How do I stop Google Chrome adjusting the gain of my microphone? It is making it unusable in all other programs by cranking the gain up to 100% :( Only Google Chrome is doing this… I’m on Windows 10. I have Version 78.0.3904.108 (Official Build) (64-bit). I’m using a Blue Yeti Pro.
Blue Yeti Pro – Pattern Modes
CARDIOID: Perfect for professional podcasting, voice overs, recording vocals & instruments. Cardioid mode records sound from the front of the microphone, resulting in a rich, full-bodied sound.
STEREO: Captures a rich stereo field for acoustic guitars, pianos, percussion, or singer/songwriter duos, or multiple instruments at the same time.
OMNI-DIRECTIONAL: A great all-around mic pattern. For when you need to record 360 degrees around the microphone. Great for capturing vocal groups, bands, conference calls, or multiple participants in a single-mic podcast.
BI-DIRECTIONAL OR FIGURE-OF-8: By recording sound from two distinct positions—the front and the back of the capsule—this pattern is perfect for vocal duets or interviews.
24-bit/192kHz audio resolution for superior recording quality
Analog XLR connection for use with pro-studio gear
Unique three-condenser-capsule array with cardioid, bidirectional, omni, and stereo pattern settings
Proprietary capsule design to capture sounds with detail and articulation
Zero-latency headphone monitoring for recording in real time without delays
Gain control, mute button, and other handy features for a hassle-free workflow
Mountable on mic stand or included desktop stand for studio or desktop recording
XLR breakout cable and USB cable—everything you need to start recording
Mac and PC drivers for easy recording with your favorite software
MICROPHONE AND PERFORMANCE
Power Required/Consumption: 5V 500mA (USB)/48V DC (analog)
The fix for forms that don’t upload files in WordPress
It is actually quite easy to fix the file upload part of Contact 7 forms. If you upload a photo and the loader just keeps spinning it may be because you manually made the code. Use the buttons above and type in the info into the popup to create a working uploader.
This first line of code will add 15 pixels of padding when the email form is smaller than 1,200 pixels. The second line of code will set the padding to 0 pixels when the screen is more than 1,200 pixels in width.
Select the tables from the list that you would like to back up. If you want to back up the entire database, click “Select All.”
Make sure both the “Structure” and “Data” boxes are selected on the right. They should be, by default.In the Structure section, check the “Add DROP TABLE / DROP VIEW” box if you want this export to be able to replace existing tables of the same name. If you want to merge this backup with another database, do not select this.
Check the “Save as file” box. Also select a compression option (such as “gzipped”) if you want to compress the backup before downloading it from the server.
Click the “Go” button, and, at the prompt, save the file to your local computer.
Make sure the database you need has already been created. If it has not, please first create the database:
Does Illustrator get stuck while scrolling through fonts? Here’s a fix!
For the longest time if I select some text and start scrolling through fonts to find one that worked well, it would get stuck on certain fonts while scrolling and had to manually skip a couple fonts so I can keep browsing through only the get stuck by another. I decided that I’ve had enough of that and decided to search for a solution.
Surprisingly, I couldn’t find many pages discussing this issue but I eventually found a solution.
Here is the fix:
Go to Edit > Preferences (or Ctrl/Cmd + K)
Uncheck Enable Missing Glyph Protection
Ever since unchecking that setting, AI hasn’t gotten stuck once. Hope this helps someone.
20 Rules for Good Design from Timothy Samara’s Book, “Graphic Design Elements.”
1 – HAVE A CONCEPT.
For good design, you need to begin with an idea. It may be very simple or neutral – “Itʼs important to organise this information to be easily navigable” – or it may be creatively contrived – “These biscuits will seem more delicious if they appear to be made by elves.” No idea = No design.
2 – COMMUNICATE – DON’T DECORATE.
Form. it is often said (not often enough, lately) follows function. This means two things. First – every dot, line, texture, shape, colour, and image should be related to the concept that must be conveyed (rule No. 1). Second, each of these forms should add to the concept. If the form is there solely because you think itʼs cool, you should probably get rid of it.
3 – SPEAK WITH ONE VISUAL VOICE.
All the parts of a project really should be recognisably related to each other on a visual level. That is, they must share some similar qualities in order to appear part of the same unified message.
4 – USE TWO TYPEFACES – MAX.
Ok – maybe three…. no just two, typefaces only get you so far, even stylistically. Itʼs what you DO with the type that really says something. For hardcore, hierarchical concerns, one type family with a range of weights and widths should be enough.
5 – SHOW ONE THING FIRST.
Hierarchy again…. Give visual emphasis to one item to grab the viewer’s attention. Then direct them – through a progression of size, weight, and colour changes, and so on – down the line of importance items or instructions. If they have to figure out what to look at first, they’ll get confused and leave or just throw what ever the item of communication is in the bin.
6 – PICK COLOURS FOR A PURPOSE.
