your audio system will depend on the specific surround sound formats and technologies supported by your equipment. For example, if you have a Dolby Atmos or DTS:X capable system, you would select the corresponding speaker mode to enable the immersive surround sound processing. Consult your receiver or processor's manual or consult with a professional installer to ensure you're selecting the correct settings for your specific audio system configuration.

User Case Studies

Case Study 1: Transforming a Living Room into an Immersive Home Theater

John, a movie enthusiast, decided to transform his living room into a dedicated home theater with an immersive surround sound experience. He hired a professional AV installer to ensure a seamless and optimal setup.The installer began by analyzing the room's dimensions and acoustic properties using advanced AV system integration software. This analysis revealed potential issues with low-frequency resonances and reflections from the hardwood floors and bare walls.

To address these acoustic challenges, the installer recommended strategically placing bass traps in the room corners and installing acoustic absorption panels on the walls and ceiling. Additionally, they utilized the software's speaker coverage calculator to determine the optimal placement for the ceiling speakers, ensuring even sound distribution throughout the listening area.During the installation process, the installer meticulously followed best practices for wiring and connections, using high-quality cables and ensuring proper polarity and secure terminations. They also carefully calibrated the system, adjusting speaker levels, time alignment, and equalization settings for a seamless and cohesive sound stage.The result was a truly immersive home theater experience that transported John into the heart of the action. The ceiling speakers, combined with the acoustic treatments and precise calibration, created a enveloping surround sound experience that brought his favorite movies to life like never before.

Case Study 2: Upgrading an Existing Whole-House Audio System

Sarah had an existing whole-house audio system but wanted to enhance the listening experience by incorporating ceiling speakers in her main living area. However, she was concerned about potential acoustic issues and ensuring proper integration with her existing setup.Sarah consulted with an AV professional who recommended using AV system integration software to analyze her room and existing system configuration. The software identified potential issues with standing waves and reflections due to the room's open floor plan and high ceilings.

To address these challenges, the professional recommended installing acoustic diffusers and strategically placing absorption panels to improve sound quality and clarity. Additionally, they used the software's speaker coverage calculator to determine the optimal positions for the new ceiling speakers, ensuring seamless integration with the existing speaker layout.

During the installation process, the professional followed best practices for wiring and connections, ensuring proper impedance matching and secure terminations. They also carefully calibrated the system, adjusting crossover settings, time alignment, and equalization to achieve a cohesive and balanced sound stage across all speakers.The result was a significant improvement in Sarah's whole-house audio experience. The new ceiling speakers, combined with the acoustic treatments and precise calibration, created an immersive and engaging listening environment throughout her main living area, seamlessly integrating with the existing speakers in other rooms.

Conclusion

Setting up ceiling speakers can be a rewarding and transformative experience, but it's essential to avoid common mistakes that can compromise the audio quality and overall performance. By following best practices for speaker placement, wiring, acoustic treatment, amplification, and calibration, you can unlock the full potential of your ceiling speaker setup and enjoy a truly immersive and engaging audio experience.

Remember, tools like speaker coverage calculators and AV system integration software can be invaluable resources for optimizing your setup and streamlining the installation process. These powerful tools can help you visualize sound coverage, analyze room acoustics, and automate various configuration and calibration tasks, ensuring a seamless and tailored audio experience.

Whether you're setting up a dedicated home theater or enhancing your whole-house audio system, taking the time to avoid common mistakes and leveraging the right tools and resources can make a significant difference in the overall audio quality and performance. So, embrace the power of ceiling speakers and elevate your listening experience to new heights, one carefully placed speaker at a time.

[peacefulrevivalteen]

Round 3: Electric Boogaleee

@taiyuu-high-oct @lunaseleneyueiahchandramoon9696 Oc’s used (not comprehensive): @snoopdoggkun @bayleaf-uwu @sapphireknight30 @matchblue @nova9 @hey-hamlet @kaii-latte @cor-are-they-stars @xxplinkxx WC: 7650 :sweatingemoji: The true Taiyuu-high-Oct were the friends we made along the way

         Ozen drops the orb in her hand but her victory is cut short by the speakers placed around the island coming to life with the announcement of villains, and the orders for the students to evacuate to the tunnels. Following orders of the heroes, Ozen starts into a jog, after a couple of minutes she rounds the final building, the entrance and other students coming into view.

         What immediately catches her eye is the sight of the bunny girl from 1A, Ameko, trying her best to hold back a wriggling and pumped up Kutou.

         “Let me go Tokachi! Unlike you I can help them!” Kutou growls out as she tries to get out of the bunny girl’s grip.

         “Nooooo, they said we have to evacuate!” Ameko responds as she is slowly dragged behind the tenacious girl.

         Kutou manages to wriggle free, Ameko falling on her butt with an audible “oof” as Kutou runs off towards the action.

         Ozen just watches the girl start to run past her, sighing before grabbing ahold of Kutou’s arm, jolting the poofy haired girl to an abrupt stop.

         “You do know our teachers are heroes right? Are trained to fight villain’s right? Have some faith and don’t get in their way” Ozen leans in to say.

         “You’re.. agreeing with me?” the bunny girl asks, visibly pinching herself to check if it was a dream.

         Ozen just rolls her eyes at the sight as she mindlessly drags the thrashing Kutou who hasn’t given up, behind her.

         “There’s a first for everything” she says, handing the 1A student over to Ameko.

         “Here I think this is yours.” Ozen states, as she hands the more docile Kutou who has moved on to grinding their teeth.

         “A-ah!” Ameko responds surprised, as she takes over custody of Kutou. “T-thanks!” she adds as the trio makes their way to the tunnel, Ameko eventually splitting off to join Gakusa and Lana, leaving the Kutou wrangling to Wolfsboon.

 ----------

         Ozen makes her way with the others into the tunnel, lagging behind as she makes sure there are no more martyr attempts on the villains by her classmates. Once everyone made it inside, the entrance promptly closes behind them, bathing them in darkness.          This darkness did not last long as light emerged from holes all around them? No, not from holes, from discs, Sherif’s discs popping up all around them as the emergency tunnel is illuminated.

         Ozen finally has a chance to take in the sight of her classmates, finding themselves the least extended, physically after the city showdown.

         While they can’t fully stop for the danger that still lay behind them Buckskin informs them of the trek that they should expect.

         32 miles.. at least eight hours... stay on the left, the third rail is still active are the pieces that Ozen parses as important information as she helps hoist her classmate Senshi up and onto Wolfboon’s plant dog thing.

         “Th-“ Senshi winces as they settle on the canine “-anks, Ozen” they let out with a shaky smile.

         Ozen just nods as she looks around with a grown frown as she glimpses students around her stubbornly rejecting the ride as they choose instead to hide their pain.

         Ozen can practically feel the frustration emanating off of Koatsu, the tunnel and the teachers reminding them of the dangers behind lighting a fire in such an environment. The boy barely keeping at bay their urge to baptize everyone in their healing flame.

         Having made their way through the crowd to walk by her best friend, Ozen and Popi begin to chat among themselves.

         “Gerard says it’s going to be a twenty-six hour journey” Popi nonchalantly lets out, seemingly unperturbed by the situation.

         Ozen lifts an eyebrow at her friend’s words, turning to her. “Who?” she asks confused.

         “Gerard” Popi responds, a squeak promptly follows her declaration as a rat climbs into view on the shorter girl’s shoulder.

         “He’s tiny, so, take that information with a grain of salt.” Popi continues as the rat comfortably settles into place.

         “Did you not hear Buckskin at the start?” Ozen queries, hoping her friend isn’t suffering from any hearing loss.

         “No I heard him, I just trust the rats more.” Popi responds without a beat, turning her gaze to the ceiling.

