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EL500 TUBE PDF

6P36S (6P36C) / EL / 6GB5 output beam tetrode. tubes store. EL Datasheet PDF Download – Beam Power Tube, EL data sheet. Buy 6GB5 / EL / EL vacuum tubes online, in stock and ready to ship! Find reviews, data sheets and specs to upgrade your tube amplifier.

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All the tubes are manufactured in the Soviet Union and can have a quality mark and other factory marking on the case.

(PDF) EL500 Datasheet download

You can look all details at the original photos. Please contact us and we help you select tubes and send additional photos. All the tubes were extracted from a working Soviet equipment. We do not check the tubes on the special equipment to determine their condition. We carry out only a visual inspection and offer to you only good tubes without visible damages.

If you buy the our tubes as analogues or replacement for other models your tubes, please familiarize yourself with the possibility of this eel500 in special technical manuals. Analogues for our tubes can be described in the item, but it does not mean an exact copy.

We have not tested analogues for this tube and the information is for reference purposes only. We are passionately wishing to deliver the goods to you as fast as possible and will always send them in no time after the transaction and being notified by PayPal.

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Amperex 6GB5 EL Vintage Tube | eBay

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(PDF) EL Datasheet PDF Download – Beam Power Tube

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6P36S = EL500 = 6GB5 tube. Output beam tetrode

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LEGALLY DOPING EMOCJONALNA PDF

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Olympic Athletes Still Use Some Rx Drugs As A Path To ‘Legal Doping’

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Have you forgot password or username? Click here to get a new password! Resize to fit window. Study 1 sent on February 25, You can buy an usage license for this photo.

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Some comments may have been automatically translated with Microsoft Translator. Mobile Version – juza. I have a very broad list of users who do it regularly and maybe now, seeing this message, they will be running to remove the “like” to leave no trace. I do not think there is a rule about posting pictures Juza obligation to participate or participating in some discussions about this photo is that I like to have 34 data from users with 0 posts and 0 photos in their profile.

Think of the poor Juza, that as far as he can sometimes criticize, to keep up with the forum certainly has its work cut out, recording mountains of useless users who do not ever contribute to the positive development of the forum but there are only longing Glory a single. Finco also have beautiful pictures and sound but you can not draw you, even if I disagree, I like the sound or not withoutto what ‘?

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Pensa il povero juza, che per quanto lo si possa a volte criticare, a star dietro al forum sicuramente ha il suo bel da fare, a registrare montagne di utenti inutili che non contribuiranno mai caforiio sviluppo positivo feriloi forum ma son li solo per la brama di gloria di un singolo. Finco hai anche foto belle e valide ma non puoi attirarti, anche se non condivido, i mi piace sani o meno senza ricorrere a cio’? RIPETO 34 utenti che “lavorano” per tesiano essi nomi di amici o inventati di sana pianta messi li per questa cosa sa veramente di assurdo.

At least one member supporter among these 34 users c ‘is, after all, is a form of respect to those who have worked to register them all! Sempre piu mitico questo Finco. But if you’re referring to some new photographers who have followed my photography course, invited to join JuzaPhoto thinking to please all of you to comment and share your photos, have freely chosen to putting on some of my photos I like this does not seem right.

Hello and good day to all of you Se invece ti riferisci ad alcuni neo fotografi che avendo seguito un mio corso di fotografia, invitati ad iscriversi a juzaphoto pensando di fare cosa gradita a tutti voi, per commentare e condividere foto, ferili liberamente scelto di metere mi piace su alcune mie foto, questo non mi sembra scorretto.

Sorry, but you have put me among friends unlike usual I weigh a little ‘;- ps: Scusa ma che tu mi abbia messo tra gli amici a differenza del solito mi pesa un po’ ps: I corsi da me tenuti agli studenti degli ultimi anni delle scuole superiori hanno molti partecipanti e danno al sottoscritto molta soddisfazione. I agree with you. Juza will be delighted when you see some of my affection for these fans nickname: You can do all the necessary checks, including those fiscal and see which and how many like to come to this school.

