Игра Jacks Or Better (Section8) Играть Бесплатно Онлайн

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Experiencia Luis y Paula

LUIS GONZALO RUBIO MOLINA y PAULA DE LAS MERCEDES NUÑEZ CAMPOS

Itinerario de inserción en el medio rural.

Paula y Luis son originarios de Santiago de Chile. Viajaron a España  el 6 de junio de  Comenzaron a participar en el Proyecto Nuevos Senderos en abril de , y en diciembre del mismo año se trasladaron al municipio de Mochales, en la comarca de Molian de Aragón (Guadalajara)  para gestionar un negocio de hostelería. En menos de 6 meses regentaban los dos bares –restaurantes del municipio.  En se trasladaron su negocio a la próxima localidad de  Villel de Mesa, donde residen en la actualidad, ofreciendo además los servicios de taxi al vecindario de la localidad.

Ventajas y oportunidades (personales, familiares y profesionales) que les ha proporcionado su vida en el medio rural.

El medio rural nos ha permitido emprender de forma que en el medio urbano no hubiera sido posible, porque no es necesaria una gran inversión, no hay apenas competencia, existe un mayor apoyo  institucional, los costes fijos son mucho más reducidos. Vivir en un pueblo rural nos ha permitido unir familia y empresa, y el autoempleo ha facilitado una mayor conciliación familiar. Por otra parte nuestra actividad empresarial, además de constituir nuestro medio de vida, ofrece unos servicios al vecindario que de otra manera no tendrían disponibles.

A nivel familiar nos ha permito crecer como familia, aquí nació nuestra segunda hija, Hemos conseguido una estabilidad y se han fortalecido nuestros vínculos, al permitirnos tener más tiempo libre para compartir en familia.

A nivel social aquí las relaciones son más cercanas, hemos establecido muy buenas relaciones de amistad, y experimentado la convivencia entre vecinos como una gran familia.

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By Sean Shannon (goalma.org)

Sean is a touring/studio drummer, mixer/producer/engineer, songwriter, and educator based in the Orlando, Florida area. Sean has made music with artists like Molly Hatchet, Billy Payne, Pat Travers, Brian Howe, Les Dudek, Rob Rock, Impellitteri, Charlie Daniels, and many others, and has worked with producers like Dennis MacKay (David Bowie, Judas Priest), Malcolm Springer (Collective Soul, Faith Hill), and Steve Thompson (Guns n Roses, Metallica). Sean attended SUNY Fredonia&#;s Tonmeister Program, studying audio production with Dave Moulton and percussion with Dr. Theodore Frazeur before moving to Florida. Sean founded The Mixing Workshop, an audio ear training and mixing course for audio engineers, and writes articles about mixing for Recording Magazine.

(Be sure to post and let Sean know if you have any questions or if you enjoyed his article)

Tips For Mixing Vocals

The vocal is arguably the most important element of a mix. The ear focuses on the vocals, and the girls listen to the lyrics. Once the vocals are recorded and ready, how can you maximize their emotional impact?

Let’s face it. Getting the vocal to sit just right in a mix is not easy. Sometimes it seems like the vocal track sounds so good, all you’ll have to do is pull up the fader, and it should sound right. But many times (after getting the music track slammin’), “shoehorning” the vocal in the mix takes some creative engineering.

Frequencies pop out, “ouches” may hit you in the midrange when you turn the mix up, “sss’s” may shear your hair off, and “P’s” may be a gut punch. Words and syllables may seem to jump out or get buried.

What happened? The track was recorded well! Nothing happened, it’s just that the voice is the most dynamic instrument, with a wide range of energy at various frequencies, and it benefits from some professional treatment.

While every style of music may differ in approach to treatment with regard to level and effects, most have one requirement: the listener must be able to hear and understand the words. Make the lyrics clear, and deliver a sound that brings the listener into the story, and you have a winner.

Here are some tips for working with vocals in a mix. Using the standard tools available in almost all DAWs and studios, we’ll go through the process of getting the vocals balanced and sitting right in the mix.