         “That’s fair” Ozen hums in response, having quickly accepted the reason.

         Ozen follow’s her friend’s gaze as they turn to stare up at the ceiling. “What are you thinking about?” Ozen asks after a couple moments of silence.

         “The sea, I’m imagining what would happen if the rock were to give way. Lana would probably survive, but everyone else? Goners” Popi calmly lets out.

         Ozen catches Ameko flinching out of the corner of her eye, as well as Lana rubbing her back consolingly immediately afterwards.

         “ᵂʰᵃᵗ ᵃᵇᵒᵘᵗ ᵐᵉˀ” “ᴵ’ˡˡ ʰᵃᵛᵉ ᵗᵒ ᵗʰᶦⁿᵏ ᵒⁿ ᵗʰᵃᵗ, ᶜʰᶦᶜᵏᵉⁿ ᵇᵒʸ.”

         “How.. macabre…” Ozen responds, shaking away memories of the time she almost drowned in the pool.

         “Is it?” Popi hums. “Hero, villain, old, young, human, rat, the sea does not care.”

         “The sea truly is accepting of all that there is and can be” Ozen sagely responds with a nod.

         A few seconds of silence pass between the friends, their steps and the murmur of other groups the only sound.

         “Are you really trying to wax poetic with a quote from a videogame?” Popi finally responds, an exasperated chuckle quickly following.

         “Sh-shut up, I’ll have you know-“ Ozen is barely able to start her defense of the game when the cacophony of explosions start going off above them.

         The teachers are quick to utilize their hero training and experience to reassure and calm the Taiyuu students.

         The memories of the museum flash in Ozen’s head as the bombs continue to go off on the island above. The sight of her old classmates huddling around her has the tall girl moving towards what she believed to be the center of the group.

         Previous conversation forgotten Ozen takes her new place with trepidation and purpose. This vantage point chosen as it would provide optimal coverage if the ceiling were to collapse.

         Popi soon caught up to her taller friend, sparing her a glance before matching their pace.

         The group is quick to close ranks, as they continue down the tunnel.

----------

         The group would stay like that for the next two hours. Two. Whole. Hours. Explosions rocked the island above, the tunnels thankfully holding firm the entire time.

         Ozen is only brought out of her overprotective trance with the silence following the final explosion.

          She lets out a relieved sigh,

          hopefully it stays like this for the next Ozen interrupts her thought as she does some rough calculations in her head, 6 hours.. she concludes.

          Ozen starts to take a mental head count as she glances around, it isn’t long before she notices some are missing.

          “Where’s Senshi and Lana?”

          “They left with that gym teacher” Popi answers, jolting Ozen’s awareness to the fact that she voice that thought out loud.

          “Oh” is all Ozen manages to respond as she scratches her cheek.

          “Lyrimon and the transfer student too?” She continues, looking around for said students.

          “No?” Popi responds, leaning in to the squeaking rat still on her shoulder. “Gerard says they should still be in the back.”

          Before the two can turn around, a terrified scream followed by a string of enough curses to impress the god of sailors erupts from behind the group.

          “I know those curse words anywhere, Lyrimon must be in trouble” Ozen lets out as she jolts around in surprise. Not dropping a beat, she sprints to the back, the other students moving out of her way the best that they can.

          The sight that greets the tall girl’s arrival is one that she’ll not soon forget. Ozen’s eyes widen as she bears witness to the horrifying spectacle that is Lyrimon’s weekly metamorphosis, watching the foul mouthed girl decay into a puddle of red goop.

          The remaining teachers are lucky to have gotten there after Ozen, only watching the fleshy cocoon that is Lyrimon attach itself to the walls. A stray flesh spindle managing to land and attach to Ozen’s hand.

          Ozen’s ‘allergy’ is in full force now, the teen’s face erupting in a flush of red, a stark contrast to her normally stoic nature as she misinterprets the gesture.

          “H-how forward of you” Ozen manages to mumble as she looks away in embarrassment, free hand covering her face in a foolhardy attempt at hiding her blush.

          “No you dumby! She’s not trying to hold your hand!” Tsuki the transfer student shouts at Ozen. “Hurry and rip it off, before it eats your hand!” Tsuki frustratingly adds.

          “Eat my hand?” Ozen says to herself, eyes widening as she inspects the spindle. Ozen isn’t given long however, a disc of light courtesy of Sherif quickly cuts through the appendage, which flails about before finding a new anchoring spot on the floor.

          “Tch.” the Western themed hero lets out in annoyance, watching as the pain in her side student inspects the new mark on her hand courtesy of digestive acid. –What’s with this girl and burning her hands- she questions in her head, feeling a headache coming on.

          “What’s the situation tall girl?” Sherif asks.

         Tall Girl? “You know my name Sherif, and she’s going to be like this for a while” Ozen responds.

         “Yeah well, maybe I’ll remember it when you stop causing me trouble” Sherif says with a sigh before turning to her fellow staff. “I’ll watch over little miss flesh sac here, see if I can move her safely.” the head of support informs them.

         “Right, Aurora, Arlen, Buckskin and I will continue to escort the kids out then.” Wolfsboon responds, relaying the plan out loud and finding no objections.

         “Yeah! We’ll lead them out no-” Aurora starts to affirm, slamming her fists together, summoning her quirk, “Problem!” the beastly aura radiating around her providing a new source of light to replace the one they are about to lose.

         “I’m staying here-“ Ozen isn’t able to finish their sentence as Wolfsboon cuts her off.

         “No. Now come on” Wolfsboon states gruffly.

         “I can help, I’m neither tired nor –“ again she is cut off.

         “I. Don’t. Care. Let’s g-“ it’s Wolfsboon turn to be interrupted.

         “I’ll watch her, its fine. She’ll come in handy for what I have planned” Sherif says, waving off the 1-B teacher’s concern.

         “…Fine, stay safe you two.” Wolfsboon replies, sparing a moment in contemplation before turning back and rejoining the larger group that already started to move with Aurora’s beastly aura at the helm.

----------

         “Thank’s for letting me stay” Ozen says as she makes her way to stand by the hero that stood staring in contemplation at the cocoon before them.

         “Yeah yeah, kneel down here for me, Tall Girl.” Sherif responds, not taking her eyes off the cocoon for one second.

         Ozen raises a brow at the request but nonetheless she kneels down by the hero who proceeds to scale her back and mount themselves on top of her shoulders.

         “Yip yip tall girl” the short cowboy hero commands.

         Sighing Ozen starts to stand up, “watch your balance” Ozen manages to inform, before getting a hearty Thwack to the face courtesy of a cowboy hat.

         “I’ll have you know this hat ain’t just for show!” the miniature cowboy remarks, almost offended.

         Sherif with her new vantage point atop her… steed takes in the view. The height advantage provides the hero the last bit of information she needs. Discs of light start glowing into existence around the cocoon, more and more spawn as they dance around the sac in a mesmerizing grounded display of coordination.

         The cowboy hero didn’t think she would ever have the chance to use this move again, a relic of her pre support days, back when her vision wasn’t god awful, back when she could take the battle to the villains. To think im bringing it out of retirement for this. Sherif doesn’t let the thought get to her, it’s ready.

          DISCO DOME 

         The discs of light suddenly stop their synchronized dance, not even a second goes by before the discs shoot radially apart, following the surfaces of the tunnel they are quick to sever each and every fleshy spindle simultaneously. The cocoon barely begins to fall as Ozen watches in awe at the discs of light popping off the tunnel, and encapsulating the sac in a sphere of light.

         “Okay tall girl, let’s make our way towards the exit, your friend should be fine, probably already attached themselves to the inner shell, so get walking.” Sherif dictates to her, adding an emphasizing kick of her spurs.