Only now do I see a Swiss who like getting my photo. Ask him if he has fdrilli in these courses. Potrai fare tutti gli accertamenti del caso, anche quelli fiscali e verificare quali e quanti like arrivino da questa scuola. Solo ora vedo anche uno svizzero che ha aprezzato una mia foto. Chiedetegli se ha partecipato anche lui a questi corsi.

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ESPASMO ESOFAGICO DIFUSO PDF

Algoritmo propuesto para el manejo del EED. EED: espasmo esofágico difuso, RGE: reflujo gastroesofágico, IBP: inhibidores de la bomba de protones, ISRS. Otros trastornos menos comunes de la motilidad incluyen el trastorno motor espástico del esófago (esófago en cascanueces y espasmo esofágico difuso). Espasmo esofágico difuso. 1. Espasmo esofágico difuso (EED); 2. Definición • Sindrome clínico que cursa con dolor subesternal y/o disfagia.

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Espasmo difuso esofágico con imagen radiográfica atípica | Revista de Gastroenterología de México

Send link esoffagico edit espasmo esofagico difuso this prezi using Prezi Meeting learn more: Invited audience members will follow you as you navigate and espasmo esofagico difuso People invited to a presentation do not need a Prezi account This link expires 10 minutes after you close the presentation A maximum of 30 users can follow your presentation Learn more about this epsasmo in our knowledge base article. Intermitent dysphagia was more frequent in patients with espasmo esofagico difuso disorders.

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ESPASMO ESOFAGICO DIFUSO EPUB DOWNLOAD

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HCS12 MAZIDI PDF

HCS12 Microcontrollers and Embedded Systems by Muhammad Ali Mazidi, , available at Book Depository with free delivery. , English, Book, Illustrated edition: HCS12 microcontroller and systems using Assembly and C with CodeWarrior / Muhammad Ali Mazidi, Danny Causey. Find HCS12 Microcontrollers and Embedded Systems by Muhammad Ali Mazidi, Danny Causey, Janice Mazidi.

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HCS12 Microcontrollers and Embedded Systems

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Skip to main content. Mazidi and Muhammad Ali MazidiHardcover. Be the first to write a review. Using Assembly and C with CodeWarrior, 1efeatures a systematic, step-by-step approach to covering various aspects of HCS12 C and Assembly language programming and interfacing.

The text features several examples and sample programs that provide students with opportunities to learn by doing. Review questions are provided at the end of each section to reinforce the main points of the section.

Students not only develop a strong foundation of Assembly language programming, they develop a comprehensive understanding of HCS12 interfacing. In doing so, they develop the knowledge background they need to understand the design and interfacing of microcontroller-based embedded systems.

This book can also be used by practicing technicians, hardware engineers, computer scientists, and hobbyists. It is an ideal source for those wanting to move away from 68HC11 to hcs1 more powerful chip. History and Features Chapter 2: Arithmetic, Logic Instructions, and Programs Chapter 6: Interrupt Programming in Assembly and C Chapter Relay, Optoisolator, and Stepper Motor Chapter Flowcharts and Pseudocode Appendix E: Show More Show Less.

Micro Digital Ed – HCS12 Books

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LTM 1055 3.1 PDF

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HO SOGNATO LA CIOCCOLATA PER ANNI TRUDI BIRGER PDF

Trudi Birger (Francoforte sul Meno, 24 aprile – Gerusalemme, ) è stata una biologa e Nel pubblicò il libro autobiografico Ho sognato la cioccolata per anni, in cui raccontò la sua terribile esperienza nel campo di sterminio. Scheda libro. ALUNNO: Martina Giaveno CLASSE: 3 A DATA: 29 – 09 – TITOLO: Ho sognato la cioccolata per anni. AUTOTE: Trudi Birger ANNO DI. Ho sognato la cioccolata per anni by Trudi Birger, , available at Book Depository with free delivery worldwide.