Learn the words
That’s what a fan does. It’s important to learn the words of the song, have a complete lyric sheet handy, and make notes on words or phrases that need attention. By complete, I mean every word is written out instead of ‘repeat chorus’. This allows the engineer to make notes on any word in sync with the timeline of the song.

Once the issues have been noted on the lyric sheet, it’s easy to target them for treatment. Typical tools include automation, either in the DAW or on a console, compression and eq, and effects.

Computerized mixing
Back in the day, the whole band would belly up to the console and grab a set of faders or sends and make their moves on the mark as the print goes down. The marks would be on masking tape by the faders or send knobs, and each mix was a performance by everybody, all hands on deck.

Nowadays, the computer becomes those extra hands, each expertly performing every move to exact precision. This is called automation, and just about every aspect of your mix can be automated. You can automate levels, eq, effects, just about everything to make the track sound perfect. Like a bandmate, you just have to tell it what to do, step by step, using automation.

If, for example, a few lines seem louder than the rest, you can automate the volumes so they all match. If there are certain words you want more effects on, you simply raise the effect send on just those words. It’s also easy to automate eq settings to turn on and off on problem areas, too. Automating the eq can be a real mix saver, just specify the parameters you want to automate, like ‘bypass’, and write in the changes in the track’s automation lane, in sync with the timeline.

The most obvious use of automation is for riding fader levels. (See fig 1 for an example of volume automation helping ‘plosives’, or low frequency booms from the singer’s air hitting the mic) Some words and syllables need help in a big mix, where plosives are held back and whispers and tails are up front for impact.

Fig 1 Automation lanes (click for larger view)

If you are using an analog mixing board, you can also mix in sections, with live fader moves (mixing by hand), by printing back into the DAW on a stereo track and punching in for each section. I use a large format analog console, and I combine the onboard mute automation of the console with the automation in the DAW for a quiet mix, and I ride faders as the print goes down if necessary.

Another great trick is to split the vocal up onto a couple of tracks, so you can eq, compress, and effect the chorus vocals separately from the verse vocals. This can be done by duplicating the vocal tracks on the screen, or by sending to multiple channel faders on the console, then mute the parts you don’t want for each section of the song. I typically use a Verse track, a Chorus track, and an Effected track for special effects vocals.

Compress for Success
Using compression on a vocal can really add size and stability to the track. Used skillfully, compression can bring out the articulation, the details in the words, while holding the singer firmly in place on the soundstage.

If I could only use one compressor on a vocal, I might use a super fast attack and release time to keep things from jumping out while getting out of the way quickly. The Distressor is very good at this. Set the threshold so the vocal is almost always in compression, with peaks getting a good 6 or8 db of gain reduction, then raise it from there if you don’t like the sound.

I look at compression as either fast or sloppy slow. Slower attack and release times keep the average levels controlled, but peaks jump through. One tip is to use two compressors in series, chained one after the other. Use one to gently control average volume with a slower attack and release, and another to bang back the peaks with a fast attack and fast release. Keep gain reduction reasonable on each one, and tweak between the two of them until you get a clear, full sound and a consistent vocal level. This should help make the vocal sit in place better. (See figure 2 for compression settings)

Fig 2 Serial Comp (click for larger view)

Parallel compression can be a useful tool for lead vocals. Send the vocal to a compressor, and mix that squashed signal back in with the original vocal on another channel. This can increase the apparent size and clarity of the voice.

Some engineers prefer little to no compression, preferring to automate or physically ride the faders. Others rely on compression heavily for their sound and control of the vocal. Find the method that works for you and for the song by learning the sound of compression and comparing your mixes to pro mixes, and analyzing the vocal treatment.

De-essers are also typically compressors, but are limited to acting upon a single band. You can listen to the frequency band being affected, and search for the most annoying frequency. Set the amount of reduction so that the undesired frequency is brought under control, but the vocalist doesn’t develop a lisp!

Many times the de-esser can dull the vocal while killing the harshness. Put the de-esser before the eq, and carefully boost the top end (12KHz and up) of the vocal with a shelf eq.