         Sparing a glance at the disco ball, sphere, sun, floating towards her, Ozen turns and starts in the direction the original group went.

-----------

         With Ozen’s lack of conversation capability and Sherif’s focus on moving the disco sac safely, the next five hours pass in relative silence.

         There was not much to do during this time, except walk, walk and think. Ozen decided to keep her mind busy by calculating their speed; coming to the conclusion that they were averaging around two miles per hour, half the speed of the main group. If they stay at this rate it will be another seven hours to the end.

         Ozen is brought out of her mathematical musing by the sound of fleshy gesticulation coming from behind them. Ozen and therefore Sherif begin to turn, finding the culprit to be the disco sphere.

         Narrowing her gaze, Sherif shifts her discs on the sphere apart, only leaving the ones the spindles have attached themselves to, revealing the fleshy sac writhing like some silent hill monstrosity.

         This writhing gives way to the sound of flesh coming apart as Lyrimon’s new form emerges and drops to the floor. New but incomplete form, as the blue multi armed spider monkey like being wastes no time, biting their finger and reaching back, ripping off their failed attempt at wings, a shout of “FUUCK” letting those present know that it was far from a painless procedure.

         The scene playing out before her has Ozen’s face breaking out in a flush. This display of fortitude by the emerged student has the taller girl’s “allergies” running wild, receiving a surprised yelp from the hero on her shoulders as she abruptly turns away from the sight of Lryimon standing.

         Sherif not in the mood to deal with the oblivious gay under her, hops off onto a nearby light and descends to the floor.

         The blue ape starts to look around, taking in their surroundings with a blinking gaze. One eye she keeps closed, seemingly another damaged byproduct of their rapid formation. Lyrimon’s fuzzy gaze finally lands on Ozen who has turned back now, hand over mouth in an attempt to hide their “allergic reaction.”

         Narrowing her good eye to reign in her focus Lyrimon breaks the newly formed silenced. “Ozen?” she queries, “Izzat fucking you?” she continues, slurring.

         Hand dropping just enough to speak, “H-hey there Lyrimon” she responds, free hand awkwardly waving.

         Crossing one set of arms Lyrimon points with another at the girl questioningly, “Did… you really fucking wait for me to break out of that shitshow, here, the entire time??” the girl asks with her trademark colorful language.

         Ozen’s eyes flit around the surrounding tunnel, not surprised that Lyrimon thinks they never moved, begins to respond.

         “Well, I was helping Sherif with your transport.” Ozen clarifies to her walking allergen.

         Patting Ozen’s leg and garnering attention from the two students Sherif cheekily adds “the pioneers used to ride these babies for MILES!” Chuckling at her own joke she continues “Tall girl here was quite worried about you girly, basically begged her homeroom teacher to stay with me and protect you” an evil smile having grown on her face at the exaggeration.

         The two students quickly turn to stare at each other with wide eyes, beads of sweat streaking down the teal girl’s face as her intentions are laid bare. Neither say a word; Ozen’s mind is alive with internal screaming, contrasting Lyrimon’s delusional rationalization of Ozen’s intent on staying and eventual conclusion on it having nothing to do with feelings.

         The Western hero sighs at the useless gays, bringing the group back into the realities of the current situation. “Girly, how are you feeling, I’m not going to begin to understand your quirk” she says motioning to the blood that has since stopped flowing from the removed wings. “Are you okay continuing?” the Hero probes.

         “Yeah I, I’m good to go” Lyrimon responds as she begins to stretch her new limbs.

         “You shouldn’t push yourself, if you need a ride I can.. carry you” Ozen states with worry.

         Raising a brow, Lyrimon briefly considers the offer to be closer but quickly discards the thought as she dwells on how far behind their group is. “Nah, I’m fine, maybe another time” she waves off, finishing her stretches dropping into a crouch.”

         “No really, it’s fine-“ Ozen attempts to get out before Lyrimon abruptly springs forward and zooms past her, interrupting her plea.

         “I’ll see you slowpokes at the exit” Lyrimon shouts out in declaration of a challenge.

         Sherif “tsks” as she shakes her head at the loud mouth girl’s declaration, with a hop and a summoned disc catching her she raises herself to Ozen’s height.

          “Do try and keep up Tall Girl” Is all Ozen gets from the hero before she too zooms past her in pursuit of the Lyrimon.

          The shock of the sudden events gives way to Ozen’s adoption of her sprinter stance. Ozen shoots off after them, the absence of her allergen allowing her to think clearly again. Her quirk rarely yields itself enough for Ozen to exercise and improve her physical prowess, majority of her exercise going into maintaining what little she has. This stagnant process means Ozen has her top sprint speed memorized.

          Looking up at the two in front of her, she realized Sherif must have talked to Lyrimon as the two start yielding enough of their speed for Ozen to catch up to them. Taking her spot in the middle of the group, Ozen shifts her gaze between the fellow Taiyuu residents, who are considerate enough to match their speed with Ozen’s sprint, not wanting her to fall behind.

          Ozen’s gaze finally settles on the tunnel ahead of them, fifteen miles per hour Ozen states in her head, recalling the number representative of her stagnant process. Not falling to self-loathing she continues, If we keep this speed for the whole hour, we should arrive just in time to meet up with everyone else at the exit. Ozen steels her gaze at the information, face following suit as she is filled with the determination of not being left behind. ----------

         The hour passes by quickly and while Lyrimon began to show signs of exhaustion 40 minutes in. Ozen only noticed when she spared the student a quick glance, having caught sight of the girl who just grit her teeth and fought through it. Turning back to the tunnel Ozen couldn’t help but admire the other girl’s tenacity and perseverance, quirking her brow at the faint flush her own face acquired after thinking such things. ----------

         As they continued through the tunnel the light provided by Sherif’s discs for what felt like the past century started to give way to a different source ahead. The dwindling light of late afternoon slowly gets brighter as they get closer, the sight is punctuated with multiple dark shapes too far away to recognize. it’s the exit the group no doubt collectively concludes within their heads.

         The shapes eventually disappear and the light laying ahead of them comes in unobstructed. The sight has Lyrimon pulling ahead of the group, being the first of  them to emerge from the dark cavern, barely stopping herself from careening into the bus that laid parked. Ozen and Sherif emerge from the entrance soon after her.

         The last of the evacuees, in contrast to Lyrimon’s entrance come to a gradual stop, moving to rejoin the original group they split off from earlier, their return garners a sigh of relief from the Vice Principal.

         Ozen watches Lyrimon from afar, as the girl talks to that Tsuki friend of theirs. Ozen winces as she recalls the embarrassing situation that precluded the splitting groups, briefly hoping the pink haired girl forgets to tell Lyrimon about it. Ozen attempts to listen in straining to hear the faraway conversation, the girl manages a couple of words despite the distance but they are all for naught if the girl’s gestures of animatedly clasping her hands together followed by pointing directly at Ozen and laughing are any indication, she just did.

         Ozen isn’t able to dwell on the embarrassment for long before the teachers rally the students together and herd them onto the bus. Ozen sits in a seat closest a window, the sounds around her starting meld together into one loud incoherent noise. The cacophonous noise everyone seems to be ignoring has the teal girl resting her head on the cool glass of the window. A stern frown of discomfort starts to manifest itself on her face at the ever increasing noise, the sunset before her, providing a good enough of a distraction as any.

         Ozen barely acknowledges the presence of whatever sits next to her, the only indication being the eyes that she tears away from the window for a brief second to find her classmate Kemuri, quickly glimpsing up and down the state of the exhausted boy. Her eyes return to the darkening environment the noise inside the bus reaching critical levels that has the girl wondering why the teachers aren’t doing anything. The taller girl rips herself away from the window sitting up and startling Kemuri beside her. Trying to find the source of all the screaming Ozen scans the bus and the sight of students quietly talking among themselves has Ozen dropping the near scowl on her face in confusion.