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EL ARTE DE NARRAR SAER PDF

: El arte de narrar poemas / The Art of Narrating Poems ( Spanish Edition) (): Juan Jose Saer: Books. El arte de narrar poemas / The Art of Narrating Poems. Front Cover. Juan José Saer. Ediciones Universal, Dec 1, – Education – pages. El arte de narrar poemas / The Art of Narrating Poems by Juan José Saer, , available at Book Depository with free.

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El arte de narrar by Juan José Saer

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ALAN LIGHTMAN EINSTEIN IN DLERI PDF

ALAN LIGHTMAN. EINSTEIN’S DREAMS. Alan Lightman was born in Memphis,. Tennessee, in and educated at. Princeton and at the California Institute. A modern classic, Einstein’s Dreams is a fictional collage of stories dreamed by Albert Einstein in , about time, relativity and physics. As. “Einstein’s Dreams,” by Alan Lightman, strives to be a kind of post-modern hybrid of science writing and fantasy. It stands partly in the tradition.

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Lightman – Einstein’s Dreams. Post on Dec 33 views. His re-search papers in physics have appearedin numerous scientific journals.

Einsteins Dreams was an inter-national bestseller and The Diagnosiswas a finalist for the NationalBook Award in fiction. Lightman hasserved on the faculties of HarvardUniversity and of the Massachusetts In-stitute of Technology, where he is cur-rently an adjunct professor ofhumanities.

Vintage and colophon are registered trade-marks and Vintage Contemporaries is a trade-mark of Random House, Inc. The Library of Congress has cataloged the Pan-theon edition as follows: Theyoung man slumps at his desk.

He hascome to the office at dawn, after anoth-er upheaval. His hair is uncombed andhis trousers are too big. In his hand heholds twenty crumpled pages, his newtheory of time, which he will mailtoday to the German journal of physics. Tiny sounds from the city driftthrough the room.

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Seminole County Florida

Upon arriving in two hours, eachclerk will know precisely where to be-gin. But at this moment, in this dimlight, the documents on the desks areno more visible than the clock lightan thecorner or the secretarys stool near thedoor.

All that can be seen at this mo-ment are the shadowy shapes of thedesks and the hunched form of theyoung man. Minute by minute,new objects gain form. Here, a brasswastebasket appears. There, a calendaron a wall. Here, a family photograph, abox of paper clips, an inkwell, a pen. There, a typewriter, a jacket folded ona chair. In time, the ubiquitous book-shelves emerge from the night mist thathangs on the walls.

The bookshelveshold loghtman of patents. One patentconcerns a new drilling gear with teethcurved in a pattern to minimize fric-tion. Another proposes an electricaltransformer that holds constant voltagewhen the power supply varies. Anotherdescribes a typewriter with a low-velo-city typebar that eliminates noise. It isa room full of practical ideas. Outside, the tops of the Alps start toglow from the sun.

It is late June. The bakerarrives ,ightman his store on Marktgasse, fireshis coal oven, begins mixing flour andyeast. Two lovers embrace on the Nyde-gg Bridge, gaze wistfully into dlrri riverbelow.

A man stands on his balcony onSchifflaube, studies the pink sky. Alwn wo-man who cannot sleep walks slowlydown Kramgasse, peering into eachdark arcade, reading the posters inhalflight. In the long, narrow office on Speich-ergasse, the room full of practical ideas,the young patent clerk lightmxn sprawls inhis chair, head down on his desk.

Forthe past several months, since themiddle of April, he has dreamed manydreams about time. His dreams havetaken hold of his research. But the dreamingis finished. Out of many possiblenatures of time, imagined in as manynights, one seems compelling. Not thatthe others are impossible.

A. Lightman – Einstein’s Dreams

The othersmight exist in other worlds. The young man shifts in his chair,waiting for the typist to come, andsoftly hums from Beethovens MoonlightSonata. The world repeats itself, pre-cisely, endlessly.

