The lighter side of Tarot deals with games played using this deck of uniquely peculiar cards. These range from the highly complex to those a four-year-old can play. “Zarcana,” a complicated game encompassing battles, voyages, life, death, love, loss, and more can be played indefinitely – or until one player in a winning position decides to declare the game finished. Another game appeals to the younger set because of its much simpler rules. Each player is dealt a card and whatever image is on the card, the player must enact a semblance. This can be quite humorous and fun for younger children. Imagine the delight when a player is dealt The Fool!
There are as many Tarot games as there are Tarot aficionados, and a quick look through the Internet can locate more Tarot games than a person could humanly attempt to play in one lifetime. But this is the joy of Tarot – and of the Internet!
As with games, Tarot deck designs run the gamut as well. After all, these cards have been around for hundreds of years, and each culture has contributed its own version. Sometimes even individuals have come forth with their own versions of the game, and some of these have become quite popular. The Waite-Smith Tarot version (also known as “Rider-Waite”) of the cards, created during the early part of the 20th century, has become probably the most popular design used today. Along with Waite-Smith, some of the better-known and still-used Tarot versions include the Visconti-Sforza, the Marseille, and the Minchiate. These latter decks often feature elaborate artwork without a great deal of occult imagery and, depending on personal tastes, can sometimes be construed as masterpieces of Renaissance design.
Many teachers of Tarot recommend using the Waite-Smith version until the novice has become familiar with all the image meanings and representations. At this point, the student can then proceed to select from the many Tarot designs available the deck that appeals to him or her personally. It is not unusual for even a long-time practitioner of Tarot to continue using the Waite-Smith version because, as one Tarot reader says, “It is simple, forthright, and appeals to the pragmatic side of my personality.”
Tarot card decks can be purchased many places both online and at brick-and-mortar retailers. Because the stigma of “devil worship” has left the Tarot in many parts, sometimes one can find a deck in as innocuous a place as Wal-Mart. Other areas may only carry decks in out-of-the-way fortune-teller supply shops and other “underground” markets.
Tarot serves to entertain as well as to gain insight, much as it did hundreds of years ago. So invest in your own deck and begin today to reap the rewards of learning Tarot. You may gain more than you ever imagined!
(c) All About Tarot
All About Tarot is an information packed website that features loads of useful links and articles! Visit now at: http://www.all-about-tarot.com
ABOUT THE AUTHOR
All About Tarot is an information packed website that features loads of useful links and articles! Visit now at: http://www.all-about-tarot.com
Saturday, May 5, 2007
Discover How Golf Schools Can Help You Play Better
The objective of joining a Golf school is to learn the golfand become a good player if not a great player.
Swing is most important for every golfer. A more powerful,consistent golf swing is attainable for every golfer. Thelearner must know how to get more distance with all clubsand increase accuracy at the same time.
Swing Technology helps in learning the golf swing and otheraspects of the sport.
Services Offered
The learner should always focus on the services offered byGolf Schools and not on their tall claims like "We have wonMaximum number of Teacher of the Year award" or we havenationwide training schools etc. One should see and ifpossible take the opinion of somebody, who has alreadytaken training from that school. Some salient features thatmust be part of the services offered by golf school, whiledeciding the training school.
1. The class size should range between 4 to 16 students andthe teacher ratio should not be more than 4-1. However, 2-1would be ideal, if possible.2. The coach must be an ace golfer and should haveexcellent communication skills to make the learnerunderstand the game and feel comfortable and secure.3. The skills and the requirements must be clearlyunderstood by the coach and he should be able to tailor itaccording to the needs of the individual. The groups ofstudents must be made according to the abilities.4. Apart from a good coach the institute must also haveother facilities like:i. Latest Video Analysis Equipments,ii. Launch Monitor Technology,iii. Swing Learning Aids, iv. Should be able to scientifically measure a golfer'scurrent swing and pinpoint his or her weaknesses,v. Help develop a plan for measurable improvement.vi. The staff should know the game and should be able toteach; so all golfers get all benefits where it reallyneeds - on the golf course.
5. Last but not the least, the price. The cost of learningmust be justifiable.
Thus, one should analyze the Services offered by GolfSchools taking the points mentioned above intoconsiderationFree Articles, before deciding on the Golf School.
ABOUT THE AUTHOR
Bud Bradley is a freelance writer, working long hours at a computer. His main relaxation is golf, and over many years he's visited many golf schools in an attempt to improve his game. This series of articles relates his experience.
Swing is most important for every golfer. A more powerful,consistent golf swing is attainable for every golfer. Thelearner must know how to get more distance with all clubsand increase accuracy at the same time.
Swing Technology helps in learning the golf swing and otheraspects of the sport.
Services Offered
The learner should always focus on the services offered byGolf Schools and not on their tall claims like "We have wonMaximum number of Teacher of the Year award" or we havenationwide training schools etc. One should see and ifpossible take the opinion of somebody, who has alreadytaken training from that school. Some salient features thatmust be part of the services offered by golf school, whiledeciding the training school.
1. The class size should range between 4 to 16 students andthe teacher ratio should not be more than 4-1. However, 2-1would be ideal, if possible.2. The coach must be an ace golfer and should haveexcellent communication skills to make the learnerunderstand the game and feel comfortable and secure.3. The skills and the requirements must be clearlyunderstood by the coach and he should be able to tailor itaccording to the needs of the individual. The groups ofstudents must be made according to the abilities.4. Apart from a good coach the institute must also haveother facilities like:i. Latest Video Analysis Equipments,ii. Launch Monitor Technology,iii. Swing Learning Aids, iv. Should be able to scientifically measure a golfer'scurrent swing and pinpoint his or her weaknesses,v. Help develop a plan for measurable improvement.vi. The staff should know the game and should be able toteach; so all golfers get all benefits where it reallyneeds - on the golf course.
5. Last but not the least, the price. The cost of learningmust be justifiable.
Thus, one should analyze the Services offered by GolfSchools taking the points mentioned above intoconsiderationFree Articles, before deciding on the Golf School.
ABOUT THE AUTHOR
Bud Bradley is a freelance writer, working long hours at a computer. His main relaxation is golf, and over many years he's visited many golf schools in an attempt to improve his game. This series of articles relates his experience.
Friday, May 4, 2007
MP3 Player Shopping Guide
MP3 players are definitely not a one-size-fits-all product. They come in a range of shapes and sizes, use different types of memory, and support different formats. You should choose the player that both meets your needs and suits your personality. A player can have every feature in the world, but if the design doesn't match your lifestyle or if the interface is impenetrable, you still won't enjoy it.
Though the first MP3 player used flash memory, it was the hard drive that really drove the digital audio player up the ranks of the digital jukeboxes. The cost per megabyte for hard drives today is still far cheaper than flash memory.
MP3 players come in two major storage flavors--flash memory and hard drive. Common sense would tell you to get a hard drive version if big storage is what you crave for, and flash if something small swings to your beat. More advanced models have integrated video inputs and support real time encoding, making them a potential VHS recorder replacement. Others have a similar feature set to a palmtop computer or PDA thanks to their operating system and application support. These portable media players are really more than just an mp3 player.