          “【A】【R】【E】 【Y】【O】【U】 【O】【K】【A】【Y】 【O】【Z】【E】【N】【?】” the blaring words of concern from the boy sitting next to her has Ozen flinching violently away from the hand being held out, the violent reaction results in the boy flinching as well. The reaction also manages to catch the attention of nearby students wondering what’s going on.

         “【I】【’】【M】 【S】【O】【R】【R】【Y】【,】 【I】 【D】【I】【D】【N】【’】【T】 【M】【E】【A】【N】 【T】【O】 【S】【C】【A】【R】【E】 【Y】【O】【U】” the boy apologizes, the shouted apology fails to match up to the way the boy physically whispers it, the asynchronous words has Ozen widening her eyes in alarmed confusion.

          Why is he so loud Ozen quickly thinks to herself, the whispers of the onlookers barrage her ears as they look on in concern but misconstrued by Ozen as pity.

          Shut up shut up SHUT UP she screams inside her head, visibly gritting her teeth and closing her eyes Ozen presses her hands brutally against her ears, the chanting in her head continues in an attempt to drown out the noise with her own noise. A hand softly touches her elbow causing Ozen to slam her eyes open and gaze at the owner.

          Ozen’s Homeroom teacher and in some spheres, family friend, Wolfsboon, stares at her with a face filled with worry and concern. Gently leaning towards her, one knee on the seat Kemuri vacated for their teacher, Wolfsboon softly places a hand on each of the girl’s arms. He lightly tugs asking her through touch if she could stop covering her ears, the usual blank look on her face is absent as she stares at him with a look of fear and confusion.

          Ozen stares wide eyed at the teacher and his look of genuine concern, Why is that look so familiar passes through her head as she can only gape at the man. The gentle tug of her arms catalyzes her memories to a similar scene of Ozen on her knees staring up at the worried faces of her parents as she weeps from the over simulation. Ozen’s gaze loses focus as she recalls the memory, does this have to do with my quirk? she asks herself confused. The realization has the girl wincing as she feels a loud pop in her head.

          Ozen relents to her teacher’s tugs, plopping her arms down to her lap she keeps her eyes on the teacher as he begins to ask if she is okay. That’s what she assumes he asks at least, no sound following the movement of the man’s lips. It’s not just him, Ozen finds herself deaf to the world around her, a startling but more bearable experience.

          Ozen steels her face, bringing it back into a familiar state of “resting bitch face” that her teacher and those around her have come to known, waves the concerned man off.

          “Apologies I’m just tired” Ozen lies to her teacher, a slight pang of uncomfort settling within her at not hearing her own voice. Wolfsboon narrows his eyes in doubt at the response, mouth moving with words that Ozen assumed was him making sure.           

          Just nodding back she apologizes to her homeroom teacher following it by another apology directed at Kemuri who stood by the teacher’s side fiddling with his hands. The boy looks up and Ozen assumes the words coming out of his mouth is him accepting the apology, that or trying to blame the situation on himself.

          Wolfsboon stares for another minute before turning to respond to what Ozen can glimpse as Buckskin, whatever Buckskin said has the 1B teacher sighing and standing up, motioning the boy beside him to sit down. Sparing Ozen one last glance of concern Wolfsboon walks towards the front taking a seat. The bus begins to rumble, the scenery outside starting to move, providing Ozen an inclination to what the Vice Principal asked about. Taking up her original position, Ozen gazes with little interest at the scenery passing by outside.

---------- 

          Ozen mind is blank as she rests her head on the window, the world lacking sound has her falling into a state of fugue. The world continues to move as her perception of time shifts, starting to rush by quickly as Ozen is carried along, barely cognizant of the events happening around her.

          Country side turning to city, U.A’s front gates, the temporary quarters, the sleep over, she was carried along by the tide of students from event to event. She does so blind to the looks of worry from students around her, who watch as the girl ambles from event to event, eyes staring at the ground unmoving and cloudy.

          Ozen doesn’t even recall walking down that unlit hallway, the students that were ahead of her having followed the teachers around a corner. The tall girl is only brought back to the group by a gentle guiding hand attaching to her wrist, the owner deciding to guide the girl from then on.

          The sight of the carpet was all she was met with for a while, the unchanging exposure to the sight starts to eat away at the girl. The carpet begins to frustrate the girl, this drabness is what anticlimactically gets the cogs in her head turning, previous student attempts not even leaving a scratch.

-blink-

-blink-

          Fuck this carpet Ozen angrily declares in her head, face shifting into a scowl as she stares down the offender. Wait why the hell do I care about stupid carpet? Ozen wonders confused.

-blink-

-blink-

          Where even am I? Ozen starts, looking down at her crossed legs that denote her sitting position. A ringing sound soon fills her head, the tinnitus playing in her head begins low and grows louder and louder till another POP punctuates the return of her hearing. The sounds around her begin to fade in, the movie off in the distance, students asking to pass the popcorn or add another pillow to the fort,  these sounds greets her ears, a lot closer however an actual conversation.”

          “-there’s this one place in Kagoshima prefecture, a farming village that was abandoned after a dam was constructed” the voice behind Ozen says, the owner apparently fine with carrying the entire conversation.

          “It’s totally haunted, heard there were two ghosts, both children that wander the area, anyways the details don’t really matter just that we should check it out next time we go ghost hunting” the voice continues.

          Ozen lifts her head to gaze at the common room of a dorm she apparently has been in a “be careful!” is huffed from the same voice behind her as an unfinished braid swings down into her view.

          Knowing the handy work of her best friend anywhere she continues to ask anyways, “Popi.. is that you?” Not waiting for a response Ozen takes in her surroundings, finding most of her classmates situated by the large television centerpiece, some sitting on the couch and others residing within the elaborate pillow and blanket fort to the side.

          Another huff comes from her best friend. “Yeah, it is, now stop moving so I can finish this braid.” The words are followed by a hand reaching past the taller girl’s face, dragging the braid back out of sight.

          While Ozen may have regained her cognizance, her gaze eventually lands on the red mark on her hand, the spindle would have never been allowed to attach to her hand if her quirk didn’t falter, the stupid “allergy” not a good enough reason for the recent volume fuck ups though. Wrapping her arms around herself in search of comfort, she recalls how it first started back outside the bus, back when she strained to hear the conversation, she did begin to hear it at the end. That new clarity she couldn’t dwell on for long back then when the animated gestures of Tsuki proved it all for naught. 

          Ozen’s fist clenches in frustration at the weakness she showed in those memories. Her stupid STUPID quirk not doing what it’s supposed to do, she internalizes. The pitiful looks of her class mates, her teacher, how dare they look down on her! Angry tears begin to make their way down her face, her quirk once again mocking her by allowing such traitorous and weak feelings through.

          A gentle hand on her back brings her out of her internalized frustration, a voice faint with concern following the gesture. “Hey, maybe destroying that stupid fort the kiddies have will make you feel better.” Her best friend suggests from behind as the completed braid falls into view.

          The unexpected offer has Ozen breaking out into a fit of laughter, another weakness her quirk let through but whatever. Wiping the tears from her eyes Ozen finally turns to friend, finding the shorter girl’s face void of pity and concern.

          A genuine, albeit twitchy, smile like her quirk couldn’t decide if it wanted to be on or off provides an unnerving sight to anyone used to Ozen’s stone blank visage. Again her best friend doesn’t react, something Ozen really appreciates in these moments, letting a moment of silence pass before she stands up in a stretch.

          “Thanks for the offer Popi but I think I’m just going to go to bed.” She finally responds to the girl.