A multiband compressor can be useful on a vocal in the respect that, like a de-esser, it can act on one band, or more than one band, separately and simultaneously. With vocals, the energy in the various frequency bands changes dynamically throughout the song, so a multiband compressor can hit low mid and other high frequency jumps selectively, and only when they occur.

Equalize for Size
A careful use of eq can really put the vocal in its place and help control dynamics before any compression is used. For an easy example, rolling off the lows before the compressor can help with breath pops that might cause overcompression.

The wide range of dynamics and frequencies in the human voice almost guarantees that eq will be needed at some point throughout the song. There may be notes that stick out too much in a certain frequency range, or areas of the track that are too dull or boomy against the music mix.

Many times, when a mix is turned up, the vocal will seem like it’s at the right level, but is a bit harsh, or hits your ear in the mids and upper mids. Eq can reduce the harshness while maintaining the clarity. (See fig 3 for a vocal eq setting)

Fig 3 vocal-eq (click for larger view)

Common techniques for eq’ing vocals for clarity include rolling off the lower octave or so (under 80Hz) and finding and gently cutting with a medium bandwidth in the Hz range. Find an area in the HzKHz range with a med bandwidth, and give it a slight boost. If necessary, roll off the highs if the mid boost accentuates the consonants too much, find a balance that leaves the vocal clear but not harsh. Sometimes spikes still occur in the sensitive area, the upper mids.

If a de-esser can’t tame those spikes, then sweep through the upper mids on the eq with the cut fully engaged. You’ll find a spot that will still allow the vocal to sound somewhat natural, even with full cut, but without the harsh spikes. That is the area to be worked on. Without changing the frequency, dial some gain back in, and narrow the bandwidth of the cut until the vocal sounds full and natural again.

This may make it seem slightly dull at first, but will allow you to turn the vocal up a bit without seeming too loud. You may want to add some highs at 15KHz or above to open the sound back up. I use multiple eqs at the beginning, middle, and end of the chain, each performing a function relating the next processor in line.

One important note for mixing vocals is that the music track must be able to accommodate the vocal. In other words, keep an eye on the frequency content and individual track levels of the music mix, making sure to leave room for the vocal in the critical midrange. This is called “spectral balancing”.

For example, if the guitars are too bright, or have too much energy in the KHz range against the vocal, they will require that the vocal be pushed too loud and risk becoming too harsh, just to be heard clearly. Keep the mid frequencies under control on the music mix, and the vocal will sit in the mix better.

If eq’ing the vocal inflicts too much damage overall to fix to occasional problem frequency, it’s easy to automate the eq so it comes on and off on certain words or syllables, or cuts a frequency at certain lines in the song.

A neat trick is to duplicate the vocal track, using one channel for verses and another for choruses, so each track can have it’s own eq, effects, and compression chain. Just mute the sections you don’t want to hear on each track.

Side Effects
Use effects for impact, size, and to blend the singer with the band. Ambience, reverb, and delays can work wonders on a vocal, as can a little chorus. The contrast between a dry (no effects) vocal in your face, and a lush vocal with a full space around it and some delays can be used to your advantage during a mix.

Each section of the song can have differing treatments. The a’ cappella breakdown might be dry, while the full band chorus may be better delivered with the vocal wet, with delays timed to the song and a bit of reverb to put the singer back in the band.

A common vocal effect is to use a pitch/delay effect, like the Dual Shift in the Eventide H, in stereo on a vocal. The effect makes micro-changes to pitch and timing in real time, adding a nice, thick fullness to the vocal. There are plugins that do similar things for you.

Send the lead vocal to the effect on a send, and bring up the stereo return of the effect until it widens the vocal. It can really make a vocal come alive, but be careful, it’s easy to overdo it!

Another cool effect for a vocal is distortion. Adding a little bit of distortion, like an amp sim or tube plugin, and blending it in with the original vocal can create some very compelling vocals in a heavy track. You could automate the effect so that it turns on for certain sections of the song, or gets heavier in others. Telephone voice is another useful effect. (See figure 4 for this effect)

Fig 4 eq effects (click for larger view)

Backing vocals
In addition to the tools described for lead vocals, the backup vocals may require additional processing to fit in. Usually, more lows can be cut, and consonants and sibilance can be attacked more aggressively, since the listener will get all that from the lead vocal. If the consonants, like “t” at the end of words are off time, they will be exaggerated, and harsh frequencies and sibilance adds up.

