To preserve the colony for King George III, the governor pleads with Jamie to bring the people together and restore peace. But Jamie has the burden of knowing that war cannot be avoided. Jamie Fraser knows from his time-traveling wife Claire that, no matter how unlikely it seems, America will win the Revolutionary War. But that truth offers little solace, since Jamie realizes he might find himself pointing a weapon directly at his own son - a young officer in the British army.
And Jamie isn't the only one with a tormented soul - for Claire may know who wins the conflict, but she certainly doesn't know whether or not her beloved Jamie survives. Hurtled back through time more than two hundred years to Scotland, Claire Randall finds herself caught in the midst of an unfamiliar world torn apart by violence, pestilence, and revolution and haunted by her growing feelings for a young soldier, James Fraser. It is June , and the world seems to be turning upside down. The British Army is withdrawing from Philadelphia, with George Washington in pursuit, and for the first time, it looks as if the rebels might actually win.
But for Claire Fraser and her family, there are even more tumultuous revolutions that have to be accommodated. Her former husband, Jamie, has returned from the dead, demanding to know why in his absence she married his best friend, Lord John Grey. The author presents a collection of seven short stories set in the Outlander universe, never before published together, including two original stories and featuring beloved character Jamie Fraser.
Joan MacKimmie is on her way to Paris to take up her vocation as a nun. Yet her decision is less a matter of faith than fear, for Joan is plagued by mysterious voices that speak of the future, and by visions that mark those about to die. The sanctuary of the nunnery promises respite from these unwanted visitations Her chaperone is Michael Murray, a young widower who, though he still mourns the death of his wife, finds himself powerfully drawn to his charge.
But a much deadlier threat lies close at hand. The governor is being menaced by zombies, according to a servant. If none of the terms listed in table 6. If the content type s applicable to the resource being described cannot be readily ascertained, record unspecified.
Sources: MARC 21 for bibliographic data and authority data. If more than one term is appropriate, give each term in a separate field OR use the term representing the predominant or most substantial content. Best practices for music cataloging : If deemed useful for identification and access, record content type s associated with accompanying material that is described in note. Also code a field. If a score contains significant textual matter e. Then, the same excerpt as it appears on our CD.
As a performer, he graced French orchestras until his solo career came to dominate his activities. His repertoire ranged from the baroque era well into the 20th century, including many works from major composers which he commissioned and premiered.
As a teacher, Moyse had hundreds of successful students, including Paula Robison, whose essay on Moyse is included in the program notes for this CD. His influence continues through his recordings and through his many books of flute instruction. It was issued in Japan as a memorial tribute to Richter shortly after his death and circulated only there for a very short time.
We are pleased to present this invaluable recording to a worldwide audience of Richter collectors for the first time. In order to serve the dual interests of quality and economy, we have decided to publish this recording in DVD Audio format. This format enables us to include the entire recording on a single affordable disc while maintaining maximum audio quality. The webpage also includes Bonus Tracks in several formats.
While most of them have been issued on LP or CD before, they have never all been available in one place. Further, they are now presented in splendid new transfers by Mark Obert-Thorn, who was able to locate copies of all of the originals including the ultra-scarce New Music Quarterly side. But all have become great rarities, and most of the original publications were filled out with extraneous material.
Many collectors will find this new edition worthwhile for the Ravel Concerto alone, but the other works are very substantial bonuses. Nick Pritchard of Metrosea. Occasionally these would be accompanied by special Punk-O-Rama tour sampler CDs that differed from the main.
Though a second volume was never published, the subsequent ninth and tenth albums in the compilation series included DVDs of music videos as well. In Epitaph announced the retirement of the Punk-O-Rama brand in favor of a new series titled Unsound ,  the less genre-specific title being more conducive to the label's expanding roster of musical styles.
However, only one compilation was published under the Unsound banner before that series was also discontinued. Featuring twelve bands from the label's roster, the album was the first installment in the Punk-O-Rama series which continued until Punk-O-Rama Vol.
This was the first entry to be released at a low price, so that it was more appealing for someone to buy to check out Epitaph's artists. A tour edition of this volume was released in conjunction with the Vans Warped Tour.
The artwork and track listing are slightly modified. The track listing is as follows:. This is the only entry to have a sub-title. All of the tracks were previously released except the first track, "Fight It" by Pennywise. This was the first entry to include bands from the Swedish Burning Heart Records label, which has its material distributed by Epitaph Records in North America.
The Rancid song "Poison" was a demo version of the song off their Rancid 5 record. This is the only entry in the series not to include a song by Bad Religion. Punk-O-Rama , Vol. The cover is a reference to a scene in the movie A Space Odyssey , as this was the release from the year Pennywise perform "We're Desperate" with Exene Cervenka , who is from X which is the band that originally performed the song.
It was released in This is the only entry in the series to be a two-disc by containing two CDs. Dramatic difference between what exactly? So, for example, some subjective findings on albums I have listened to numerous times across some or all of the above formats:.
Sea Change — Beck Blu Ray audio in 5. The above sample is to illustrate, at to my ears, that each format can have its day. It might be that hi-res i s better, it may not. It might actually be the fact that mastering is performed better on a specific HiRes album compared to its CD counterpart and not the technology per se.
Whem heard as a multichannel, without any surround added digital processing, as all have masterly recording and editing, there is simply no comparison even to the stereo high-res layer on some of them. Hearing the soundstage as captured the way the sound engineers wanted, with specific instruments in clearly different positions, and a sound so absolutely pure and of such range extension and at a high dynamic range, has no comparison possible to the experience of high-rez stereo, let alone a common cd.
Even on my simple, not expensive but high quality theater system the difference, the feeling of being in a central seat of a concert hall or church, with real sounds, echos recorded from the real acoustic of the place of recording, is an unsurpassed experience.
Is there bias? Sony never knew how to market their products, always the best. I do check the mastering I a file appears to be loud.
I like the SACD masterings as far as I have encountered them, as they appear not be touched by the loudness war. I was auditioning certain segments of the recording for which that kind of detail was important.
If that makes sense. You could construct a new double-blind test, then, with for example a segment of audio with lots of vocal esses or cymbals from drums, and see if people could tell the difference between 4-second clips. I once read an article that sought to explain why we were kidding ourselves that higher sampling rates allowed us to hear more of the song.
The author started out by talking about the human eye and the range of wavelengths that are detectable to it. He followed it up by showing that he pointed the sensor end of his television remote at the lens of his digital camera in a dark-as-he-could-get-it room, hit a button on the remote, took a picture with the camera then transferred it to his computer.
He compared it to a photo of the same dark room taken by the camera without any light. The photo where the remote was being activated was a blur of light. He did this to demonstrate that holding the remote to his eye and activating it in the dark room produced no effect, because his eye cannot detect that wavelength of light.
The camera did capture it though, because it was able to detect that wavelength, in addition to the regular wavelengths the eye can detect. He stated that we have yet to meet the human whose eyes are capable of detecting current, out-of-human range wavelengths.
He said it was no different with human ears. In best case ears, 22khz can be heard but beyond that, people cannot detect frequencies.Here’s a rear view of the stereo receiver and CD player with the many connections available. 3. Connect the audio output from your first source (a CD player, for instance) to an audio input on your receiver with your cables. The red cable will plug into the red holes, and the white cable will plug into the white holes.