          “Oh, okay. Give me a second, I’ll join you.” Popi responds, standing up as well.

          Ozen nods at her friend who begins to leave, bathroom maybe? she postulates. Not dwelling on it Ozen begins to set up some nearby blankets in the corner.

          A couple of shrieks, and shouts of “Who’s doing that?!” erupt from behind her as Ozen pays it no heed and finishes her sleeping set up. Happy with how it looks, Ozen sits down on the blankets and turns to lay down. Before being able to fully sit comfortably down Ozen watches Popi return with a menagerie of blankets, the fort behind her laying destroyed as confused and angry students emerge from the pillowy rubble.

          “Welcome back” Ozen says with a smirk at her mischievous friend.

          Popi just nods back as if nothing happened. Coming to a stop next to her tall friend Popi stretches out the blankets, proceeding to, in a show of skill, grace and agility that Ozen gawks at, jumps and twists her lithe body in the air as the blankets follow and curve around her. The maneuver ends with a light thwop as the girl lands horizontally on the floor, the layers of blankets expertly coiled around her breaking the fall.

          Her best friend has truly ascended to new form, laying comfortably beside Ozen’s sleep set up, Popi’s head being the only part of her body visible. Yes what a sight to behold, the ultimate form of burrito Popi stares up at Ozen, knowing a level comfort only few may ever experience in their lifetimes.

          “Good night” is all her burritofied friend says, shutting her eyes immediately afterwards, succumbing to the nirvana of comfort.

          Ozen looks fondly down at her friend for a moment before laying down on her back, pulling a blanket over herself and staring up at the plain ceiling.

          “Good night” Ozen finally responds before following Popi’s example, closing her eyes, and falling asleep soon afterwards. ----------

          The following morning went by mostly uneventful. The students had breakfast together, burritofied Popi lay propped up in her chair, too lost in the comfort sauce to even attempt leaving her comforting carapace. Popi remained like this all morning, when it became afternoon and they had class she refused to leave the safety underneath the blankets, much to Wolfsboon’s annoyance who sported physical vein from the refusal. In response Wolfsboon ordered the other transfer girl, Aimi, to cut Popi free. Popi did not like this if the writhing, cursing, threats, or near foaming at the mouth levels of fury were any indicator. The small girl earning detention for, after being cut free by Aimi, proceeding to lash out and use her quirk on the poor transfer student and any student accomplice that held her down; setting the class back ten minutes as those affected slowly regained the use of their limbs.

          The class eventually reaches the training room they’ll be in for the day, gym gamma lay before them with multiple mats, and cases of something sitting in a corner. The principle introduces it to the class as Laccadaisy follows with what the event will be, similar rules to the fights on the first day, but this time, they have their hero suits.

          Excitement fills the room as everyone makes their way to their respective changing room, costume in hand, barring one student, Ozen. This is because Ozen couldn’t locate the one with her name on it, quickly being left alone as students file into their changing rooms.

          “Hey kid” catches Ozen attention as she turns to see the Principal, Eraserhead, if she recalled correctly calling out to her.  Having caught the girl’s attention Hero directs the girl towards the door at the far end of the gym that exited the building. “Your bulky as hell costume is just outside.” The hero adds in explanation.

          Ozen nods in thanks for the clarification as she crosses the gym, emerging into the afternoon light. Taking a second to adjust to the light, Ozen finds her costume in not so much a case, but a crate.

         A wicked smile crosses the girls face as she picks up the conveniently left crowbar and stabs it into the crate, not wasting any time prying off the wooden top. Dropping the crowbar with a loud clang, Ozen giddily pulls parts of her outfit out. Arriving to the gym in a tank top and shorts Ozen didn’t even try to head to a changing room as she placed the heavy under garments on, shucking her shoes into the crate so she could put on her boots. The armored pauldrons that make her look like a character straight out of Warcraft add another layer of weight and thick heavy material.

          The most important part of her suit, her lead lined, shielded gauntlets that allow her hit to hit like a truck, literally, overcoming her usual lack of power come next. With one secured, she grabs the remaining gauntlet but by accident drops it, resulting in a reverberating crack, the gauntlet remains perfectly fine, the spider web of cracks it left in the concrete has Ozen beaming with excitement Despite the conflict between the two Ozen can’t help but be in awe of how faithfully to her original design this outfit is, her last gauntlet fitting securely on her arm. Reaching for the last part of her outfit, the conical headpiece made of the same material as both her gauntlets and boots, she stops before grabbing it as a sticky note on it catches the attention. One hand grabbing the headpiece, the other yanking off the note has Ozen placing the head piece on her head before reading.

          “We didn’t have time to finish the gas mask” reads the note, the rest of the space completely taken up by a crying emoji. Ozen just shrugs to herself as she drops the note, watching it flutter into the crate as she secures the head piece. While the mask held her display Ozen doubted she needed that level of internals information for the fight. Having finished securing the headpiece, a resounding synchronizing beep between the parts of her outfit lets her know the internal sensors are working, another lower beep follows after it recognizes the lack of the mask display.

          Ozen begins to take in her outfit, the fact that she is In it now, the armor she named after her quirk, the Juggernaut armor truly makes her feel invulnerable. This suit, it’s her, her true self, impervious like she ought to be. This suit, it’s her, her true self, strong unlike what happened yesterday.

          Deciding she wasted enough time, Ozen makes her way back into the gym, frightening a student that rounded the corner, Ozen pays them no heed as she walks through the door. Her classmates start gawking in surprise at her outfit but are quickly brought to attention as Laccadaisy begins the announcement of the fights, having waited for the final student.

          Ozen takes her place next to Lyrimon, the suit providing the former student with allergen resistance thankfully. That’s what Ozen believed at least, till the reality hits her hard with the announcement of her opponent being Lyrimon. Ozen’s smile suddenly drops, her headpiece thankfully providing a visual barrier between others and her face. Frown plastered on her face, all she can do is stare forward, eyes wide and ears ringing, for a moment her quirk waivers and weight begins to leak in, the feeling it provides Ozen makes the suit feel like a coffin.

          Ozen faintly notices her opponent protesting the fairness of the match up on grounds of the teal girl’s allergy. Ozen stops listening as she grits her teeth at the pity her opponent wants to show her. Don’t be weak, don’t be vulnerable she chants in her head, attempting to steel herself. She turns her attention back to Lyrimon, who continues to argue with Wolfsboon, the sight has Ozen narrowing her eyes in.. disgust??? She’s the enemy, she’s the one that makes me feel like this! begins in her head. It’s unforgiveable!! she shouts in her head, all she can feel is pure anger and vitriol at the girl, the feelings lend themselves to Ozen, the weight of her armor fading away as she reigns in her quirk.

          The two girls take their separate places across from each other, Lyrimon having lost the argument against Wolfsboon. “Good luck Ozen, make sure to speak up if your allergies start acting up” the girl considerately says. Lyrimon just stands there awkwardly as the armored girl across from her says nothing. She is about to ask what’s wrong when Laccadaisy announces the start of the fights. Not one to waste time she jumps back and breathes a torrent of flames at her opponent, baptizing her in fire.

          Lyrimon is caught off guard by a punch breaking through her flames glancing her shoulder, the power alone surely to leave bruise. She realizes Ozen went straight through the flames, looking no worse for wear. Forgoing her flames for now Lyrimon uses her agile spider monkey body to dodge the punches her opponent keeps sending her way. All this dodging and close calls seems to start eating away at Ozen, Lyrimon’s good eye widening at the frustrated growls coming from the normally stoic girl as she continues to miss punch after punch.

          “Yo, Ozen is something wrong?” Lyrimon asks after dodging another punch, concern evident in her tone.

