Fresh Food and Canned Food

Eating is most important activity in our life. Some people eat 2 times, 4 times, or some people in poor countries eat only 1 time a day. We live in a world where the variety of food is immense, and we are responsible for what we eat. We decide what we are about to eat and how it will affect our bodies. The three main differences between fresh food and canned food are flavor, health benefits, and cost. The most notable difference between these two kinds of foods is their flavor.Fresh food have great flavor and taste because they keep all their natural conditions. Canned food however, lack a lot of its flavor characteristics because there are some other chemical products added to the natural foods. Fresh food will have a greater taste and flavor when consumed just because of the time in which they have been prepared. Comparing both types of foods there is another difference. There is a health factor that affects both of them.Canned foods lose some of the original fresh food nutrients a nd vitamins when stored, and also it has to be tinned with many conservatives and chemical factors that prolong the shelf life and apparent freshness of the food but could also become toxic if consumed too often. Yet another difference between these two types of foods is the cost. Canned food are much more expensive than fresh foods. The benefit of buying tinned foods is that they are easier to find, for example, in a supermarket instead of the market like the fresh foods.When you look at the picture of the canned food it is so beautiful and it makes you buy it, but when you open it later you will see that they do not match and the taste is not good. Canned food requires less work than fresh food, even sometimes no work at all. If you decide to make food instead buying it ready you would have to spend at least 2 or 3 hours, but you will get delicious food that everyone will enjoy it. Fresh foods are always good for your health, but if you do not have enough time it is fine to get ca nned food. Eating canned food is not recommended, because it can make you sick and you might get diseases from that.

Redneck Recording Process

How do you record a song? Hmm, well that's easy. It's easy if you follow the three steps, of the Redneck Recording Process. First we jam or play what we feel like playing. Jamming is a very unstructured thing. Jamming usually consists of playing the old â€Å"guit-fiddle† or (guitar by its normal name), having a good time, watching movies and talking shop. Second we take the song we wrote and set up the Rednek Recording Studio (, Misspelled on purpose. ) And finally we'll put it on to tape. Mix it, master it, and finally burn it to CD. This makes it easier to sell. So now lets record â€Å"Brew Drinkin-Hell Raisers† to tape. The first step in the Redneck Recording Process is to jam out. My friend comes over and we just start playing. After about thirty minutes to an hour of playing and shop talk we usually have a riff (Musical Melody for the guitar) to work off of for the song. Most of the time this will end up being the bridge or the chorus. After the riff is placed in the song. Well start working out the other parts of the song. Because were both guitarists we'll figure out the other parts of the song later. After another fifteen to forty minutes we basically have the song's guitar parts and vocal melodies worked out. When hitting out the vocals, I usually like to Shoot from the hip. So Chris plays the riff while I start singing words. This part is usually pretty funny cause like Ozzy Osbourne; I usually just sing random words. Sometimes it takes three hours other times it takes three days. After we've got the Melody, I've usually got a basic idea were the lyrics are going. It usually takes me some time to get down some lyrics that work for the song. Ok now that the guitars and vocals are worked out, well take the song to the bass player. He listens awhile to the song gives us some ideas, Then he makes the bass lines for â€Å"Brew Drinkin-Hell Raisers†. Then the drummer does the same. After all the parts are finished. We will re-hearse â€Å"BDHR† until we have it down right. â€Å"Brew Drinkin-Hell Raisers† is now ready to be taken to Rednek Rekording Studio, or RRS for short to record it. Rednek Recording Studio is also known as a house. Just to let you know, this paragraph is filled with products and descriptions of them to futher your knowledge of recording. Ok, the song is firing on all cylinders, so lets set up the studio. First we will get the gear we need, so we'll go to a rental company such as Rock & Roll Rentals. First off the mixing board, for this well use the Behringer MX2642A Euro rack to a Tascam DA-P1 DAT recorder. (DAT is short for Digital Audio Tape). Ok we now have the base of RRS, for the rest of the Studio Equipment, I'll just explain the instrument, amp, and microphone used to capture their sound. The rhythm guitar is a Gibson Les Paul Custom running through a Lee Jackson XLA-1000 Amplifier dry. Dry is a term meaning no effects are added to the signal (sound) till after the recording. To record it we are going to â€Å"close mic† or put the mic right next to the speaker cabinet so we get as little atmosphere as possible. The mic I chose is a Shure SM-57 to give it a nice flat sound which is easier to mix. We'll get to the mixing later. For the Lead guitar were using another Gibson Les Paul Custom. The Paul is going dry into a Marshall JCM 800 to a close mic'd SM-57. So they can hear what's going on with the rest of the band Ill hook up some monitors (speakers). Now we have the guitars done, so lets move to the â€Å"thump and the bump† of the ensemble. The drum set is Tama Star Classic Trap Set similar to the one used by Lars Ulrich of Metallica. To mic this were going to use four mics. First one is for the snare, once again were using a SM-57, Boy those really seem to be popular. The second is for the Kick drum we'll try the AKG D112 microphone. The final two mics are the overheads, for these well employ the AKG C-418's. The Drums are now set up in a separate room with some head phones to hear the other band members. Lets move onto the bass; He's going to use an Ernie Ball Stingray bass to a Galien Krueger 2001RB mic'd by a once again a SM-57. Since the bass is in the same room as the guitars, he can hear whats going on. Last we just have to get the vocals. For this well set up in the shower with headphones and an AKG tube (a vacuum Tube) mic for that tube warmth. Whew finally RRS is set up and ready to Rock. Well, we are cocked, locked and ready to rock! Lets get started on recording. With all our mics, monitors, and headphones are hooked up, were going to get a few practice takes in. After we're all in the same groove, we're going to lay it down for real. After about seven takes we've probably got the best were going to get. So we start mixing. First the producer and the artists, who in this case are the same people, start listening to the takes. So I don't get bogged down in techno mumble-jumbo again, let's say we all nailed it on the same take. Now were going to mix it. Basically sound is a 3D ball that has to be assembled. Mixing assembles this ball by cutting and boosting frequencies, volume and adding effects. So â€Å"BD-HR† is now mixed perfectly, so were going to burn this onto a cd. So the song is now on tape and cd which will make it much more accessible for fans. We have been through the three very tedious yet enjoyable steps of the Redneck Recording Process. First I, told you about the jam session, which can only be described not explained. Secondly I gave you the set up of the RRS used to record the song. The third step recording the song. Sorry for the over technical second paragraph, but all of the tools are instrumental to making the record sound right. So hopefully the process and point of this paper got through. If It did, you know what the RRS is, and how to apply it to your own situation.