Most likely, a high-capacity, hard-drive-based player can accommodate every song you've ever purchased. Hard drives run from 10GB on up, and large players such as the 60GB Apple iPod can hold around 17,000 songs, assuming an average file size of 3.5MB per tune.
Display
Most MP3 players display title and artist information about the song that's playing. Most have a backlit LCD for reading in the dark. Many high-end hard disk players have a colour TFT LCD screen for song info and for viewing your digital photos.
Storage Space
MP3 players have good storage capacity and we can store audio files according to their memory capacity. The following are some of the standard memory units used by most of the players.
Battery
Hard disk MP3 players have a rechargeable lithium-ion battery, which typically last up to four years, though this varies from make to make. Other types of player use AA or AAA batteries, and some have an internal rechargeable cell.
Key features:-
• If the intention is for the MP3 player to double as a mass storage device as well, it makes sense to get a player with a built-in USB jack.
• There are huge differences between mp3 players in terms of size and weight. Players range in weight from around 40 grams for small integrated memory players to over 300 grams for a large multimedia player.
• What's the battery life like? Batteries would ultimately have to be replaced in the end. So it's best to buy an MP3 player with a long playback time. A good bet would be in the realm of 18 hours or more. Sony's MP3 players are renown for a rated battery life of up to 50 hours.
• A remote control offers usability advantages, especially for hard drive and multimedia players which are usually impractical to take in and out of your pocket. The remote controls for MP3 players can either be compact and limited to just the essential functions, or feature rich and equipped with a small LCD screen displaying track information.
Optional Extras
• Radio: FM radio reception is more common on Flash MP3 players than in the more common hard-drive models. Some even feature FM recording and presets.
• Remote control: A control area in the middle of the headphone cord is useful for larger hard disk MP3 players that you can keep in a bag. Some players come with a infra-red card remote control
• Voice record: Some MP3 players have a small internal microphone - great for conversations or lectures, but not for high-quality music recording. These can be used as dicta-phones. The analog voice is compressed in any of the audio compression formats and stored in the player.
ABOUT THE AUTHOR
Though the first MP3 player used flash memory, it was the hard drive that really drove the digital audio player up the ranks of the digital jukeboxes. The cost per megabyte for hard drives today is still far cheaper than flash memory.
MP3 players come in two major storage flavors--flash memory and hard drive. Common sense would tell you to get a hard drive version if big storage is what you crave for, and flash if something small swings to your beat. More advanced models have integrated video inputs and support real time encoding, making them a potential VHS recorder replacement. Others have a similar feature set to a palmtop computer or PDA thanks to their operating system and application support. These portable media players are really more than just an mp3 player.
Most likely, a high-capacity, hard-drive-based player can accommodate every song you've ever purchased. Hard drives run from 10GB on up, and large players such as the 60GB Apple iPod can hold around 17,000 songs, assuming an average file size of 3.5MB per tune.
Display
Most MP3 players display title and artist information about the song that's playing. Most have a backlit LCD for reading in the dark. Many high-end hard disk players have a colour TFT LCD screen for song info and for viewing your digital photos.
Storage Space
MP3 players have good storage capacity and we can store audio files according to their memory capacity. The following are some of the standard memory units used by most of the players.
Battery
Hard disk MP3 players have a rechargeable lithium-ion battery, which typically last up to four years, though this varies from make to make. Other types of player use AA or AAA batteries, and some have an internal rechargeable cell.
Key features:-
• If the intention is for the MP3 player to double as a mass storage device as well, it makes sense to get a player with a built-in USB jack.
• There are huge differences between mp3 players in terms of size and weight. Players range in weight from around 40 grams for small integrated memory players to over 300 grams for a large multimedia player.
• What's the battery life like? Batteries would ultimately have to be replaced in the end. So it's best to buy an MP3 player with a long playback time. A good bet would be in the realm of 18 hours or more. Sony's MP3 players are renown for a rated battery life of up to 50 hours.
• A remote control offers usability advantages, especially for hard drive and multimedia players which are usually impractical to take in and out of your pocket. The remote controls for MP3 players can either be compact and limited to just the essential functions, or feature rich and equipped with a small LCD screen displaying track information.
Optional Extras
• Radio: FM radio reception is more common on Flash MP3 players than in the more common hard-drive models. Some even feature FM recording and presets.
• Remote control: A control area in the middle of the headphone cord is useful for larger hard disk MP3 players that you can keep in a bag. Some players come with a infra-red card remote control
• Voice record: Some MP3 players have a small internal microphone - great for conversations or lectures, but not for high-quality music recording. These can be used as dicta-phones. The analog voice is compressed in any of the audio compression formats and stored in the player.
ABOUT THE AUTHOR
Vinay ChoubeyContent Writer
For more details on MP3 Player visit us at, www.ShoppingSoLow.comFor information about colleges in India visit; www.FindCollegesIndia.com
How Jumping Higher Will Ruin Your Game
There are many ingredients that are required to become a solid basketball player. The total player is a combination of knowledge, skill, and work ethic. Today's player often looks for a short cut along the way. Ask any good player at the college level about short cuts and they'll laugh at you. Yet, many players get trapped into gimmicks that promise great results. One of these is increasing your ability to jump. Unfortunately, every second spent on become a fantastic leaper will rob you from being the player you need to be.
One fundamental truth has remained the same for many years and is very evident today. There is one and only one path to becoming a good basketball player. Hard work! This truth has been proved over and over for the past century and remains a proven template for basketball players.
Young people are besieged by products, gimmicks and advertising that proclaim secrets to success. Our society as a whole would rather use the drive up window to pick up dinner than get out of the car. Our world attempts to take every task and make it easier. Certainly there are benefits of the microwave oven and more efficient cars. The problem lies in an athlete's approach to athletic success as they grow up in this fast food world.
I am often amused by the ads for jumping shoes or machines. These ads claim incredible results and rapid increase in vertical jump. I don't doubt that these products and claims are legitimate and sound. What strikes me about it is that jumping is one of dozens of skills a player must have to excel or just to reach his potential. Of these dozens of skills, I would rate explosive jumping ability at the bottom of the list.
The following list will explain why players waste their time pursuing the goal to be a great jumper.
1. Joey Johnson is a household name in basketball, isn't he? No, of course he isn't. In fact, I doubt whether you've ever heard of him. I saw video of Joey in high school and he is probably the greatest leaper in the history of high school and college basketball. His problem was that jumping defined his game and led to average ball skills, knowledge, and shooting ability. Show me a player who is described as a great leaper and I'll bet the rest of his game is lacking.
2. In my 18 year college coaching career I recruited hundreds of players. Not one of them was recruited because of his jumping ability. Unfortunately, I saw many players who could jump but could not play and never made it to the college basketball arena.
3. Steve Nash has been the NBA's MVP for the past two seasons because he knows how to play and has an incredible desire for the game. You won't see him on the list of great leapers anytime soon.
