![]() Activated hydrochar (AHC) was prepared by in situ chemical activation using ZnCl2 and MHTC. This work represents a facile method to prepare hydrochar (HC) from pomegranate peels’ waste using the microwave-assisted hydrothermal carbonization method (MHTC) at 200 ☌ for 1 h with a mass ratio of peel to water = 1:10. Several studies have reported that the hydrothermal carbonization method (HTC) of agricultural waste is able to produce a solid residue with interesting properties for the adsorption of organic pollutants from contaminated water. The main focus of this work is on the various methods used to synthesize these carbon materials from agricultural waste materials, and their important applications for energy storage devices, optoelectronics, biosensors, and polymer coatings. Many of the renewable sources are covered as focused here, such as sugar cane waste, pineapple, its solid biomass, rise husk, date palm, nicotine tabacum stems, lapsi seed stone, rubber-seed shell, coconut shell, and orange peels. This review explores the nanostructured carbon detailed investigation of sources and their relevant reports. They are synthesized via several methods, including pyrolysis, microwave method, hydrothermal synthesis, and chemical vapor deposition, and the use of renewable and cheaper agricultural feedstocks and reactants is increasing for reducing cost and simplifying production. According to their structures, carbon allotropes are classified as carbon nanodots, carbon nanoparticles, graphene, oxide, carbon nanotubes, and fullerenes. Nanostructured carbon materials are gaining importance due to their high surface area for application in the energy, biotechnology, biomedical, and environmental fields. Carbon materials are versatile in nature due to their unique and modifiable surface and ease of production. but that is all so clunky? You have to rewire the rig and set up Logic again every time you want to change something.ĭo you think the theatre world might use Mainstage as a more improved interface. once the show is programmed bounce the resulting audio and place in QLab. So the trick would be to run Logic with MTC (from QLab) and send multi channels of audio out through separate hardware. "now can we try that again with a quiet start this time" (in Logic it would indeed just take seconds to change on an interleaved surround file. Sadly my brief experience is that a director wants to try a music cue and whilst doing the technical run through "hear" for example the volume changing at the end of that cue. ![]() it sounds as if from your experience QLab isn't something that one might attempt to change volumes in whilst programming a show? indeed if anyone's got generally helpful thoughts about producing surround tracks with Logic for Q Lab, it would really be appreciated for the future. or does a command have to be programmed into each file individually? If that is the case is there a way to "group" say 5 audio channels and manipulate the over all volume with one control. Is it indeed the case that QLab won't handle interleaved surround audio files produced by Logic?Ģ. My questions if any clever person has experience with QLab are:ġ. it took as long to change as changing direction on the Titanic. every time the director wanted to simply hear a track lower or higher was a nightmare. The whole thing became a nightmare when the sound guy admitted he hadn't worked with Qlab before and every time we wanted to do a fade or change an audio level in my music track, we had to program in a change manually 5 times in order to control all 5 audio channels in QLab. I bounced my score out of Logic 9 as discreet 5.1 surround spilt audio files - and threw away the central audio file (told by the techies that Qlab won't handle interleaved files.) (Gosh the theatre still seems so quaint here!) then the lights controller was given "start now" type verbal commands. I'm told newer version 3 is still buggy) which locked the sound and video. The main stay of the production was QLab version 2 (. We locked video with lights and my surround score. kind of 5.1 with out the centre) The production was a small theatre play in London's West End. I've just been through a baptism of fire working on a live show that I produced a quasi 4.1 music track for. I hope this isn't a question too much off piste.
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