As subjective as colour perception is, it’s shouldn’t be all guesswork. Colours mean things culturally, and colours have optical relationships to each other. Use these “factual” aspects to choose and combine colours in a meaningful way – and in an optically dynamic way.
7 – IF YOU CAN DO WITH LESS, DO SO.
This is another way of saying “Less is more.” It’s about being economical: Try to show only what is necessary. If “necessary” can be pared down a bit, too, that’s a good thing. Think about how many messages, how many resources, how many annoying blobs of information the average viewer has to deal with on a regular basis (never mind the landfill). Now, design accordingly.
8 – NEGATIVE SPACE IS IMPORTANT: CREATE IT, DON’T FILL IT UP!
Despite the fact that the space in a format around the shapes and pictures and text is apparently empty, it’s really a shape unto itself. Consider it as carefully as you would anything that you plop into it. The better integrated the negative space and the more interesting it is, the stronger the composition.
9 – TREAT TYPE LIKE IMAGE.
This is one of the most difficult rules to master. Type actually is an image, even though it looks like something else. It must be considered for its visual qualities, relative to other image material, to integrate it into compositions – even more so when there’s a lot of it.
10 – KEEP TYPE FRIENDLY.
If it’s illegible, it’s not type. If it’s illegible it’s not type. And if itʼs illegible, itʼs not type. Consider the audience – their assumed level of education, their schedule, and especially their age – when choosing styles and sizes. Written language exists to transmit information, and your client is paying you to transmit such information on their behalf. If the information canʼt be read – for any reason – itʼs no longer useful, and youʼre potentially out of a job.
20 Rules for Good Design – Part 11 to 20
11 – BE UNIVERSAL, IT’S NOT ABOUT YOU.
If youʼre interested in expressing your fetishes or psychoses, become a painter (fine art not wall) and work the gallery scene (seriously – it can pay alot better). The purpose of design is populist in nature: you re creating clear messages for other people. The more understandable the images you make, the better.
12 – CREATE RHYTHMS.
The antidote to visual boredom is tension, and there are two easy ways to achieve this antidote: The first is by constantly varying the sizes, weights, and spaces among visual elements so that they appear to be constantly shifting and moving. And….
13- USE CONTRAST: DARK & LIGHT.
Radically vary the lightness and darkness in different areas of a composition, as well as the quality of dark and light values: Sharp and aggressive, fluid and murky, bold and clean…
14 – BE DECISIVE: DO OR DON’T.
Avoid being wishy-washy in arranging things. Visual elements should be clearly one thing or another, one way or another. Ambiguity can be useful, but even this should be on purpose, not a sloppy by-product of indecision.
15 – MEASURE WITH YOUR EYES.
A majority of formal relationships play havoc with your eyes – for example, a solid dot and a square can appear to be different sizes if they are mathematically the same measure in height: circles appear to contract in a space because of their ill defined, endless contour.
All visual forms play off each other, so make them behave the way you want them to look like theyʼre behaving. Use your eyes: it usually will look better that way – and the more you do it the better you will get at it – like everything in life.
16 – CREATE YOUR OWN IMAGES.
Itʼs so much easier to find a stock photo and drop some type on top of it. But anyone can do that, and they do. At the very least, alter found images to transform them into the right images: customise for your client, customize for your audience.
17 – TRY TO IGNORE FASHION. REALLY!
Whatʼs currently fashionable sells but can be forgotten very quickly. You might make some money, but how will you feel in the morning? And how will your contribution be remembered in 100 years? Keep the word timeless in your head, and make decisions based on concept, meaning, and function, not the latest, shallow trend. If you can…
18 – MOVE IT! STATIC EQUALS DULL.
Two-dimensional images that appear kinetic (in motion) attract greater attention and retain interest longer than those that seem tired, stiff, and lifeless. Arranging visual elements asymmetrically, with differing spatial intervals between them contrasting directional emphasis, creates the appearance of spatial depth and movement. Compose wisely.
19 – LOOK TO HISTORY – DON”T REPEAT IT.
Much successful design borrows from past innovators, as does all human endeavors. That said, applying oneʼs understanding of how a famous work achieves its goal and ripping it off are two completely different things. Show some respect… but donʼt cross the line between flattery and forgery.
20 – SYMMETRY IS THE ULTIMATE EVIL.
Symmetrically organised material creates repetitive, static spatial intervals, violating rule No.18. Furthermore, symmetry relies on an understood truth about a format – that it has a center – and so it offers nothing new to the viewer
The easiest way is to go to Settings -> then search for iCloud. Disable syncing of Safari. You will be asked what do you want to do with the synced data on your device. Simply select to delete it. Afterwards, there will be no bookmarks via your Safari browser app on the device.
Is Safari opening too slowly because of all your bookmarks?
If it is, change the folder that your iPhone shows first to speed up your phone.
Choose a folder that has a smaller number of bookmarks to show up first by default.