          “Shut! Up!” Ozen growls out in response, each word separated by another punch.

          “What’s gotten into you? Is it the allergies?” Lyrimon asks, performing dodging back flip.

          Growling at the continued concern from her opponent Ozen waits for Lyrimon to land her flip, stomping her boot heavily on the ground in tandem with the landing.

          Lyrimon and a couple of other students nearby are thrown off balance, herself falling on her butt with an “oof.” Rubbing her head after the fall, the shadow falling over the downed girl draws her attention to her armored opponent, the angle providing Lyrimon with the sight of Ozen’s face twisted in anger and hatred.

          “The fuck Ozen?” Lyrimon lets out in concern, narrowly avoiding a stomp aimed at her legs.

          Breathing out another plume of fire, Lyrimon utilizes it as cover, getting behind the armored Juggernaut of a girl, who looks around wildly for her opponent. Ozen is not given the chance to turn around before Lyrimon springs onto the taller girl’s shoulders. Lyrimon manages to pry off the thick metal headpiece from Ozen, the piece crashing to the floor with a large thud.

          Ozens attempts at bucking the monkey off her shoulders has a random flail landing a vicious armored back hand to the face which knocks the girl off of her and outside the mat.

          The resounding “FUCK!” Lyrimon yelps out in pain freezes Ozen in her place. The feelings of anger and hatred she held onto throughout the fight flush themselves from the taller girl’s system, memories of watching her friend melt back in the tunnel, and the horror she felt then take their place. Ozen is barely able to turn with all the weight seeping in, catching sight of the monkeyfied Lyrimon rubbing at their face.

          “A-are you okay?” Ozen asks with trepidation, Lyrimon looking up in response, narrows her eyes.

          “Never” Lyrimon starts, as the girl launches themselves forward, tackling the quirk compromised Ozen, to the ground, “better!” she finishes as she cages the teal girl under her body. Ozen can only gape up at the girl looking down at her, breath held not out of gay panic but because of the weight on her chest starting to crush her.

          Ozen is abruptly announced the winner by Laccadaisy, Lyrimon getting up to argue, not realizing she was thrown out of the ring. As Lyrimon storms off to fight the verdict, Ozen can only lay there, gasping for air as the compromised quirk of hers slowly gives way, gradually more and more weight seeps past her quirk and onto her body.

          The prone girl can only lay there, listening to the conversation and continued battles, even though Lyrimon is so close she sounds far away, the conversation fading away as black begins to encroach the edges of her vision. She can’t breathe, she can’t move, what a shitty way to die she says to herself, as her armor, her coffin crushes her.

          Lyrimon returns to her opponent’s side, Laccadaisy having successfully convinced her of the winner. “Ozen, are you okay?” Lyrimon worriedly asks, dropping to squat next to her still prone opponent.

          Ozen barely makes out the girl’s words, the ringing in her ears combined with darkening vision only serve to detract from her surroundings in what is believed to be her final moments. She begins to hear her name from the girl above her, the words sounded even farther away, how peculiar, Ozen ponders, seems her brain is beginning to respond to the lack of oxygen.

         Ozen’s vision has almost succumbed entirely to darkness at this point, a faint beeping fills her head, a robotic voice following soon follows. “Support. Structure. Compromised.” Ozen makes out from the sound that seemed to favor her right ear.

         After the robotic declaration the connector for her pauldron’s snaps open, falling off her shoulders, gauntlets and boots soon follow as they release off the girl with a pneumatic “pop.”

         Her chest armor begins peeling down the middle, snapping to their respective sides as they are released, allowing Ozen to BREATHE; breathe she does as she gulps down the air that fills her lungs and fights away the darkness in her eyes. She breathes as she looks up at the startled Lyrimon. Her breath starts to fail her again as all she can accomplish after meeting Lyrimon’s gaze are breaths that are quick and short. Fear of suffocation has her rushing to get on her feet, shoving away Lyrimon and her concern to wobble run out the gym doors, ignoring the cries of her teacher’s. Ozen doesn’t care about the consequences, she just needs to breathe, needs some air and so she shoves the doors open and breaches the outside.

         Laccadaisy can only watch in concern as a student of hers hyperventilates and shoves their way outside. She’s in the middle of wrangling a teacher after the student when the man beside her interrupts. “What was that Eraser?” Laccadaisy asks turning to her friend and Principal of U.A.

         The man is already leisurely strolling towards the gym doors as he waves a hand back at his friend. “I said I got it.” Eraser head assures.

Hands in his pockets he bumps his side into the gym door, following the after the strange girl, into the afternoon sun. ---------- Continued in!!! [HERE]

[theliberaltony]

via Politics – FiveThirtyEight

For the first time this cycle, there was just one debate night, and only 10 candidates made the cut — so now we’re trying to make sense of what happened when the front-runners shared the stage. In recent weeks, the polls have shown a top tier of three to five candidates, with former Vice President Joe Biden leading, Sens. Bernie Sanders and Elizabeth Warren tied for second, and Sen. Kamala Harris and Mayor Pete Buttigieg of South Bend, Indiana, a distant fourth and fifth — but did that change last night?

Some candidates from the lower-polling tiers had strong performances — former Rep. Beto O’Rourke delivered an impassioned speech on gun violence and Sen. Cory Booker spoke nearly as much as Biden, though Booker is only polling at 2.1 percent on average (based on 21 debate-qualifying polls). But as you can see from the FiveThirtyEight/Ipsos poll conducted using Ipsos’s KnowledgePanel, the overall picture hasn’t shifted much yet — although Warren does seem to have done the most to boost her campaign. Here’s what we’ve learned so far about what viewers made of the debate and the candidates’ performances:

Which candidates wowed the crowd?

First of all, how did viewers in our poll think the candidates did on Thursday night? To answer this, we compared debate-watchers’ ratings of the candidates’ performances to their pre-debate favorability scores1 to see if any well-liked candidates failed to impress or if anyone got high marks despite lower favorability. By this measure, O’Rourke and Warren were the biggest standouts, though Buttigieg and Booker also made a positive impression. But Biden and former Cabinet secretary Julián Castro — who memorably clashed — got the lowest scores relative to their pre-debate favorability.

  Who gained (or lost) potential supporters?

Another way to assess who won last night’s debate is to see who convinced more voters to at least think about voting for them. Most candidates saw some change in the share of likely Democratic primary voters who were considering supporting them, though not all changes were positive. Warren, for example, saw the biggest increase in voters who were considering her — almost 4 percentage points, while Harris lost more than 2 percentage points of potential support. But for most candidates, the numbers stayed pretty much the same as they had been before the debate. Even for those whose debate performance stood out — like Biden and Castro, who got relatively poor grades, or O’Rourke, who got a strong rating — there was little change in how many likely primary voters said they were considering voting for them.

Which candidates appeal to the same voters?

With many voters in our poll still considering multiple candidates, we were also interested in examining which candidates share potential supporters. Perhaps unsurprisingly, the two candidates who are being considered by the most voters in our poll — Biden and Warren — also tended to draw a high proportion of other candidates’ supporters, too. Seventy percent of Buttigieg’s supporters are also considering Warren, for example, while 65 percent of O’Rourke’s supporters are also considering Biden. Although many respondents in our survey said they were considering Sanders, fewer of his supporters are considering supporting other candidates. In fact, Biden and Sanders had the most exclusive supporters — 24 percent of Biden’s supporters and 18 percent of Sanders’s supporters aren’t considering any of the other candidates who participated in the debate.

Who made a positive (or negative) impression?