4. According to fans of the game, leaping ability will enhance rebounding and shot blocking ability. This is a fallacy. Great rebounders will tell you that position, balance and lower body strength are the keys to getting the ball around the basket. Charles Barkley proved that for years at Auburn and in the NBA. The art of shot blocking is one of the most overrated skills a player could have because most blocked shots end up out of bounds.
5. Developing into a good player is still about passing, dribbling, and shooting. If this is the case, why does todays player work so much on dunking the basketball.
What is most disturbing about young players is their inability to grasp the true elements of the game that need attention daily. If a young man wants to increase his jumping ability I'm all for it. Too often, though, it comes at the expense of working on the fundamentals of the game. Good players have balance and have mastered the pivot. They can handle the ball in every game situation without turnovers. They don't leave the floor to pass and make sure passes that arrive safely at their destination. Shooting is worked on daily hundreds of shots at a time. The good player is a devoted viewer of video tape to critically analyze his own game and how it can be improved. Footwork is an anchor for all good players and must be worked on daily. Reading screens, penetrating, sealing to rebound, cutting, and communication are cornerstones of the game.
Players become good because they have a game plan and put that plan in action. Hard work is the only thing between any player and the end result. Today, just being a good high school player does not guarantee a college scholarship. Hundreds of excellent, hard working players are passed up every year for the opportunity to play in college. If your goal is to become the best high school player you can be, then go for it. If college basketball is your desireBusiness Management Articles, set a goal and persevere until your goal is reached. Work only on the skills that will truly make you better. Avoid the quick fix method to basketball success. The temptation is there for those who are not willing to work for their goals and dreams. Stay true to yourself and work your dream everyday.
ABOUT THE AUTHOR
Randy Brown has dedicated his life to the game of basketball. His 18 years in college basketball highlights a successful 23-year career. Coaching positions at Arizona, Iowa State, Marquette, Drake, and Miami of Ohio fill his resume. Mentored by Basketball Hall of Fame coach Lute Olson at Arizona, he learned the game from the best. At 39, Randy became the head coach at Division I Stetson University in Deland, Florida. His efforts have helped develop 12 NBA players including Steve Kerr, Sean Elliott, and Jaamal Tinsley. His passion for mentoring young coaches and developing youth programs is known and respected throughout the country. Over the years he has authored over 50 articles on coaching basketball and has taught over 24,000 young players in summer camps and clinics. He works as a basketball consultant and mentor for coaches. He is also an author and public speaker. For free articles and questions, Randy can be reached at coachrandybrown@yahoo.com.
One fundamental truth has remained the same for many years and is very evident today. There is one and only one path to becoming a good basketball player. Hard work! This truth has been proved over and over for the past century and remains a proven template for basketball players.
Young people are besieged by products, gimmicks and advertising that proclaim secrets to success. Our society as a whole would rather use the drive up window to pick up dinner than get out of the car. Our world attempts to take every task and make it easier. Certainly there are benefits of the microwave oven and more efficient cars. The problem lies in an athlete's approach to athletic success as they grow up in this fast food world.
I am often amused by the ads for jumping shoes or machines. These ads claim incredible results and rapid increase in vertical jump. I don't doubt that these products and claims are legitimate and sound. What strikes me about it is that jumping is one of dozens of skills a player must have to excel or just to reach his potential. Of these dozens of skills, I would rate explosive jumping ability at the bottom of the list.
The following list will explain why players waste their time pursuing the goal to be a great jumper.
1. Joey Johnson is a household name in basketball, isn't he? No, of course he isn't. In fact, I doubt whether you've ever heard of him. I saw video of Joey in high school and he is probably the greatest leaper in the history of high school and college basketball. His problem was that jumping defined his game and led to average ball skills, knowledge, and shooting ability. Show me a player who is described as a great leaper and I'll bet the rest of his game is lacking.
2. In my 18 year college coaching career I recruited hundreds of players. Not one of them was recruited because of his jumping ability. Unfortunately, I saw many players who could jump but could not play and never made it to the college basketball arena.
3. Steve Nash has been the NBA's MVP for the past two seasons because he knows how to play and has an incredible desire for the game. You won't see him on the list of great leapers anytime soon.
4. According to fans of the game, leaping ability will enhance rebounding and shot blocking ability. This is a fallacy. Great rebounders will tell you that position, balance and lower body strength are the keys to getting the ball around the basket. Charles Barkley proved that for years at Auburn and in the NBA. The art of shot blocking is one of the most overrated skills a player could have because most blocked shots end up out of bounds.
5. Developing into a good player is still about passing, dribbling, and shooting. If this is the case, why does todays player work so much on dunking the basketball.
What is most disturbing about young players is their inability to grasp the true elements of the game that need attention daily. If a young man wants to increase his jumping ability I'm all for it. Too often, though, it comes at the expense of working on the fundamentals of the game. Good players have balance and have mastered the pivot. They can handle the ball in every game situation without turnovers. They don't leave the floor to pass and make sure passes that arrive safely at their destination. Shooting is worked on daily hundreds of shots at a time. The good player is a devoted viewer of video tape to critically analyze his own game and how it can be improved. Footwork is an anchor for all good players and must be worked on daily. Reading screens, penetrating, sealing to rebound, cutting, and communication are cornerstones of the game.
Players become good because they have a game plan and put that plan in action. Hard work is the only thing between any player and the end result. Today, just being a good high school player does not guarantee a college scholarship. Hundreds of excellent, hard working players are passed up every year for the opportunity to play in college. If your goal is to become the best high school player you can be, then go for it. If college basketball is your desireBusiness Management Articles, set a goal and persevere until your goal is reached. Work only on the skills that will truly make you better. Avoid the quick fix method to basketball success. The temptation is there for those who are not willing to work for their goals and dreams. Stay true to yourself and work your dream everyday.
ABOUT THE AUTHOR
Randy Brown has dedicated his life to the game of basketball. His 18 years in college basketball highlights a successful 23-year career. Coaching positions at Arizona, Iowa State, Marquette, Drake, and Miami of Ohio fill his resume. Mentored by Basketball Hall of Fame coach Lute Olson at Arizona, he learned the game from the best. At 39, Randy became the head coach at Division I Stetson University in Deland, Florida. His efforts have helped develop 12 NBA players including Steve Kerr, Sean Elliott, and Jaamal Tinsley. His passion for mentoring young coaches and developing youth programs is known and respected throughout the country. Over the years he has authored over 50 articles on coaching basketball and has taught over 24,000 young players in summer camps and clinics. He works as a basketball consultant and mentor for coaches. He is also an author and public speaker. For free articles and questions, Randy can be reached at coachrandybrown@yahoo.com.
MP3 Players - Buying Guideline
The articles describes the main types of MP3 player and some guiding points of choosing an MP3 player: which are the main features of an MP3 player, what should one pay attention to when choosing a player and other issues.
MP3 is today one of the most popular acronyms, the complete name of which not many know. At the same time it is the most popular audio formats for the time of traveling. Many, many people buy new MP3 players and get rid of their old CD MP3 players. Why does this happen? Because the new players, based on flash cards, mini hard disks or had disks are more 'portable' and in most cases are able storing more information, i.e. more music and more hours listening to your favorite tracks.