Deception Point Page 87

â€Å"Anything?† Rachel asked. The pilot let the arm make several complete rotations. He adjusted some controls and watched. It was all clear. â€Å"Couple of small ships way out on the periphery, but they're heading away from us. We're clear. Miles and miles of open sea in all directions.† Rachel Sexton sighed, although she did not feel particularly relieved. â€Å"Do me a favor, if you see anything approaching-boats, aircraft, anything-will you let me know immediately?† â€Å"Sure thing. Is everything okay?† â€Å"Yeah. I'd just like to know if we're having company.† The pilot shrugged. â€Å"I'll watch the radar, ma'am. If anything blips, you'll be the first to know.† Rachel's senses were tingling as she headed for the hydrolab. When she entered, Corky and Tolland were standing alone in front of a computer monitor and chewing sandwiches. Corky called out to her with his mouth full. â€Å"What'll it be? Fishy chicken, fishy bologna, or fishy egg salad?† Rachel barely heard the question. â€Å"Mike, how fast can we get this information and get off this ship?† 104 Tolland paced the hydrolab, waiting with Rachel and Corky for Xavia's return. The news about the chondrules was almost as discomforting as Rachel's news about her attempted contact with Pickering. The director didn't answer. And someone tried to pulse-snitch the Goya's location. â€Å"Relax,† Tolland told everyone. â€Å"We're safe. The Coast Guard pilot is watching the radar. He can give us plenty of warning if anyone is headed our way.† Rachel nodded in agreement, although she still looked on edge. â€Å"Mike, what the hell is this?† Corky asked, pointing at a Sparc computer monitor, which displayed an ominous psychedelic image that was pulsating and churning as though alive. â€Å"Acoustic Doppler Current Profiler,† Tolland said. â€Å"It's a cross section of the currents and temperature gradients of the ocean underneath the ship.† Rachel stared. â€Å"That's what we're anchored on top of?† Tolland had to admit, the image looked frightening. At the surface, the water appeared as a swirling bluish green, but tracing downward, the colors slowly shifted to a menacing red-orange as the temperatures heated up. Near the bottom, over a mile down, hovering above the ocean floor, a blood-red, cyclone vortex raged. â€Å"That's the megaplume,† Tolland said. Corky grunted. â€Å"Looks like an underwater tornado.† â€Å"Same principle. Oceans are usually colder and more dense near the bottom, but here the dynamics are reversed. The deepwater is heated and lighter, so it rises toward the surface. Meanwhile, the surface water is heavier, so it races downward in a huge spiral to fill the void. You get these drainlike currents in the ocean. Enormous whirlpools.† â€Å"What's that big bump on the seafloor?† Corky pointed at the flat expanse of ocean floor, where a large dome-shaped mound rose up like a bubble. Directly above it swirled the vortex. â€Å"That mound is a magma dome,† Tolland said. â€Å"It's where lava is pushing up beneath the ocean floor.† Corky nodded. â€Å"Like a huge zit.† â€Å"In a manner of speaking.† â€Å"And if it pops?† Tolland frowned, recalling the famous 1986 megaplume event off the Juan de Fuca Ridge, where thousands of tons of twelve hundred degrees Celsius magma spewed up into the ocean all at once, magnifying the plume's intensity almost instantly. Surface currents amplified as the vortex expanded rapidly upward. What happened next was something Tolland had no intention of sharing with Corky and Rachel this evening. â€Å"Atlantic magma domes don't pop,† Tolland said. â€Å"The cold water circulating over the mound continually cools and hardens the earth's crust, keeping the magma safely under a thick layer of rock. Eventually the lava underneath cools, and the spiral disappears. Megaplumes are generally not dangerous.† Corky pointed toward a tattered magazine sitting near the computer. â€Å"So you're saying Scientific American publishes fiction?