Private individuals should dispose of household lithium batteries via appropriate recycling channels and should never place lithium batteries in the trash or general recycling due to safety concerns. Electronics recyclers or scrap/collection centers in your area can be found online. Certain grocery, home improvement, big box retail, and consumer electronics stores offer lithium battery recycling services. In addition, your local solid waste district may offer a lithium battery collection program or host regular collection events. The manufacturer of your electronic may also offer a mail-in program. Should you utilize a mail-in program, you must comply with all USPS (for USPS mail shipments) or DOT (for shipments with other carriers) requirements. The organizer of your mail-in program should provide you with the guidelines to ship in compliance with USPS and/or DOT requirements.
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An important step is that you have to test that you are getting resonance from the sound board you are paring down to. Put a string over the board and make sure it makes a clear and pleasant noise before you stop excavating out the back of your front piece. The thinner the board the more it will resonate but the more likely it is to break. I tend to go for around 4mm thick.
Now cut the Headstock at an angle - I reused the off cut to make the back of the headstock, just gluing it on. Because I was a little messy with the cutting I filled the front with a filler which should have matched but didn't Picture no 2 is of a headstock on one of my other Ukes where I used a slightly more aggressive angle - a second piece of wood and a face plate- for looks.
Now I add a nut to the front and mark out where the frets are supposed to be. It is important to get the height of the nut slots fairly close to what the height of the frets are. Too high and it is hard to play and too low and the strings touch the first fret and buzz. If you cut them too deep a bit of super-glue in the slot can help sort things out. (Remove string from slot first and replace it when glue is dry). Type"fret calculator" into the search engine of your choice to find the lengths you need. An accurate measure is a definite must here. with this short scale length, being only a quarter of a millimetre out will make it sound horrible. The tenor length Uke (440 mm scale length) is more forgiving. A small tip is to mark the sides a little as well as the top so you can see how the frets align with the marks after the fret is on top of the marks on the face of the fretboard.
I made these frets by splitting bamboo toothpicks, and scraping the back flat/ off further with a sharp stanley knife. It will be helpful if your frets are all the same thickness and cut to length before you glue them on. If you use super glue it helps to harden the frets so they do not split or wear down as quickly. This one is glued with standard white woodworkers glue.
Now make a bridge with small notches in it about 7 or 8 mm high. It will probably have to go a small amount further from the nut than originally planned as the tension in the strings increases as the string is pushed down to the fret and having the bridge further away compensates for this. I strung this uke tahitian style with 20lb (0.42mm) fishing line and tuned it to CFAD tuning with the top D being re-entrant - only a tone higher than the bottom C. The fingering is then identical to a standard ukulele only the chords are as if you were playing with a capo on the 5th fret ( 5 semitones higher). After a few more experimental models, I now go for a 27cm (11 inch) scale length on my sopranino ukes and tune them in octave over guitar tuning (DGBE) with the top d two octaves above the guitar using 40,60, 50 and 30 lb fishing line. This makes switching between guitar and my various Ukes a tiny bit easier on my old brain. Also here you can see a couple of other examples of where experimenting with these things can take you. The Hootowlele is made using almost exactly the same method as here but has a traditional fret board, a more decorative shape and a standard length, while the spongebob biscuit tin uke has the octave over guitar tuning. Acknowledgements and inspirations: The sunshiners from Vanuatu I like this guys work The guys on the Duckworks wood boat building Yahoo group/forum who provided lots info wood mangling, glue strengths, metal working and getting on with it over the years. These guys have a pile of info on their site as well: If there is a patron saint of home made musical instruments made from any and all available materials it is this dude: Found this instructable most useful -Tin-Banjo-Part-1--Make-a-Tuning-Peg-Hole-R/ If this guy can make a sopranino ukulele then so can I And of course the Ukulele Orchestra of Great Britain and Jake Shimabukuro. Don't want a Uke? Try a pocket violin pbutler/pochette.html
You can have as many frets as you like in theory. Physics says an infinite number but in practice it is usually much smaller. When playing I rarely use more than 5, and only then, when I am showing off. The more frets you have the more notes you can play. 12 frets would give you an octave on each string and this is pretty standard for ukuleles. Banjos can go up to about 26.
The neck is as thick as the scrap of wood i started with. Measured dimensions are 40 mm wide 15 mm thick The neck thickness is not really that important as the tension of nylon strings is not that great. On the fancier ukes I have made the thickness usually tapers from about 20 mm at the body down to 15 mm at the nut.
Situations are narrative or mechanical events that develop gradually rather than occurring immediately upon triggering. All situations have a progress bar, which typically goes from 0 to 100; by default situations start at 0, but some situations start at other points along the progress bar. The progress bar is split into one or more stages, which often represent the increasing effects of the situation and may also trigger events when first entered. In addition to events triggered by entering a stage, situations may also have random monthly events.
Shortly after the situation begins, Rogue Servitors receive the option to gain a Organic-Machine Interface Center feature, which adds +1 Bio-Assistant job and +1 more per 20 pops. After the situation ends, the Organic-Machine Interface Center feature is removed and the player can choose to gain 1000 alloys or add the Organic-Machine Interface Museum planet modifier, which gives +5% unity from Bio-Trophy jobs.
There are four stages to the Gravity Well situation, representing the approximate distance from the black hole's event horizon. Each stage provides increasing amounts of dark matter and physics research, but also increases the rate of progress, making it more likely for the starbase to be irretrievably caught by the black hole. The first stage, Static Limit, lasts until 50 progress; the second, Ergosphere, until 70 progress; the third, Accretion Disk, until 80 progress. When first entering the fourth and final stage, Point of No Return, the player receives a notification event as well.
The concept for FTL was based on tabletop board games and other non-strategic space combat video games that required the player to manage an array of ship's functions. The initial development by the two-man Subset Games was self-funded, and guided towards developing entries for various indie game competitions. With positive responses from the players and judges at these events, Subset opted to engage in a crowd-sourced Kickstarter campaign to finish the title, and succeeded in obtaining twenty times more than they had sought; the extra funds were used towards more professional art, music and in-game writing.
Waypoints may include stores (which may offer various systems, crew members, weapons, resources and other items in exchange for scrap), distress calls, hostile ship encounters or other various events. Hostile ships will frequently attack the player and force them to engage in combat. During battles, the game becomes a real-time space combat simulator in which the player can pause the game for situation evaluation and command input.
Their preliminary versions used primitive art assets to allow them to focus on the game. This helped them to realize that they were trying to help the player become invested in the characters they controlled, allowing their imagination to fill in what their graphics at the time could not.[8] Only as they neared the August 2011 Game Developers Conference in China after about six months of work, where they planned to submit FTL as part of the Independent Games Festival there, did they start focusing on the game's art.[9][12] The game was named as a finalist at the IGF China competition, leading to initial media exposure for the game.[13] PC Gamer magazine offered an early preview of the game that created more media interest in time for the Independent Games Festival at the March 2012 Games Developer Conference.[14] The OnLive cloud-based gaming service included FTL and other Independent Games Festival finalists for several weeks around the conference.[15] At the Festival, FTL was nominated for, though did not win, the Grand Prize and the Excellent in Design award; these accolades further helped spark interest in the game.[13] Davis considered that the game's involvement in these competitions were important to keep the game's development on a forward schedule, as judges and members of the press would be expecting playable prototypes of the completed title.[16] He believed that the publicity of being a part of these competitions, even if not as a nominated title, helped to garner interest in FTL by the larger public.[16] 2ff7e9595c
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