So what should one pay attention to, when buying an MP3 player? There's actually not much to know about, but there are some key moments everyone should mind.
There are three main types of MP3 players, which are distinguished by the type of storage they have:
* Flash-based;
* MicroDrive-based;
* HDD-based.
A Flash-based MP3 player means the gadget has an integrated flash memory with a fixed amount of memory. However, some devices are equipped with a slot for additional flash cards of a certain type, whether SD (Secure Digital), MMC (MultiMedia Card) or any other multimedia flash cards, compatible with MP3 players.
The storage of such gadgets starts with 128 megabytes (this is not the minimum of a flash card, but having less megabytes is absolutely useless for an MP3 player). This is however very little for today and it is a rarity. You can only store about 20-30 files (depending on the quality and length of the tracks). Maximum storage is limited only to what the manufacturer of the player limits it to. On the other hand the storage is limited to the capacity the gadget is able to read. For example today many manufacturers start producing 8 GB and more Secure Digital flash cards, which would not be read by every device. So when buying any device with flash cards slot, be aware of what is the storage limit of the gadget.
Such a device would be perfect for working out, as there are no movable parts within and the player doesn't need any buffering, as the old CD players did.
An MP3 player with a Micro Drive will store, in most of the cases, more files, i.e. up to 6-10 gigabytes, but the ability to store files is more convenient, and it would be rather enough to have all the favorite tunes at hand.
HDD-based MP3 players are able storing a great amount of files, which is actually not that necessary. A person can hardly have so much favorite music: such a gadget can store from 20 to 60 gigabytes. This is rather much for a media player, which is able to play only audio files. Yet there are players, like iPods, which can playback video files and show them on the small screen. This function of the media player is rather useful for traveling long distances.
Since the HDD and the Micro Drive based players are actually based on hard drives, it is strongly not advisable to use them during workouts, as there are movable parts inside the hard drives and they could be damaged when shaken.
All the MP3 players, whatever their storage is, have a USB compatibility with the PC, as there should be a place to copy music from. However, some players are able downloading music from the internet via a wireless connection.
It should be also taken into consideration the power supply of the gadget: the flash-based devices will be delivered with disposable batteries, mainly AAA or AA (but a pair of rechargeable batteries can be always found), whereas the other two types of players would be delivered mostly with a rechargeable battery, compatible only with this particular model.
Modern MP3 players are not limited only to playback of MP3 files, as some can also playback WMA files, audio tracks from WMV files, AAC files, and other formats. So be sure to find out he exact list of formats the player you chose can playback.
Be careful to choose a gadget, which suits your lifestyle. For example if you like to travel a lot, then a micro drive player (or even one with a HDD) is the one for you, because so you can store all your important files near you. But if you often work out and music is an important part of the exercise, the flash MP3s are right for you.
Once again, be careful what you choose. Even if an MP3 for someone is a small thing, keep in mind that small things build up you lifeHealth Fitness Articles, so be wise when you choose them.
ABOUT THE AUTHOR
The author of this article is supporting the new gadgets' site www.usb4ever.com, which is eShop for, but not limited to, USB-based gadgets.
MP3 is today one of the most popular acronyms, the complete name of which not many know. At the same time it is the most popular audio formats for the time of traveling. Many, many people buy new MP3 players and get rid of their old CD MP3 players. Why does this happen? Because the new players, based on flash cards, mini hard disks or had disks are more 'portable' and in most cases are able storing more information, i.e. more music and more hours listening to your favorite tracks.
So what should one pay attention to, when buying an MP3 player? There's actually not much to know about, but there are some key moments everyone should mind.
There are three main types of MP3 players, which are distinguished by the type of storage they have:
* Flash-based;
* MicroDrive-based;
* HDD-based.
A Flash-based MP3 player means the gadget has an integrated flash memory with a fixed amount of memory. However, some devices are equipped with a slot for additional flash cards of a certain type, whether SD (Secure Digital), MMC (MultiMedia Card) or any other multimedia flash cards, compatible with MP3 players.
The storage of such gadgets starts with 128 megabytes (this is not the minimum of a flash card, but having less megabytes is absolutely useless for an MP3 player). This is however very little for today and it is a rarity. You can only store about 20-30 files (depending on the quality and length of the tracks). Maximum storage is limited only to what the manufacturer of the player limits it to. On the other hand the storage is limited to the capacity the gadget is able to read. For example today many manufacturers start producing 8 GB and more Secure Digital flash cards, which would not be read by every device. So when buying any device with flash cards slot, be aware of what is the storage limit of the gadget.
Such a device would be perfect for working out, as there are no movable parts within and the player doesn't need any buffering, as the old CD players did.
An MP3 player with a Micro Drive will store, in most of the cases, more files, i.e. up to 6-10 gigabytes, but the ability to store files is more convenient, and it would be rather enough to have all the favorite tunes at hand.
HDD-based MP3 players are able storing a great amount of files, which is actually not that necessary. A person can hardly have so much favorite music: such a gadget can store from 20 to 60 gigabytes. This is rather much for a media player, which is able to play only audio files. Yet there are players, like iPods, which can playback video files and show them on the small screen. This function of the media player is rather useful for traveling long distances.
Since the HDD and the Micro Drive based players are actually based on hard drives, it is strongly not advisable to use them during workouts, as there are movable parts inside the hard drives and they could be damaged when shaken.
All the MP3 players, whatever their storage is, have a USB compatibility with the PC, as there should be a place to copy music from. However, some players are able downloading music from the internet via a wireless connection.
It should be also taken into consideration the power supply of the gadget: the flash-based devices will be delivered with disposable batteries, mainly AAA or AA (but a pair of rechargeable batteries can be always found), whereas the other two types of players would be delivered mostly with a rechargeable battery, compatible only with this particular model.
Modern MP3 players are not limited only to playback of MP3 files, as some can also playback WMA files, audio tracks from WMV files, AAC files, and other formats. So be sure to find out he exact list of formats the player you chose can playback.
Be careful to choose a gadget, which suits your lifestyle. For example if you like to travel a lot, then a micro drive player (or even one with a HDD) is the one for you, because so you can store all your important files near you. But if you often work out and music is an important part of the exercise, the flash MP3s are right for you.
Once again, be careful what you choose. Even if an MP3 for someone is a small thing, keep in mind that small things build up you lifeHealth Fitness Articles, so be wise when you choose them.
ABOUT THE AUTHOR
The author of this article is supporting the new gadgets' site www.usb4ever.com, which is eShop for, but not limited to, USB-based gadgets.
Thursday, May 3, 2007
Reimyo CDP-777 CD Player
The first thing I noticed about the Reimyo CDP-777 CD player was not its sleekly solid appearance nor, when I hit the Play button, its big, full, transparent sound. It was the price tag of $17,000 USD. That’s 17,000 big ones. Or 1700 $10 bills. Or 850 twenties. Or, if you don’t like carrying duffle bags crammed with greenbacks, 170 hundreds.
In short, that’s a lot of loot for a single-box CD player without SACD or DVD-Audio capability, much less the rest of the alphabet soup of new media options. Yes, there’s upsampling, but no external power supply or other visible accoutrements common to upper-tier high-end equipment.