† Tolland saw the cover, and winced. Someone had apparently pulled it from the Goya's archive of old science magazines: Scientific American, February 1999. The cover showed an artist's rendering of a supertanker swirling out of control in an enormous funnel of ocean. The heading read: MEGAPLUMES-GIANT KILLERS FROM THE DEEP? Tolland laughed it off. â€Å"Totally irrelevant. That article is talking about megaplumes in earthquake zones. It was a popular Bermuda Triangle hypothesis a few years back, explaining ship disappearances. Technically speaking, if there's some sort of cataclysmic geologic event on the ocean floor, which is unheard of around here, the dome could rupture, and the vortex could get big enough to†¦ well, you know†¦ â€Å" â€Å"No, we don't know,† Corky said. Tolland shrugged. â€Å"Rise to the surface.† â€Å"Terrific. So glad you had us aboard.† Xavia entered carrying some papers. â€Å"Admiring the megaplume?† â€Å"Oh, yes,† Corky said sarcastically. â€Å"Mike was just telling us how if that little mound ruptures, we all go spiraling around in a big drain.† â€Å"Drain?† Xavia gave a cold laugh. â€Å"More like getting flushed down the world's largest toilet.† Outside on the deck of the Goya, the Coast Guard helicopter pilot vigilantly watched the EMS radar screen. As a rescue pilot he had seen his share of fear in people's eyes; Rachel Sexton had definitely been afraid when she asked him to keep an eye out for unexpected visitors to the Goya. What kind of visitors is she expecting? he wondered. From all the pilot could see, the sea and air for ten miles in all directions contained nothing that looked out of the ordinary. A fishing boat eight miles off. An occasional aircraft slicing across an edge of their radar field and then disappearing again toward some unknown destination. The pilot sighed, gazing out now at the ocean rushing all around the ship. The sensation was a ghostly one-that of sailing full speed despite being anchored. He returned his eyes to the radar screen and watched. Vigilant. 105 Onboard the Goya, Tolland had now introduced Xavia and Rachel. The ship's geologist was looking increasingly baffled by the distinguished entourage standing before her in the hydrolab. In addition, Rachel's eagerness to run the tests and get off the ship as fast as possible was clearly making Xavia uneasy. Take your time, Xavia, Tolland willed her. We need to know everything. Xavia was talking now, her voice stiff. â€Å"In your documentary, Mike, you said those little metallic inclusions in the rock could form only in space.† Tolland already felt a tremor of apprehension. Chondrules form only in space. That's what NASA told me. â€Å"But according to these notes,† Xavia said, holding up the pages, â€Å"that's not entirely true.† Corky glared. â€Å"Of course it's true!† Xavia scowled at Corky and waved the notes. â€Å"Last year a young geologist named Lee Pollock out of Drew University was using a new breed of marine robot to do Pacific deepwater crust sampling in the Mariana Trench and pulled up a loose rock that contained a geologic feature he had never seen before. The feature was quite similar in appearance to chondrules. He called them ‘plagioclase stress inclusions'-tiny bubbles of metal that apparently had been rehomogenized during deep ocean pressurization events. Dr. Pollock was amazed to find metallic bubbles in an ocean rock, and he formulated a unique theory to explain their presence.† Corky grumbled. â€Å"I suppose he would have to.† Xavia ignored him. â€Å"Dr. Pollock asserted that the rock formed in an ultradeep oceanic environment where extreme pressure metamorphosed a pre-existing rock, permitting some of the disparate metals to fuse.†

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The service Encounter (Human resources management) Essay

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