Tame highs and lows with shelving eq, and automate the volumes of the words to support the lead vocal and reduce clash with consonants. A compressor on each vocal track helps blend them, then you can put a stereo compressor across the backup vocal group to smooth out the blend even further. Use your ears, and set the compressors for control with clarity, using the attack time to control how hard the first consonant hits, and the release time to smooth sustained notes.

Pan the backup vocals in a stereo spread around the lead vocal, and put some effects on them to give them their own color. They can get away with a bit more reverb (or ambience) than the lead vocal, putting them behind it. The lead note should be the dominant vocal in the blend.

Monitor for the real world
Try to set vocal levels, rides, and effects levels while listening on small speakers. That makes it easy to hear if it’s too loud or too soft. I also engage the mono button on my console while setting balances. Making the vocal balanced in the mono sum will guarantee clarity over the internet or phone speaker, and will usually work very well once you turn it up in stereo.

Reduce your monitoring environment to the lowest common denominator, and make sure the vocals all work on that. It’s also a good way to check levels of competing instruments against the vocal.

Here’s a checklist that sums up what we have covered in this segment on mixing:

TIPS FOR MIXING VOCALS:
1. Have a lyric sheet handy for marking phrases and issues to be addressed.
2. Use automation to control all aspects of the vocal, including level and eq/effects changes throughout the song.
3. Use compression for holding the vocal in place, and for fullness and clarity.
4. Use eq as a tool to remove unwanted energy from the vocal while preserving the intimacy and fullness, and to make room in the music track for the vocal.
5. Use reverbs and delays as needed for space and dynamic contrast or to help the vocal appear to sit onstage with the band.
6. Treat backing vocals as support, blending rather than sharpening.
7. Set vocal and effect levels on tiny speakers while monitoring at low volume in mono so the vocal sound good everywhere.

Portions of the content contained in this article appeared in Recording Magazine , and are used with permission from the author. Contact Sean at goalma.org

文章轉載 &#; 作者：理財翻轉學院 /12/07 (原文連結)

談到理財規劃或是財務管理，不管是個人或是企業。不得不讓我們想起兩個著名的家族，一個是摩根家族，一個是洛克菲勒家族。摩根家族是個商人家族，其祖先於17世紀初在新大陸的淘金浪潮中移民美國，篳路藍縷苦心經營的J.S.摩根，造就家族高峰影響一個時代的金融巨頭J.P.摩根，繼承父業開創家族財團新局面的傑克·摩根，他們成就了家族財富傳承百年的傳奇。而洛克菲勒家族，打破了在華人文化中流傳千年的富不過三代魔咒，這家族不只打破魔咒，而且目前已「富過六代」。

據美國商業雜誌《富比士》年報導。洛克斐勒家族目前來到第七代，共有位繼承人共享億美元（約新台幣億）的財產。令人驚訝的是，雖然整個家族成員有多達人是約翰洛克斐勒與蘿拉（Laura S. Rockefeller）伉儷的直系子孫，但他們全部團結一致、潔身自愛，不像一些豪門子弟總是醜聞纏身，常染上緋聞、弊案、官司一身腥。
家族財富可以傳承百年，其中有重要的關鍵，就是他們都有成立家族辦公室來管理家族的資產。
根據統計80%家族企業未順利傳到第2代人，剩餘的13%則未能傳到第3代手裡。所以要讓家族企業永續經營，家族財富得以管理、傳承，一定要了解什麼是家族辦公室（Family Office）。

一、家族辦公室的起源

Family Office起源於19世紀富裕的歐美家庭，由相關領域專家組成，致力於一個或多個超高淨值人士或家族的財富管理，以及私人需求等事務的私人公司或組織機構。一般譯為「家族辦公室」，是為富裕家族管理財富的私人機構。在財富管理行業中，家族辦公室堪稱是金融產業鏈的最頂端，家族辦公室是家族財富管理的最高形態。