But sticker shock is something we audiophiles are used to in the rarified reaches of our hobby, and the Reimyo’s not even at the top of the food chain. Burmester’s CD turntable-DAC combination goes for $57,000; the dCS Elgar DAC and upsampler are $23,000; Krell offers a $25,000 one-box CD player-preamp; and a handful of others weigh in above $17,000, including a Goldmund DVD/CD player-DAC combo whose $65,000 price should make it a popular item among Colombian drug lords.
The Reimyo and its pedigree
The CDP-777’s high performance is the result of a collaboration among three powerhouses of Japanese audio who came together in something called High Tech Fusion. JVC contributed the transport mechanism and Extended K2 Processing, the signal-processing elements that subject 16-bit/44.1kHz, "Red Book" CDs to a 24-bit, 4x-oversampling D/A conversion rate to yield 705.6kHz. Design and assembly are by Kyodo Denshi, maker of high-precision measuring instruments. And Kazuo Kiuchi’s Combak Corporation contributed its resonance-control processes.
Kiuchi is one of the high end’s great gentlemen -- a diminutive, softspoken innovator with whose work I’ve been familiar for many years. His array of tuning devices was laughed at when they first landed on these shores. That was when distortion-causing resonances were thought best controlled through massive construction and/or expensive, space-eating panels strategically (and intrusively) placed on or in front of walls and furniture. His quarter-sized stick-on dots were thought to be off the wall until people put them on their walls (and their equipment) and discovered that they worked.
My first audio equipment review was of Kiuchi’s Harmonix RFA-78 Room Tuning Devices. That was back in 1993; for several years -- until my wife decided she no longer wanted her living-room walls to look as if they had measles -- the RFA-78s were both conversation pieces and a remarkably effective way to rid the listening room of unwanted resonances.
Most of the CDP-777’s parts, including the power transformer and circuit, were designed specifically for the player. The Reimyo package doesn’t come with an AC cord (what do you expect for $17,000?), but Combak recommends using the Harmonix X-DC Studio Master power cable, loaned to me for this review. A 2m length will run you only $1305; there’s no need to run to your local hardware store to get a Belden.
I mentioned the CDP-777’s "sleekly solid" looks. That description extends to its well-laid-out remote control, with a silver finish that matches the faceplate of the ’777, whose black side plates and top are broken by a centered window that slides back to reveal the disc bay. After a disc is slipped over the drive’s thick shaft, it’s secured with a neatly finished silver puck. Close the window and play. Forget the puck, and nothing will happen other than a bright "Err" notice on the display.
The front panel is logically laid out, with all the usual suspects in their usual places, but with the added convenience for armchair dwellers of LEDs above key buttons that light up when that function is turned on. The display indicates not only track number but index number as well, harking back to digital’s early days, when tracks were often subdivided. And despite the unit’s thick chassis and rigid aluminum plating, its 33-pound weight shouldn’t cause undue back or groin strains.
Having recently spent time with CD players that triple as video and SACD players, I found the CDP-777’s rear panel refreshingly clean. In place of the puzzling multiple-choice hookup options are balanced and unbalanced analog outputs, digital coaxial and BNC output pins, and the power-cord receptacle. The CDP-777 also comes with a manual that’s as well-thought-out as any I’ve seen. In text and diagrams, it tells you all you need to know about operating the unit, and it’s in understandable English, with none of those ugly translations that drive party humor ("Listen to this line, guys . . . "), and no tech gibberish that only a PhD candidate can figure out.
Setup
I wasn’t prepared for a long break-in period for the CDP-777 -- its importers, May Audio Marketing, said the sample on its way to me had been in use for a while. But the time that unit spent in transit, then sitting snug in its carton waiting for me to finish another review, meant that, once installed in my equipment rack, my review sample sounded decidedly underwhelming, its tonal balance tipped up with a shrill mid-treble. Continuous run-in brought it closer to expectations, and supporting it on Harmonix footers yielded an improvement that was later trumped by installing the Harmonix power cable, which eliminated any system noise and further tamed the treble.
I listened to the CDP-777 through the Wyetech Opal preamplifier, Jadis JA-80 monoblock power amps modified with Siltech internal wiring, and the Von Schweikert VR4 Gen II speakers, replaced in mid-review by the latest model, the VR4 Gen III SEs. Wiring consisted of the Siltech Classic SQ110 interconnects and LS188 speaker cables, which have proven outstanding in keeping noise below audible levels and delivering well-balanced sound with flawless timbral integrity.
Sound
My listening sessions consisted of a variety of CDs new and old, ranging from vintage historical reissues to state-of-the-art audiophile favorites, and included a wide range of classical music, jazz, and blues. I spent considerable time just getting accustomed to the CDP-777’s sound; only after I felt thoroughly familiar with it did I move from listening for pleasure to focusing on selected items, pen and notebook in hand.
The first thing that caught my attention was the wall of sound thrown by the Reimyo. This player projected life-sized images. When I played JVC’s CD reissue of the 1959 Mohr-Layton RCA "shaded dog" LP [LSC-2341] of Saint-Saëns’ Symphony 3 [JMCXR0002], the Boston Symphony had a tactile, wall-to-wall presence in my room. That huge orchestral picture was staggering; so, too, was the way the Boston strings positively glowed with warmth in the poco adagio, and the heretofore unsuspected range of organ colors in the last movement. There was no exaggeration of the organ vis-à-vis the orchestra, and as the movement progressed, the passage with two pianos was well-detailed and scaled just right -- the pianos embedded within the orchestra, not in front of it.
If the Saint-Saëns sounded a bit better than my 1S/1S copy of LSC-2341, JVC’s new reissue of Solti and the Chicago Symphony’s recording of Stravinsky’s Rite of Spring [JVCXR0225] turned out to be far superior to the London LP [CS6885]. This analog fancier found JVC’s XRCD transfers equal to or better than the original LPs without falsifying the originals, and in this instance the Decca bass is still not ideally defined (though improved over previous releases). But what this disc drove home was the Reimyo’s ability to reproduce complex orchestral passages with unusual transparency and detail. I could also clearly hear the different microphone techniques employed by the RCA engineers and their Decca counterparts.
Being able to hear more deeply into the music can change one’s estimation of a performance. I used to think Solti’s Rite exciting but not among my favorites. I had to revise my judgment after hearing the JVC reissue through the CDP-777, with its huge dynamic range and transparency. For the first time, I was able to connect with Solti’s Rite on an emotional level.
That kind of visceral involvement was also present as I listened to a superb performance of Shostakovich’s Symphony 5 that’s in danger of being overlooked because it’s on a small import label and performed by a conductor and orchestra known to few on this side of the ocean: Oleg Caetani leading the Giuseppe Verdi Orchestra of Milan on a well-engineered CD [Arts 47668]. The CDP-777’s tight, extended bottom end did justice to the extraordinarily realistic balances captured by the engineers. Finally, in a Shostakovich recording, the cellos and basses hold their own against the violins, precisely as they do in the concert hall. Again, the Reimyo reproduced massed string sound that was warm, but with ample bite in the violins.