For the most part, people do notknow they will live their lives over.

A. Lightman – Einstein’s Dreams – [PDF Document]

Traders do not know that they willmake the same bargain again andagain. Politicians do not know that theywill shout from the same lectern an in-finite number of times in the cycles oftime.

Parents treasure the first laughfrom their child as if they will not hearit again. Lovers making love the firsttime undress shyly, show surprise at thesupple thigh, the fragile nipple.

Howwould they know that each secretglimpse, each touch, will be repeatedagain and again and again, exactly asbefore? On Marktgasse, it is the same. Howcould the shopkeepers know that eachhandmade sweater, each embroideredhandkerchief, each chocolate candy,each intricate compass and watch willreturn to their stalls?

At dusk, the shop-keepers go home to their families ordrink beer in the taverns, calling hap-pily to friends down the vaulted alleys,caressing each moment as an emeraldon temporary consignment. How couldthey know that nothing is temporary,that all will happen again? In the hospital on Gerberngasse, awoman says goodbye to her husband. He lies in bed and stares at her emptily. In the last two months, his cancer hasspread from his throat to his liver, hispancreas, his brain.

His two young chil-dren sit on one chair in the corner ofthe room, frightened to look at theirfather, his sunken cheeks, the witheredskin of an old man.

The wife comes tothe bed and kisses her husband softlyon the forehead, whispers goodbye, andquickly leaves with the children. She iscertain that this was the last kiss. In the world in which time is a circle,every handshake, every kiss, everybirth, every word, will be repeated pre-cisely. So too every moment that twofriends stop becoming friends, everytime that a family is broken because ofmoney, every vicious remark in an ar-gument between spouses, every oppor-tunity denied because of a superiorsjealousy, every promise not kept.

And just as all things will be repeatedin the future, all things now happeninghappened a million times before. These are thepeople with unhappy lives, and theysense that their misjudgments andwrong deeds and bad luck have alltaken place in the previous loop oftime. In the dead of night these cursedcitizens wrestle with their bedsheets,unable to rest, stricken with the know-ledge that they cannot change a singleaction, a single gesture. Their mistakeswill be repeated precisely in this life asin the life before.

And it is these doubleunfortunates who give the only signthat time is a circle. For in each town,late at night, the vacant streets and bal-conies fill up with their moans.

Now and then,some cosmic disturbance will cause arivulet of time to turn away from themainstream, to make connection back-stream. When this happens, birds, soil,people caught in the branching tribu-tary find themselves suddenly carriedto the finstein.

Persons who have been transportedback in time are easy to identify. Theywear dark, indistinct clothing and walkon their toes, trying not to make asingle sound, trying not to bend asingle blade of grass. For they fear thatany change they make in the past couldhave drastic consequences for thefuture. Just now, for example, such a personis dleru in the shadows of the ar-cade, at no. An oddplace for a traveler einsfein the future, butthere she aan.

Pedestrians pass, stare, andwalk on. She huddles in a corner, thenquickly creeps across the street andcowers in another darkened enistein, at no. She is terrified that she will kick updust, just as a Peter Klausen is makinghis way to the apothecary on Spital-gasse this afternoon of 16 April If dustmesses his clothes, he will stop andpainstakingly brush them off, regardlessof waiting appointments.

If Klausen issufficiently delayed, lightmaan may not buythe ointment for his wife, who has beencomplaining of leg aches for weeks. Inthat case, Klausens wife, in a bad hu-mor, may decide not to make the trip toLake Geneva.

And if she does not go toLake Geneva on 23 Juneshe willnot meet a Catherine dpinay walkingon the jetty of the east aan and willnot introduce Mlle. In turn, Richard and Catherinewill not lightmna on 17 December ,will not give birth to Friedrich on 8July She crouches in the shadowsand does not return the stares ofpeople. She crouches and waits for thestream of time to carry her back to herown time. When a traveler from the future musttalk, he does not talk but whimpers.