從年 J.P. 摩根家族成立財團管理家族財富，到年梅隆銀行的 Thomas Mellon 創立了第一個家族辦公室，迄今全球億萬富豪面臨財富無法隔代保存的問題，也越來越趨向以家族為中心的資產管理模式，設立「家族辦公室」，由專業人士管理資產。

例如：大家所知的全世界幾位富豪，例如比爾·蓋茨、戴爾、索羅斯、洛克菲勒、李嘉誠、愛馬仕家族（Hermes）等頂級富豪家族都有設立各自專屬的家族辦公室。

因為企業中的家族成員之所以會起衝突，並非全然是關係不好，40％的衝突是源自於對企業戰略的看法分歧，而60％的衝突則因不確定而感到害怕的家族成員；解決家族衝突，不能只靠親情，更需要科學方法，亦即要「組織化」和「制度化」，「家族辦公室（family office）」正是一個解決方案。

二、家族辦公室的功能

根據美國家族辦公室協會(Family OfficeAssociation)的定義，家族辦公室是「專為超級富有的家庭提供全方位財富管理和家族服務，以使其資產的長期發展，符合家族的預期和期望，並使其資產能夠順利地進行跨代傳承和保值增值的機構。」
​
舉例來說，年小洛克菲勒為了避開高昂的遺產稅（年遺產稅稅率從10%上調至25%；年開徵饋贈稅）。在家族辦公室的建議下，年小洛克菲勒設置了兩個信託基金（妻子和孩子；孫輩），這些信託基金的設立，其家族辦公室直接單人顧問工作，擁有設置信託資產的權利。通過這樣類似的方式，洛克菲勒家族實現完整的家族財富傳承。

三、家族辦公室的發展與現況

家族辦公室可以分為兩大類：單一家族辦公室(Single FO，簡稱為SFO)和聯合家族辦公室(Multi FO，簡稱MFO)。當時根據Wealth-X和瑞銀發表的世界超級財富報告中得知，在香港居住的億萬富翁一共有82名，中國大陸有名。福布斯的億萬富翁排行榜則列出50位香港億萬富翁。有趣的是，香港的正式家族辦公室或SFO（單一家族辦公室）不超過50間。當中引述瑞信估計全世界只有3%的SFO位於亞洲。

• 年%的亞太區家族辦公室正在制定財富傳承計劃

在年的《全球家族辦公室年報告》指出，家族辦公室的首要工作依舊是制定財富傳承計劃，69%的家族預期在未來15年進行世代交替。財富傳承計劃方面，亞太區家族辦公室略為落後其他地區。但已有%的亞太區家族辦公室正在制定財富傳承計劃。顯示家財富傳承計算已越來越受重視。

根據Wealth-X的《年十億萬富翁人口普查》，亞洲目前為全世界十億萬富翁（美元計算）增長最多的地區，在年超過北美。亞洲的十億萬富翁人口去年增加了近三分之一（％），達到人，超過北美的同比增長率（％）和富豪總數（位十億萬富翁）。家族辦公室正呈現「西風東漸」的趨勢。

過去亞洲企業家財富創造主要靠主業 ，有餘錢只放銀行定存，對資本市場投入較低；此外，亞洲富豪可能因為「民族性」，關於錢的事「只相信自己」，即使有些富豪願意把錢放在私人銀行，但對於投資布局，他們也常自有盤算，這也是家族辦公室在亞洲發展較落後的原因。

瑞士信貸二○一三年全球財富報告估計，全球淨資產高於五千萬美元的「超級富翁」約有九八六六三人，美國占四五％，歐洲占二五％，不含印度與中國的亞洲區域則占一四％，中國占比約五．九％（五八三○人），而台灣約有一三七○位。

研究機構Campden Wealth估算，亞洲僅約一百到一二○間家族辦公室，其中七五％位在香港與新加坡，而歐美總計約兩千間家族辦公室，以此數據來看，家族辦公室在亞洲，其實仍有極大的成長空間。