What convinced me that the CDP-777 was a truly special musical instrument was a brief passage in the Britten Violin Concerto [EMI 57510]. There’s a moment in the Vivace when Maxim Vengerov’s violin sings in its highest register; then, at about the three-minute mark, it’s joined by a solo flute for a brief duet. Through most CD players and/or systems it can be difficult to tell that not one but two instruments are playing; even when they go their separate ways, one needs to listen closely to distinguish them. But with the CDP-777 there was never any doubt -- the player’s separation and transparency allowed me to hear an effect I had previously heard only in the concert hall, one too often muddled even by good systems.
I often check on a new piece of equipment’s handling of recording flaws such as the relatively small one that slightly mars tenor Werner Güra’s Schumann song recital [Harmonia Mundi HM 901766]. He’s well-recorded, but there’s a sibilance that can be bothersome in some songs, such as "Im Rhein," from Schumann’s Dichterliebe, where s sounds, especially at the beginnings of words, sound disturbing through several models of CD player. Through the Reimyo, those sibilants were less intrusive -- and, as a bonus, Güra’s lovely lyric tenor was reproduced with greater weight and density, the voice surrounded by more room sound and air.
That observation held true for massed voices as well. A recent favorite is the superb set of Bach’s Leipzig Christmas Cantatas led by Philippe Herreweghe [Harmonia Mundi HM 8017181/82]. My pleasure was greatly enhanced by the three-dimensionality of solo voices, the tonal colors projected by the chorus, and the CDP-777’s transparency, which let me clearly hear each of the three high-voiced soloists in the "Suscepit Israel" section of the great Magnificat, and easily trace the lines of the fugue in "Sicut locutus," in the same work.
The CDP-777 displayed similar virtues with jazz and blues recordings. Playing Junior Wells’ Come On In This House [Telarc SACD-63395], it projected a wall of sound from the electric slide guitar, drum kit, and wailing small band. Listening through the CD layer, Wells’ piercing harmonica and gravelly voice were captivating, and the CDP-777’s deep, firm bass was especially welcome on the shuffle blues "Tin Goat," in which the acoustic string bass and visceral power of the drums made it hard not to bounce along with the band. Our British colleagues are fond of referring to "slam" as a defining characteristic of a unit’s rhythmic precision. The Reimyo had "slam."
It also had delicacy. Whether listening to Bill Evans’ live chamber jazz and delicate piano filigree on Sunday at the Village Vanguard [JVC JVCXR0051] or Sonny Rollins’ classic Way Out West [VICJ60088], I heard nuances I hadn’t been aware of through other players. The sheer variety of timbres produced by Shelly Manne’s cymbals and rim shots in "I’m an Old Cowhand" amazed me, and at the same time confirmed the Reimyo’s speed and ease with transients. So, too, the warm, fur-wrapped sound of Rollins’ tenor sax in "There Is No Greater Love" confirmed the accuracy of the CDP-777’s tonality. There as elsewhere, the Reimyo’s presence gave the illusion of watching Ray Brown’s fingers moving along the strings of his bass.
Any flaws? Perhaps just one, and it’s not really a flaw but an indication of the Reimyo’s extended frequency response and a neutrality that’s uncolored, accurate, and at times ruthless. On some early digital recordings -- those peddled at a time when the suits bragged about "perfect sound forever" -- mid-treble peaks were closer to chalk on a blackboard than LPs ever managed. Well, dig some of those out of the closet and you’ll hear the harshness and glare that more forgiving units gloss over. What you get with the Reimyo is the complete, unfalsified, unsweetened truth. As we all know, the truth can sometimes hurt.
http://www.ultraaudio.com/equipment/reimyo_cdp777.htm
In short, that’s a lot of loot for a single-box CD player without SACD or DVD-Audio capability, much less the rest of the alphabet soup of new media options. Yes, there’s upsampling, but no external power supply or other visible accoutrements common to upper-tier high-end equipment.
But sticker shock is something we audiophiles are used to in the rarified reaches of our hobby, and the Reimyo’s not even at the top of the food chain. Burmester’s CD turntable-DAC combination goes for $57,000; the dCS Elgar DAC and upsampler are $23,000; Krell offers a $25,000 one-box CD player-preamp; and a handful of others weigh in above $17,000, including a Goldmund DVD/CD player-DAC combo whose $65,000 price should make it a popular item among Colombian drug lords.
The Reimyo and its pedigree
The CDP-777’s high performance is the result of a collaboration among three powerhouses of Japanese audio who came together in something called High Tech Fusion. JVC contributed the transport mechanism and Extended K2 Processing, the signal-processing elements that subject 16-bit/44.1kHz, "Red Book" CDs to a 24-bit, 4x-oversampling D/A conversion rate to yield 705.6kHz. Design and assembly are by Kyodo Denshi, maker of high-precision measuring instruments. And Kazuo Kiuchi’s Combak Corporation contributed its resonance-control processes.
Kiuchi is one of the high end’s great gentlemen -- a diminutive, softspoken innovator with whose work I’ve been familiar for many years. His array of tuning devices was laughed at when they first landed on these shores. That was when distortion-causing resonances were thought best controlled through massive construction and/or expensive, space-eating panels strategically (and intrusively) placed on or in front of walls and furniture. His quarter-sized stick-on dots were thought to be off the wall until people put them on their walls (and their equipment) and discovered that they worked.
My first audio equipment review was of Kiuchi’s Harmonix RFA-78 Room Tuning Devices. That was back in 1993; for several years -- until my wife decided she no longer wanted her living-room walls to look as if they had measles -- the RFA-78s were both conversation pieces and a remarkably effective way to rid the listening room of unwanted resonances.
Most of the CDP-777’s parts, including the power transformer and circuit, were designed specifically for the player. The Reimyo package doesn’t come with an AC cord (what do you expect for $17,000?), but Combak recommends using the Harmonix X-DC Studio Master power cable, loaned to me for this review. A 2m length will run you only $1305; there’s no need to run to your local hardware store to get a Belden.
I mentioned the CDP-777’s "sleekly solid" looks. That description extends to its well-laid-out remote control, with a silver finish that matches the faceplate of the ’777, whose black side plates and top are broken by a centered window that slides back to reveal the disc bay. After a disc is slipped over the drive’s thick shaft, it’s secured with a neatly finished silver puck. Close the window and play. Forget the puck, and nothing will happen other than a bright "Err" notice on the display.
The front panel is logically laid out, with all the usual suspects in their usual places, but with the added convenience for armchair dwellers of LEDs above key buttons that light up when that function is turned on. The display indicates not only track number but index number as well, harking back to digital’s early days, when tracks were often subdivided. And despite the unit’s thick chassis and rigid aluminum plating, its 33-pound weight shouldn’t cause undue back or groin strains.
Having recently spent time with CD players that triple as video and SACD players, I found the CDP-777’s rear panel refreshingly clean. In place of the puzzling multiple-choice hookup options are balanced and unbalanced analog outputs, digital coaxial and BNC output pins, and the power-cord receptacle. The CDP-777 also comes with a manual that’s as well-thought-out as any I’ve seen. In text and diagrams, it tells you all you need to know about operating the unit, and it’s in understandable English, with none of those ugly translations that drive party humor ("Listen to this line, guys . . . "), and no tech gibberish that only a PhD candidate can figure out.