You can also look at the change in candidates’ favorable and unfavorable ratings to understand who got people feeling more positively about them (or perhaps gained unwanted notoriety). So after Ipsos polled voters before and after the debate, we calculated the change in candidates’ net favorability (favorable rating minus unfavorable rating). O’Rourke may not have picked up many potential supporters, but he did improve his net favorability rating by more than 8 points with his debate performance. Castro, meanwhile, took the largest hit, dropping 6.7 points in net favorability, which could be related to his heated exchanges with Biden.

More people like O’Rourke, but Castro lost ground

Change in net favorability for candidates in a FiveThirtyEight/Ipsos poll taken before and after the third Democratic primary debate

Net favorability candidate before debate after debate change O’Rourke +23.9 +32.5 +8.6 Warren +48.5 +56.0 +7.5 Klobuchar +8.1 +13.9 +5.8 Buttigieg +32.2 +37.7 +5.4 Booker +26.7 +32.1 +5.4 Harris +31.3 +35.2 +3.9 Yang +14.8 +17.4 +2.6 Biden +45.7 +45.5 -0.2 Sanders +44.0 +43.7 -0.3 Castro +19.7 +13.0 -6.7

From a survey of 4,320 likely Democratic primary voters who were surveyed between Sept. 5 and Sept. 11. The same people were surveyed again from Sept. 12 to Sept 13; 2202 responded to the second wave.

Who spoke the most?

Though respondents to the FiveThirtyEight/Ipsos poll thought Biden’s debate performance was less impressive than Warren’s, it wasn’t because he didn’t get a chance to talk. Of all the candidates on the stage last night, Biden had the highest word count, with over three thousand words spoken. Booker and Warren, the next two most prolific speakers, were about 600 and 750 words behind, respectively.

Who held the floor?

Number of words candidates spoke in the third Democratic debate

Candidate Words Spoken Joe Biden 3,363

–

Cory Booker 2,769

–

Elizabeth Warren 2,616

–

Kamala Harris 2,369

–

Julián Castro 2,104

–

Pete Buttigieg 2,054

–

Amy Klobuchar 1,933

–

Bernie Sanders 1,891

–

Beto O’Rourke 1,714

–

Andrew Yang 1,546

–

Excludes words spoken in Spanish

Source: Debate Transcript via ABC News

Booker’s place as the second-most-prolific talker is even more impressive considering that he’s polling in the low single digits. (The polling average is based on 21 debate-qualifying polls released between June 28 and Aug. 28.) Castro also spoke more than anticipated given his polling average (1 percent), holding the floor for longer than both Buttigieg and Sanders. Sanders, in fact, had the second-highest polling average going into the debate, but was third from the bottom in words spoken, beating out only O’Rourke and businessman Andrew Yang.

Who mentioned Trump?

In addition to counting the words spoken by candidates, we also tracked the number of times each candidate mentioned President Trump by name:

Who talked about Trump?

How often Trump was mentioned by candidates participating in the third Democratic debate

Candidate Trump Mentions Kamala Harris 11

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Julián Castro 7

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Cory Booker 5

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Bernie Sanders 5

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Beto O’Rourke 2

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Andrew Yang 2

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Joe Biden 1

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Pete Buttigieg 1

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Elizabeth Warren 1

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Amy Klobuchar 0

Source: Debate Transcript via ABC News

Harris was the clear leader, mentioning Trump 11 times, though as a group, the candidates talked about Trump considerably less often than they did in either night of the second debate. And some of the candidates who spoke the most, such as Biden and Warren, seemed to avoid Trump, each mentioning the president only once. Sen. Amy Klobuchar, meanwhile, got through the whole debate without saying Trump’s name even once.

So did the single-night debate change the game? Thursday night’s debate drew about 14 million television viewers, which is more viewers than both nights of the second debate, but still slightly fewer than those who tuned into watch the first debate. And if our poll with Ipsos is indicative of voters’ reactions, then the needle didn’t move all that much. But for those of you who preferred the two-night approach, you might be in luck — the fourth debate, set for Oct. 15 and potentially Oct. 16, might be split across two nights, since at least 11 candidates have qualified so far. (The Democratic National Committee hasn’t yet confirmed what it will do, however.) Either way, we’ll be here live blogging, so stay tuned!

Do you want even more debate coverage?

Cool graphics from other sites

The New York Times compared how long each candidate talked about each issue.

Bloomberg charted the time devoted to each issue in the first three primary debates:

Nigel Chiwaya at NBC News looked at who attacked who on the debate stage (you can see how much Biden was the focus of others’ barbs).

And The Washington Post looked at who invoked Obama positively and how often.

And here’s more great post-debate analysis:

Fact-checks from ABC News, as well as five key takeaways.

Vox’s roundup of the winners and losers and the most substantive answers.

Debate recaps from The Washington Post’s preeminent Dan Balz …

… and the Associated Press’s wonderful Julie Pace.

From The New York Times, a recap of what Trump was doing while the Democratic candidates were debating.

Finally, check out the rest of our debate coverage:

Our “Who Won The Third Democratic Debate?” project, in which we partnered with pollster Ipsos to show how voters reacted to Thursday’s event.

And our live blog of everything that went down Thursday night.

Additional contributions from Aaron Bycoffe.

[nagisasstunningpersonality]

Day three - video games

Karma wasn’t hiding, exactly. He wouldn’t call it that. It was just… things were incredibly busy at the moment and he’d rather spend this sort of time in the comfort of his own apartment than at work, where he’d surely be hounded. It was weird, as a reporter, to be on the other side of media attention. He didn’t realise he would end up hating it this much.

Then again, it wasn’t like Python stopped to do interviews. Karma’s story was pretty much the most solid information on the hero that existed.

He was getting a huge bonus for it, Nagisa too despite his only minor involvement when it came to actually talking to the hero. But surprising even himself, he wasn’t that bothered about the money part. Actually, he was more happy to get the story out at all. Maybe that had something to do with the attractive hero he couldn’t seem to get out of his head.

There as no way he could watch TV, with all the constant reports. It seemed like there was live coverage whenever Python did anything now, and for some reason Karma felt nervous whenever he saw it. He didn’t like that, not one bit, so the best thing to do was to distract himself entirely. Somehow that solution had been Mario Kart.

There was a knock at his door. “Karma?”

He sighed, stretching out. Of course he’d know that voice anywhere. “What’s up, Nagisa?”

Nagisa hadn’t been the most happy with him that night. When Python had returned him to the roof, he was nowhere to be seen, and Karma had only managed to catch up with him when he left the hotel entirely, and found him amongst the buzz of media who had witnessed Karma’s rescue. He’d spent the next hour lecturing Karma about how stupid a move that had been.  

A shy smile came across his face. “You weren’t at work again today.”

“Yeah, well…” A part of Karma wanted to laugh. “Asano said I could have as much time off as I needed.”

That smile remained, as Nagisa invited himself in and removed his shoes. “Asano said that? Are we still working under the same boss?”

“C’mon,” Karma sat back down again, realising this was exactly what he needed. “It’s no fun against the computer.”

Unsurprisingly, Karma was a lot better at Mario Kart than Nagisa was. Although Nagisa’s reaction speeds were nothing to sneeze at, he didn’t quite have the same… finesse. Karma was very strategic, having calculating the best car to use, and the absolute optimal route. He was a journalist if nothing else, and those skills came to use in more places than just work. So, there he went, clearing a few pretty easy victories against Nagisa. They were a lot better as a team, though, he thought.

“Ugh, don’t,” Karma said, when Nagisa pulled out his phone to check something, audio from a video about Python automatically playing out of the speakers.

Nagisa looked up at him. “Sorry. Is something wrong?”

“The Python stuff,” he decided to explain, “I’ve just about had enough of it.”

“T-that bothers you?” Nagisa’s eyes went a little wide.

Karma shrugged.