一位香港家族辦公室執行長表示「如今，家族辦公室在亞洲的時候到了！」，多數亞洲富豪第一代已屆退休年齡，隨著第二代、第三代陸續長大獨立，他們終於開始思考「傳承」的問題。

「錢賺再多都是遺產而不是財產，如何將自己當年打下的江山傳承下去，才是最重要的。」一位家族辦公室客戶顧問主管轉述客戶的心聲，他表示，「亞洲富豪們極欲效法西方富裕名人，希望仰賴家族辦公室的獨立與專業，打破富不過三代的魔咒，為後代子孫保存財富與家族價值。」

以上參考資料部分來自：今周刊及 FINTRX家族辦公室數據和研究

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Overview

ISO was developed so that OHS Management can be more easily aligned with the management system approaches adopted by other ISO management system standards.

The ISO standard enjoyed input from a number of safety practitioner including the Institution of Occupational Health and Safety (IOSH) and the International Labour Organisation (ILO).

What is an Occupational Health & Safety Management System?

An Occupational Health & Safety Management System, often called an OH&SMS, defines the framework in which the organization cares for the occupational health and safety of its employees. It represents a set of rules, policies, processes, plans and practices for preventing occupational health and safety hazards and minimizes risks in the workplace.

OH&SMS is unique for every organization and it must be adequate to the legal requirements, occupational health and safety hazards and business processes applied in the organization. ISO represents the best practices in establishing, implementing and maintaining the OH&SMS.

Its requirements and guidelines help an organization to establish effective OH&SMS and to avoid missing important elements along this way.

Intended Outcomes

• Improved risk and hazard management by the identification of potential incidents and the implementation of controls and pro-active measures.
• Compliance with health and safety legislation by understanding how statutory and regulatory requirements impact the organization, its employees, interested parties and others.
• Improving an organizations ability to win more business, particularly where procurement specifications require certification as a condition to supply and PQQ requirements.
• Improved relationships by safeguarding the health and safety of staff, customers, suppliers and other stakeholders and interested parties
• Cost savings by decreasing down-time through incidents, ill health and reducing costs associated with legal fees and compensation
• Improving an organisation’s efficiency by reducing the risk of accidents and incidents leading to increased profitability.
• Minimising the risk of regulatory and liability fines and reducing the risk of non-compliance with legislation and subsequent costs/prosecution.

The ISO consist of eleven sections. The first three sections represent an introduction to the standard, its scope and normative references, and the other seven sections contain the requirements for the Occupational Health and Safety Management System.

Here is what the seven main sections are about:

Section 4: Context of the organization. This section requires the organization to determine its context in terms of the Occupational Health and Safety Management System, including interested parties and their needs and expectations. It also defines requirements for determining the scope of the OH&SMS, as well as general OH&SMS requirements.

Section 5: Leadership. This clause of the standard requires top management to demonstrate leadership and commitment to the OH&SMS, along with defining the occupational health & safety policy. The top management must also assign process owners with other roles and responsibilities.

Section 6: Planning. The planning section defines requirements for addressing risks and opportunities, and the requirements for occupational risk analysis. This clause also includes requirements for hazard identification and assessment, determining legal and other requirements, OH&S objectives and plans for achieving them.

Section 7: Support. This clause defines requirements for supporting processes and provisions of resources necessary for effective operation of the OH&SMS. It defines requirements for people, infrastructure, work environment, monitoring and measuring resources, competence, awareness, communication and documented information.

Section 8: Operation. This clause is focused on establishing operational controls to eliminate the occupational health and safety hazards, management of changes and emergency preparedness and response.

Section 9: Performance evaluation. The purpose of the requirements placed in this clause is to provide the organization with mechanisms to determine the effectiveness of the QMS. It contains requirements for necessary monitoring and measuring, including performance evaluation, compliance obligation, internal audit and management review.

Section Improvement. The last section of the standard defines requirements for continual improvement of the OH&SMS, including requirements for managing nonconformities, incidents and corrective actions.

These sections are based on a Plan-Do-Check-Act cycle, which uses these elements to implement change within the processes of the organization in order to drive and maintain improvements within the processes.