Setup
I wasn’t prepared for a long break-in period for the CDP-777 -- its importers, May Audio Marketing, said the sample on its way to me had been in use for a while. But the time that unit spent in transit, then sitting snug in its carton waiting for me to finish another review, meant that, once installed in my equipment rack, my review sample sounded decidedly underwhelming, its tonal balance tipped up with a shrill mid-treble. Continuous run-in brought it closer to expectations, and supporting it on Harmonix footers yielded an improvement that was later trumped by installing the Harmonix power cable, which eliminated any system noise and further tamed the treble.
I listened to the CDP-777 through the Wyetech Opal preamplifier, Jadis JA-80 monoblock power amps modified with Siltech internal wiring, and the Von Schweikert VR4 Gen II speakers, replaced in mid-review by the latest model, the VR4 Gen III SEs. Wiring consisted of the Siltech Classic SQ110 interconnects and LS188 speaker cables, which have proven outstanding in keeping noise below audible levels and delivering well-balanced sound with flawless timbral integrity.
Sound
My listening sessions consisted of a variety of CDs new and old, ranging from vintage historical reissues to state-of-the-art audiophile favorites, and included a wide range of classical music, jazz, and blues. I spent considerable time just getting accustomed to the CDP-777’s sound; only after I felt thoroughly familiar with it did I move from listening for pleasure to focusing on selected items, pen and notebook in hand.
The first thing that caught my attention was the wall of sound thrown by the Reimyo. This player projected life-sized images. When I played JVC’s CD reissue of the 1959 Mohr-Layton RCA "shaded dog" LP [LSC-2341] of Saint-Saëns’ Symphony 3 [JMCXR0002], the Boston Symphony had a tactile, wall-to-wall presence in my room. That huge orchestral picture was staggering; so, too, was the way the Boston strings positively glowed with warmth in the poco adagio, and the heretofore unsuspected range of organ colors in the last movement. There was no exaggeration of the organ vis-à-vis the orchestra, and as the movement progressed, the passage with two pianos was well-detailed and scaled just right -- the pianos embedded within the orchestra, not in front of it.
If the Saint-Saëns sounded a bit better than my 1S/1S copy of LSC-2341, JVC’s new reissue of Solti and the Chicago Symphony’s recording of Stravinsky’s Rite of Spring [JVCXR0225] turned out to be far superior to the London LP [CS6885]. This analog fancier found JVC’s XRCD transfers equal to or better than the original LPs without falsifying the originals, and in this instance the Decca bass is still not ideally defined (though improved over previous releases). But what this disc drove home was the Reimyo’s ability to reproduce complex orchestral passages with unusual transparency and detail. I could also clearly hear the different microphone techniques employed by the RCA engineers and their Decca counterparts.
Being able to hear more deeply into the music can change one’s estimation of a performance. I used to think Solti’s Rite exciting but not among my favorites. I had to revise my judgment after hearing the JVC reissue through the CDP-777, with its huge dynamic range and transparency. For the first time, I was able to connect with Solti’s Rite on an emotional level.
That kind of visceral involvement was also present as I listened to a superb performance of Shostakovich’s Symphony 5 that’s in danger of being overlooked because it’s on a small import label and performed by a conductor and orchestra known to few on this side of the ocean: Oleg Caetani leading the Giuseppe Verdi Orchestra of Milan on a well-engineered CD [Arts 47668]. The CDP-777’s tight, extended bottom end did justice to the extraordinarily realistic balances captured by the engineers. Finally, in a Shostakovich recording, the cellos and basses hold their own against the violins, precisely as they do in the concert hall. Again, the Reimyo reproduced massed string sound that was warm, but with ample bite in the violins.
What convinced me that the CDP-777 was a truly special musical instrument was a brief passage in the Britten Violin Concerto [EMI 57510]. There’s a moment in the Vivace when Maxim Vengerov’s violin sings in its highest register; then, at about the three-minute mark, it’s joined by a solo flute for a brief duet. Through most CD players and/or systems it can be difficult to tell that not one but two instruments are playing; even when they go their separate ways, one needs to listen closely to distinguish them. But with the CDP-777 there was never any doubt -- the player’s separation and transparency allowed me to hear an effect I had previously heard only in the concert hall, one too often muddled even by good systems.
I often check on a new piece of equipment’s handling of recording flaws such as the relatively small one that slightly mars tenor Werner Güra’s Schumann song recital [Harmonia Mundi HM 901766]. He’s well-recorded, but there’s a sibilance that can be bothersome in some songs, such as "Im Rhein," from Schumann’s Dichterliebe, where s sounds, especially at the beginnings of words, sound disturbing through several models of CD player. Through the Reimyo, those sibilants were less intrusive -- and, as a bonus, Güra’s lovely lyric tenor was reproduced with greater weight and density, the voice surrounded by more room sound and air.
That observation held true for massed voices as well. A recent favorite is the superb set of Bach’s Leipzig Christmas Cantatas led by Philippe Herreweghe [Harmonia Mundi HM 8017181/82]. My pleasure was greatly enhanced by the three-dimensionality of solo voices, the tonal colors projected by the chorus, and the CDP-777’s transparency, which let me clearly hear each of the three high-voiced soloists in the "Suscepit Israel" section of the great Magnificat, and easily trace the lines of the fugue in "Sicut locutus," in the same work.
The CDP-777 displayed similar virtues with jazz and blues recordings. Playing Junior Wells’ Come On In This House [Telarc SACD-63395], it projected a wall of sound from the electric slide guitar, drum kit, and wailing small band. Listening through the CD layer, Wells’ piercing harmonica and gravelly voice were captivating, and the CDP-777’s deep, firm bass was especially welcome on the shuffle blues "Tin Goat," in which the acoustic string bass and visceral power of the drums made it hard not to bounce along with the band. Our British colleagues are fond of referring to "slam" as a defining characteristic of a unit’s rhythmic precision. The Reimyo had "slam."
It also had delicacy. Whether listening to Bill Evans’ live chamber jazz and delicate piano filigree on Sunday at the Village Vanguard [JVC JVCXR0051] or Sonny Rollins’ classic Way Out West [VICJ60088], I heard nuances I hadn’t been aware of through other players. The sheer variety of timbres produced by Shelly Manne’s cymbals and rim shots in "I’m an Old Cowhand" amazed me, and at the same time confirmed the Reimyo’s speed and ease with transients. So, too, the warm, fur-wrapped sound of Rollins’ tenor sax in "There Is No Greater Love" confirmed the accuracy of the CDP-777’s tonality. There as elsewhere, the Reimyo’s presence gave the illusion of watching Ray Brown’s fingers moving along the strings of his bass.