“You were the one that told him to pursue the hero thing,” passion flowed out of him. “Don’t just turn your back.”

“I don’t regret it,” he sighed, “I just didn’t realise people would be so interested in me too.”

That was part of the reason, at least. The other part of the reason… He just couldn’t stop thinking about Python. His sharp and icy eyes, the way he’d caught Karma as he fell, his deep voice… Karma was never usually like that, but there was something there, something that was messing with him more than just a little bit. And he couldn’t really tell Nagisa that because…

He’d liked Nagisa for a while now. He’d liked Nagisa from their first day at work, fresh graduates with their shiny new degrees. That day, Nagisa had nervously brought him coffee when he returned from his first break, as though Karma didn’t start in the exact same position as he had. But since then, assigned opposite desks and working as partners pretty much exclusively, Nagisa was easily the most important person in his life.

If you like someone, you should probably ask them out.

“Hey, Nagisa,” he started, and then almost lost his nerve entirely. “A-are you doing anything this Saturday?”

“I said I’d help Sugino kun out with his new training schedule,” he said casually. Ah, yes, professional baseball player Sugino. Somehow, he’d ended up good friends with him after an interview. Karma wasn’t jealous, not at all.

Karma tried his best to relax. “One more round?”

“Okay,” Nagisa accepted easily, taking the controller once again.

He stopped thinking so much about how to win, which actually allowed Nagisa to get the upper hand. Karma really didn’t mind so much, though, naturally competitive as he was. He knew he was being stupid. Maybe he had Python stuck in his mind, but nothing could replace this, long blue hair and too large glasses, the way Nagisa’s jaw clenched in concentration…

When he couldn’t take it anymore, Karma finally pressed pause, causing Nagisa to look at him in a level of confusion.

“Come out with me for dinner,” he said, “when you’re done helping Sugino.”

Nagisa smiled, eyes crinkling a little at the sides. “Sure.”

[antoine-roquentin]

In August 2007, around the time when construction started on Area 82, Dutch military intelligence in Oruzgan Province in central Afghanistan, followed in early 2008 by Germans in the northern cities of Mazar-e-Sharif and Kunduz, and Danes in Helmand in the southwest, began using a new technology they had acquired through an NSA technology transfer program, an agency slide indicates.

The new technology simulated the radio receivers operated by mobile phone companies, tricking cellphones into connecting and then intercepting their communications. It was employed by devices commonly referred to as Stingrays, after one early brand, and dirtboxes, after the manufacturer Digital Receiver Technology Inc., which Boeing bought in 2008.

Ahead of European allies’ deployment to Afghanistan, they would have purchased and received training from the NSA in “specific Digital Receiver Technology (DRT) capabilities” in order to “exploit the communications they are expected to encounter,” as arranged for Spanish forces in 2005 and described by SIDtoday.

The DRT collection units were part of a bigger plan: to feed the newly constructed data center in Bagram with intercepted mobile phone communications from areas in Afghanistan where the NSA previously had little or no coverage.

Photographs included in the data flow document show the RT-RG data center at Area 82 during the final stages of construction, with trucks bringing reinforced steel beams into a hangar and an advanced cooling system in place for the servers. 

The “gregarious” Norwegians started collecting cellphone communications using two DRT systems from two locations outside Kabul in February 2008. Sometime between April and June the same year, Norway, Denmark, the Netherlands, Germany, and Spain were scheduled to start feeding metadata intercepted from mobile phones by DRTs into RT-RG, according a document tracking the “dataflow status” of the project. 

By July 2008, the Afghanistan Real Time Regional Gateway was operational and cellphone metadata from numerous sources poured into the system. RT-RG now had new features, such as notifications when “specified terms of interest,” presumably words or names flagged by analysts, were used during phone conversations, or when a targeted speaker was identified based on previous recordings. (For more on voice recognition, see this Intercept report and follow-up.)

Voice-monitoring capabilities were provided by a system called ONEROOF, which held audio intercepts. Together, ONEROOF and RT-RG enhanced “the warfighter’s ability to ‘find, fix, and finish’ the adversary,” that is, to locate, kill, or capture a human target, an NSA liaison to the military’s Central Command told SIDtoday.

So-called target development procedures that would normally require an analyst on the other side of the globe to query different databases and use a number of tools to manually enrich the intelligence were automatically available in RT-RG, provided it had enough data.

For example, instead of an analyst manually querying phone metadata for specific events that would help determine the likely “bed down” location where a target would sleep, RT-RG would automatically pre-calculate such locations for all entered targets. It would automatically look for people traveling with a target. And it would visualize the results of these traditionally time-consuming tasks with color-coded overlays on satellite images, so that military commanders could make quicker, and supposedly better, decisions in the theater.

RT-RG did not just make U.S. forces more lethal; it changed how they fought. A longtime NSA analyst put it this way in SIDtoday: Unlike in Vietnam, where the enemy mainly used Morse code over the radio, today’s enemy “is mainly using the mobile phone to communicate.” New technology “has allowed us to exploit a mobile communication for its content (‘find’) (..) and pinpoint its location (‘fix’) within a very small radius,” requiring “only a platoon-sized force (if that) … to action (‘finish’) the target.” A platoon normally includes roughly one dozen to four dozen soldiers.

In the words of the then commander of U.S. and allied Afghanistan forces, Gen. David Petraeus, quoted in a presentation prepared for a conference of technical minds from the NSA and its closest allies, “RTRG is the most significant [signals intelligence] support to the war fighter in the last decade.” But while RT-RG would reduce the number of troops needed on the ground, it coincided with an increased number of NSA staffers and soldier-spies deployed to war zones. As former NSA Deputy Director Rick Ledgett stated publicly, the NSA “deployed 5,000 NSA people to Iraq, and 8,000 to Afghanistan – and in total 18,000 to hostile areas around the world.”

At the same time, reliance on signals intelligence, or “SIGINT,” increased dramatically in the battlefield.

“Over 80% of combat operations in Afghanistan are driven by SIGINT or have SIGINT contribution,” former NSA Afghanistan representative Brian Goodman told SIDtoday in 2009. ”That is an indisputable fact. … Not a single combat operation goes on without SIGINT coverage.”

Two years later, in 2011, RT-RG “played a key role in 90 percent of all SIGINT developed operations,” according to the conference presentation. This translated to 2,270 capture/kill operations, 6,534 “enemies killed in action,” and 1,117 detainees. In comparison, the U.S. recorded 415 casualties in Afghanistan in 2011, while the U.K. and other nations recorded a total 148, according to iCasualties.org. (The presentation did not qualify the terms “enemy” or “killed in action,” or mention whether operations based on intelligence from RT-RG lead to the death or capture of the wrong people.)

As RT-RG became increasingly central to waging war in Afghanistan, the U.S. encouraged allies to put more data into it, upping their complicity in what would later be exposed as a deeply flawed infrastructure for killing and capturing those flagged as enemies.

The U.S. side of this system for killing people, often on the basis of phone monitoring, has been documented. One Intercept report described how U.S. drone strikes would hit the wrong people because targets had begun swapping identifying SIM cards out of their phones, aware of their adversary’s ability to track handsets. Another report, part of the Drone Papers, detailed how, during a five-month campaign in northeastern Afghanistan, “nearly nine out of 10 people who died in airstrikes were not the Americans’ direct targets.” The Drone Papers also revealed how “military-aged males” killed in drone strikes would be labeled as enemies killed in action unless there was information indicating otherwise.

An example from a presentation about RT-RG’s ability to visualize intercepted data spatially. This “heat map” show a target’s call activity (blue means “fewer calls,” red means “more calls”). A text message sent by a target is automatically translated from Arabic and overlaid on Google Earth. This information helps a military commander “find, fix, and finish” the adversary.