Anagram & Information om | Engelska ordet ECHOS

Exempel på hur man kan använda ECHOS i en mening

• This method is sensitive to transient signals which can cause echos, requiring some padding (50% in USAC) in the DFT.
• Investigators compared "impulse patterns" (suspected gunshots and associated echos) on the Dictabelt to 1978 test recordings of Carcano rifles fired in Dealey Plaza from the sixth floor of the Texas School Book Depository and from a stockade fence on the grassy knoll forward and to the right of the location of the presidential limousine.
• Summerhouse Kiosk providing refreshments and toilets, built in 2010 to a design that echos William Burges's summerhouse in the park.
• Variation effects include delays, echos, cross delays, early reflections, gate reverbs, reverse gate reverbs, rotary speakers, tremolo, auto-pan, phaser, distortion, overdrive, amp simulations, auto-wah, and equalizers.
• It indicated the echos by the numeral like πλα' for "plagios protos," while the neumes sung with the last syllable of the enechema were written above right to the numeral.
• The analysis of 94 Byzantine Chants performed by 4 singers showed a tendency of the singers to level theoretic particularities of the echos that stand out of the general norm in the octoechos.
• as a phthora which has its proper melos (intonation and cadence formulas), it may denote a special kind of echos (mode) that has been identified with the echos tritos (third mode) since the 16th century, but deviates from the later diatonic echos tritos by the division of its tonal system and its tetrachord.
• Mizutani supposedly used around "8 to 10" effects pedals, including tape echos, fuzz pedals, Big Muffs, and wah-wah pedals.
• Modern print editions of chant books have only a very few compositions (different melismatic echos varys realisations of , several Polyeleos compositions, the , the Mega Ison, the Anoixantaria) which are almost never sung, except the short Sunday koinonikon, for the very practical reason that most of Koukouzeles' compositions, at least based on the exegetic transcriptions by Chourmouzios Chartophylakos, are simply too long.
• Besides the use of "found sound" in the interlude section, and heavy use of reverb and echos, the song is notable for its use of flanging, the swept "whooshing" sound effect laid over the entire track, most prominently during the chorus sections.
• The echos of Zupan's vitalism and anticonformism can be seen in the works of the writer and essayist Marjan Rožanc, who reflected on Zupan in his 1983 novel-like essay Roman o knjigah (A Novel about Books).
• Ajikwu akpu isi bellowed out his fearsome shriek which thundered through the jungle in repeated echos that the verdue quivered in ominous pulses.
• The multipolarity reference echos deleted sections from the 1999 draft, where two contradictory tendencies were set out: at one end, a trend toward a unipolar world based on the domination of one superpower - clearly the United States - and the military resolution of key problems, and at the other, a tendency toward the formation of a multipolar world, based on the rule of international law and the equal rights of people and nations.
• Alternating between Ava's fantastic voyage in the swamp and Kiwi's struggle in his over-chilled dormitory room under The World of Darkness echos the inherent liminality of life in Florida, where land and water combine, weather and sea rise change the shapes of coasts, and the result of man-made canals and drainage projects are evident in historic droughts, invasive species and sink-holes.
• However, another poem in the collection, "Hymn brzucha" (The Hymn of the Belly), in which reverberate the echos of the terrible period of hunger experienced in Yeysk in 19171922, will mark the beginning, stylistically, of a post-Skamander stage in Łobodowski's creative journey.
• Exoteric (ἐξωτερική = "External") music meant the transcription of patriotic songs, opera arias, traditional music of the Mediterranean including Ottoman makam and Persian music, while esoteric (ἐσωτερική = "internal") pointed at the papadic tradition of using Round notation with the modal signatures of the eight modes, now interpreted as a simple pitch key without implying any cadential patterns of a certain echos.
• The seventh section is a collection of enechemata, which is very reduced in the 17th century redaction in comparison to earlier Papadikai—a troparion ἀνεβάς νεβὰν which memorizes always another echos with each verse, concludes the section.

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