Any flaws? Perhaps just one, and it’s not really a flaw but an indication of the Reimyo’s extended frequency response and a neutrality that’s uncolored, accurate, and at times ruthless. On some early digital recordings -- those peddled at a time when the suits bragged about "perfect sound forever" -- mid-treble peaks were closer to chalk on a blackboard than LPs ever managed. Well, dig some of those out of the closet and you’ll hear the harshness and glare that more forgiving units gloss over. What you get with the Reimyo is the complete, unfalsified, unsweetened truth. As we all know, the truth can sometimes hurt.
http://www.ultraaudio.com/equipment/reimyo_cdp777.htm
How To . . . Customize CD Player
If you are a mover and groover and just cannot live without that funky music while you are at your computer, you probably already know about Windows 98's CD Player. This handy tool gives multimedia-capable PCs the ability to play a compact disc directly from their CD-ROM drives.
But even the most funky PC users do not always realize that they can adjust the CD Player to fit their personal needs. So grab your favorite CD, pop it into the CD-ROM drive, start the CD Player, and get ready to jam. Launch CD Player by clicking Start, Programs, Accessories, Entertainment, and CD Player.
The Name Game.
CD Player lets you place all the important information from your CD's case into its memory. This means if you enter the name of the artist, the title of the CD, and all the song titles, the next time you pop in that CD, the information you input into the CD Player will reappear.
To enter your CD's information, select Edit Play List from the Disc menu. At the top of the CD Player: Disc Setting dialog box, type the artist's name and title of your CD. Then go to the Available Track section, which is a list of all the tracks on the CD you currently have in your CD-ROM drive, and click the first track. Next, go to the Track field at the bottom of the dialog box and highlight the field information. Type the song title and click the Set Name button. Continue to follow this process until you have entered the title for each song on your CD.
Setting A Play List.
Once you know what track stands for what song, go to the Play List section of the CD Player: Disc Setting dialog box. Here you also can easily change the order in which the CD Player plays your CD's songs. The Play List section contains the play order of the tracks on your CD. You can change this order by adding, deleting, or moving the tracks within the Play List.
•Add. To add a song to your Play List, either highlight a track by clicking it and then clicking the Add button, or highlight a track in the Available Tracks list and drag it to the Play List.
•Delete. To delete a track from the Play List, highlight it by clicking it, and then click Remove.
•Rearrange. You can reorder the tracks currently in the Play List by highlighting a track and then clicking and dragging it to its new position in the Play List.
If you do not like the new play order of your songs, click the Reset button to place the tracks in their original order.
Seeing Things.
The View menu in CD Player is the best way to customize your viewable options in the CD Player window. You can choose to show or hide the Toolbar, which includes buttons for the Track Time Remaining and Continuous Play commands; Disc/Track Info, which includes the name of the artist, title of the CD, and the song playing; and the Status Bar, which includes the number of minutes for the current track and the total play for the CD. To turn on one of these options, go to the View menu and select the option by putting a check by it; to turn it off repeat the process.
In addition, the View menu lets you choose whether you want to view the Track Time Elapsed, Track Time Remaining, or the Disc Time Remaining. You also have the option to change the Volume Control settings.
Everyday Use.
You can select the Preferences command from the Options menu to customize the everyday use of the CD Player. In the Preferences dialog box, you can choose to:
•Stop CD Playing On Exit, which means that any CD playing when you close the CD Player will stop playing.
•Save Setting On Exit, which means you want to save anything you change during your CD Player session.
•Show Tool Tips, which means you want to see the descriptions that pop up when you hold the cursor over a toolbar button.
To activate these options, click the box next to each one. To inactivate an option, click its box to uncheck it.
Finally, the Preferences dialog box even lets you change the amount of time CD Player pauses between tracks. You can change the Intro Play Length by typing the number of seconds you want it to pause, or by using the arrows in the field to increase or decrease the amount of time. It will not let you go below five seconds or above 15.
The CD Player has almost as many options as your home stereo. Go ahead and get comfortable. It will make your computing (and listening) experience more enjoyable.
http://www.smartcomputing.com/editorial/article.asp?article=articles/archive/l0504/9829/9829.asp&guid=
But even the most funky PC users do not always realize that they can adjust the CD Player to fit their personal needs. So grab your favorite CD, pop it into the CD-ROM drive, start the CD Player, and get ready to jam. Launch CD Player by clicking Start, Programs, Accessories, Entertainment, and CD Player.
The Name Game.
CD Player lets you place all the important information from your CD's case into its memory. This means if you enter the name of the artist, the title of the CD, and all the song titles, the next time you pop in that CD, the information you input into the CD Player will reappear.
To enter your CD's information, select Edit Play List from the Disc menu. At the top of the CD Player: Disc Setting dialog box, type the artist's name and title of your CD. Then go to the Available Track section, which is a list of all the tracks on the CD you currently have in your CD-ROM drive, and click the first track. Next, go to the Track field at the bottom of the dialog box and highlight the field information. Type the song title and click the Set Name button. Continue to follow this process until you have entered the title for each song on your CD.
Setting A Play List.
Once you know what track stands for what song, go to the Play List section of the CD Player: Disc Setting dialog box. Here you also can easily change the order in which the CD Player plays your CD's songs. The Play List section contains the play order of the tracks on your CD. You can change this order by adding, deleting, or moving the tracks within the Play List.
•Add. To add a song to your Play List, either highlight a track by clicking it and then clicking the Add button, or highlight a track in the Available Tracks list and drag it to the Play List.
•Delete. To delete a track from the Play List, highlight it by clicking it, and then click Remove.
•Rearrange. You can reorder the tracks currently in the Play List by highlighting a track and then clicking and dragging it to its new position in the Play List.
If you do not like the new play order of your songs, click the Reset button to place the tracks in their original order.
Seeing Things.
The View menu in CD Player is the best way to customize your viewable options in the CD Player window. You can choose to show or hide the Toolbar, which includes buttons for the Track Time Remaining and Continuous Play commands; Disc/Track Info, which includes the name of the artist, title of the CD, and the song playing; and the Status Bar, which includes the number of minutes for the current track and the total play for the CD. To turn on one of these options, go to the View menu and select the option by putting a check by it; to turn it off repeat the process.
In addition, the View menu lets you choose whether you want to view the Track Time Elapsed, Track Time Remaining, or the Disc Time Remaining. You also have the option to change the Volume Control settings.
Everyday Use.
You can select the Preferences command from the Options menu to customize the everyday use of the CD Player. In the Preferences dialog box, you can choose to:
•Stop CD Playing On Exit, which means that any CD playing when you close the CD Player will stop playing.
•Save Setting On Exit, which means you want to save anything you change during your CD Player session.
•Show Tool Tips, which means you want to see the descriptions that pop up when you hold the cursor over a toolbar button.
To activate these options, click the box next to each one. To inactivate an option, click its box to uncheck it.
Finally, the Preferences dialog box even lets you change the amount of time CD Player pauses between tracks. You can change the Intro Play Length by typing the number of seconds you want it to pause, or by using the arrows in the field to increase or decrease the amount of time. It will not let you go below five seconds or above 15.
The CD Player has almost as many options as your home stereo. Go ahead and get comfortable. It will make your computing (and listening) experience more enjoyable.
http://www.smartcomputing.com/editorial/article.asp?article=articles/archive/l0504/9829/9829.asp&guid=
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