For if he makes the slightest alter-ation in anything, he may destroy thefuture. He en-vies the people who live in their owntime, who can act at will, oblivious ofthe future, ignorant of the effects oftheir actions. But he cannot act. He isan inert gas, a ghost, a sheet withoutsoul. He has lost his personhood. He isan exile of time. Such wretched people eijstein the fu-ture can be found in every village andevery town, hiding under the eaves ofbuildings, in basements, under bridges,in deserted fields.

They are not ques-tioned about coming events, about fu-ture marriages, births, finances, inven-tions, profits to be made. Instead, theyare left alone and pitied.

A man in along leather coat stands on his fourth-floor balcony on Kramgasse overlook-ing the Zhringer Fountain and thewhite street below.

COUNTERPOINT WALTER PISTON PDF

Documents Similar To The Homophonic Forms of Musical Composition – Percy Goetschius. Uploaded by. s_lyhne. Samuel Adler . Counterpoint. Walter Piston. Counterpoint. More by this Written in an uncomplicated way it covers the subject of counterpoint in a fully comprehensive manner. I am focusing on 3 of WALTER PISTON’s books – Harmony, Counterpoint and Orchestration, but now I come across a small doubt: is there an.

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By eduardohansMarch 9, in Advice and Techniques. I am new to this youngcomposers. I am a music enthusiast and I have bought many books on music theory, orchestration and composition. My doubts resides in these I mean, should I take Harmony waltwr, then Counterpoint and finally Orchestration? Should I read them all at the same time though this might be confusing. It’s just that I don’t want to start off with the wrong foot counterpoing these, since I treasure a good musical foundation.

That’s the way I’m trying to learn, but I did glimpse counterpoint over, mostly because of the richness it can add to an already established melody. Orchestration on the other hand, I see as the least needed of the three But still very, very important counterpoimt courseso I would suggest you experiment with a polyphonic instrument Counterpoitn, guitar etcetera or an ensemble of the same instrument types little more difficult due to pitch limitations before you get to that part.

All Piston’s book are excellent and very deep I wish they would use such books in the conservatory in which I study.

Assuming that you have already conquered the subject of music theory, I would definitely suggest for you to start with harmony and stick to it, until you become very-very-very good in voice leading. I studied 4 years on the conservatory. So I think I have a pretty good foundation on music theory I am currently living in Helsinki and since I do not speak finnish yet!

But you know what they say: So I’m sticking to books and some courses I have. The thing is I need to know what is the best method to study these topics counterpoint, harmony and orchestration as to not get confused at some point. I’ll stick to Harmony, giving some glances at counterpoint. I think it would be important, since harmony and counterpoint go hand in hand or so I feel, please correct me if I’m wrong.

After grabbing a good understanding of harmony, I’ll move on to studying counterpoint seriously and finally and hopefully orchestration. I find this an excellent approach. You can start checking out orchestration now. The first few chapters if I remember correctly cover instrumentation and you would have no problem understanding and enjoying them. Enjoy your music journey.

I’d do it the other way around – counterpoint first, then harmony. It will build your respect for the interconnection of melodic lines that creates harmony. IMy doubts resides in these I mean, should I take Harmony first, Yes, it will save you alot of frustration by doing harmony first.

Orchestration aside – once you do harmony you will fit your counterpoint to it, and by it, if you choose to follow the “rules” of good harmony. Doing it the other way around is frustrating in my experience.

I’d go along with Mr Dunn-Rankin – because harmony is an inevitability of pistton counterpoint For orchestration, you need the basic stuff in the first part of the Piston, then just study scores. You can buy textbooks with Counteepoint examples but scores and the relevant CDs are the way forward.

You need to choose your pieces carefully tho. Don’t jump straight in with The Rite! If you want to write atonal it won’t hurt to study traditional harmony because the notions of progression and good control still apply, so you’ll be able to know better what you’re doing My counrerpoint collection includes these three books by Piston. I used them later in my theoretical studies. And I think they are very intelligently written, although one could find that in some places there is a lot of wa,ter, sometimes too philosophical.

I think that the Piston’s book on Counterpoint is more thought-provoking and shows specific moments, while Kennan’s is more suitable for learning the essence and the rules – they are more clearly and straight present in the Kennan’s book.

In century counterpoint, you should also observe the harmonic progression, that’s why it is logical to learn harmony first.

Counterpoint

But before harmony you can couhterpoint century counterpoint. I think this will help in developing better eye and feeling in horizontal aspect which is important.

Several times, Piston reminds us in his Harmony book that harmony is actually formed by simultaneous sound of the melodic lines, this is something that must not be forgotten. As for the orchestration, it comes after harmony, counterpoint and forms.

In my humble opinion, Piston’s book is more about instrumentation. First you learn chords. I dont know what some of these people are smoking. Piston recommends a year in a harmony class, but the material presented within require even more, I believe! The counterpooint by Berlioz and Richard Strauss is a great read, but it remains a relic and musical instruments have come a long way since then.

I recommend for orchestration that you check out the very popular, Sameul Adler’s “Study of Orchestration” a very helpful read and for the most counterpoinh Study of Orchestration, Third Edition: Counterpoint isn’t really that complex, when one voice stops moving, or is holding a tone longer than the basic rhythmic subdivision, you let another voice start moving The harmonies that are created by the counterpoint, or the harmonies that you need to create, won’t be easily discerned by you, or you won’t understand them, or you won’t fully know what to employ etc.

I was referring to Piston’s approach to counterpoint. He approaches counterpoint through both harmonic and contrapuntal dissonances.

Counterpoint – Walter Piston – Google Books

He is particularly interested in the harmonic rhythm. You can’t study and understand these without already knowing harmony. Your definition of counterpoint is at best simplistic.

That might be the case for some pseudo-contrapuntal two-part pieces. That is hardly what counterpoint is about, Pistonn believe. First you learn “Stairway to Heaven,” then you watch Wayne’s World. Realizing you’re a miserable sinner, you then smash your guitar a-la Hendrix style and beg forgiveness for not being able to play Eddie Van Halen’s “Eruption” by your second lesson. The order you have them in 1st Harmony 2nd Counterpoint and 3rd Orchestration is the order Id coounterpoint them in.

That is usually the order in which you learn as you progress through music theory. Harmony is usually referd to chords counterpoint is also harmony for the melody As you learn how to use chords you progress to broken chords and how they can create counter melody.

Then As you deside what instuments you’d like to play what you progress to instrumentation and orchesteation which will tie all 3 together! If you play piano, guitar, any fully ‘homophonic’ instrument, start with Harmony. If you play a monophonic instrument try Counterpoint. You need to be a member in order to leave a comment. Sign up for a new account in our community.

Already have an account? Advice and Techniques Search In. Prev 1 2 Next Page 1 of 2. Posted March 9, Should I read them wlter at the same time though this might be confusing It’s just that I don’t want to start off with the wrong foot with these, since I treasure a good musical foundation.

Please help me out here, guys and girls! Musically yours, Eduardo Hans. Share this post Link to post Share on other sites. Harmony first, then Counterpoint and finally Orchestration. Hi, Eduardo, what kind of musical education do you already have? Posted March 10, Posted March 11, Posted March 16, Posted March 18, I am sorry, I cannot give an adequate answer to your question, because I have not read the book.

Wxlter think it’s more than one volume. Posted March 20, First you learn scales and keys, then chords. Then you smoke dope. Posted March 22, Ipston equivalent is nice too.

I prefer Adler’s myself though. Posted March 23, I would definitely study harmony first, and then counterpoint. Posted April 12, Posted July 21, Posted Waltter 30,