From ucivax!ucla-cs!elroy.jpl.nasa.gov!swrinde!cs.utexas.edu!uunet!sun-barr!rutgers!rochester!pt.cs.cmu.edu!metlay Mon Oct 21 21:36:56 PDT 1991
Article: 23119 of rec.music.synth
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From: metlay+@cs.cmu.edu (Mike Metlay)
Newsgroups: rec.music.synth
Subject: A Review of the Waldorf MicroWave
Summary: first impressions
Message-ID: <1991Oct19.181428.89662@cs.cmu.edu>
Date: 19 Oct 91 18:14:28 GMT
Organization: School of Computer Science, Carnegie Mellon
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Nntp-Posting-Host: organ.music.cs.cmu.edu
Originator: metlay@ORGAN.MUSIC.CS.CMU.EDU
DISCLAIMER 1:
Well, this isn't REALLY a full review of the Waldorf MicroWave, but it's
the best anyone is going to get for a while from ME. Trying to learn new
gear while singlehandedly keeping a research group going and writing one's
PhD thesis is at best a nontrivial task. In the month-plus that I've owned
the MW, I've worked with it for barely ten hours. But those ten hours were
enough for me to formulate some initial impressions to pass along, as I
had promised. (Thanks to Neil Weinstock for booting me in the ass on this.)
DISCLAIMER 2:
This is a Metlay review. You should know by now what that means. No flames,
people: I honestly don't care if you agree with my opinion of digital,
sample-based Black Boxes (TM). So stuff it, okay?
Now then:
GETTING STARTED (AND DISCOVERING THAT YOU CAN'T, JUST YET)
When you open the box, you find the MW itself, a set of optional stick-on
rubber footsies if you aren't going to rackmount it, and no fewer than
THREE manuals. One is the Performance manual, which explains the architecture
of Single and Multi Patch organization, MIDI setup, and the things you need
to know to get started. The second is the Programming Manual, which takes
you inside the voice structure itself. The last and thinnest manual is the
update for software rev 1.2x, whatever it is you get. Mine was 1.20; I
understand that 1.23 is now shipping, which allows WaveSlave compatibility.
The manuals themselves are a joy to use. Their only weak point is that
they were obviously typeset on a Mac with very primitive software-- they
look UGLY. However, Roland manuals are uniformly gorgeous, and aren't
worth the paper they're printed on, so this is a minor point. The manuals
are clearly organized, well-indexed, and loaded with useful data; the
translation from the German was obviously done by either an American
with German as a second language, or by a German who'd been speaking
English for decades AND living in America for part of that time-- there
are a number of jokes sprinkled through the manual, obviously aimed at
an American audience (references to covering food before putting it inside
wouldn't mean much to Germans). Each type of modulation has at least
two examples given, that are musically sensible and clear to understand.
I would instantly recommend this box, along with the Xpander (if you also
had the MAtrix-12's manual, which is much better than the Xpander's), as
a GREAT first subtractive synthesizer for the learner, just from the
ability of the manual to communicate worthwhile knowledge.
Having perused the manuals once through (I recommend this), you hook up
your MIDI controller and turn on the MW. It CAN give stereo output from
one of the two audio jacks, but the level is fairly low: it sounds
much better through a sound system rather than headphones.
The first thing you'll notice, as has been mentioned by Nick Rothwell and
various other people, is that the presets are almost uniformly LOUSY.
I mean, God AWFUL! They communicate NONE of the capabilities of this machine,
and whoever programmed them should be shot in the throat and left to die.
Playing one of these in a music store, with the presets the only available
avenue of listening and something like an SY99 right next to you, is NO
way to sell MicroWaves-- if I had heard it before I bought it, I would
have saved my money. So, learn to initialize voices, and DO SO. Clear
EVERYTHING and start from scratch, you won't be sorry you did.
(At this point, a lot of the readership is saying, "You mean I can't just
use it out of the BOX?!" No, you can't. I suggest that you go out and
buy something more your speed, like an M1. Wankers.)
This, of course, leads to the essential problem with the MicroWave, one
that wouldn't be thought of as a problem as recently as 1980 but is now
almost crippling: there is NO instant gratification. The unit either
has lousy sounds, or no sounds. You can't start to enjoy playing it
until you've enjoyed programming it first. If you can clear this hurdle,
then the fun begins. If not, well, there's always the SQ-1. Gag.
FINDING YOUR WAY AROUND
The Micro's front panel is a bit sparse for my tastes, but the pages are
organized in a fairly reasonable manner and the logic of the Micro's
tree structure is a lot more snesible than most other synths out there.
Basically you start with a 4x4 grid of pages, each with varying depths.
They're grouped into four rows based on the sorts of activities you'll
want to switch between (i.e. all the voice editing parameters are in
one row, all the fast-edit parameters are in one row, etc.), so that
you can jump around with minimum hassle. You choose your row with a
big button marked MODE that cycles around the rows. Within each row, you
pick a column (and hence a page) by punching one of four buttons. If
the page you're looking at has several subpages (some do), then you punch
the column button repeatedly to cycle through them until you find the
one you want.
Within each page or subpage, there are the parameters themselves, each with
its own value. You access and change these with the red button and Big Red
Knob (TM) over at the left side of the machine, by the display. The cursor
will be either under the parameter or its value-- you use the button to
move the cursor betwen the two fields, and the knob to dial in what you
want.
So, as an example, an edit to Filter Cutoff would be:
Punch MODE until you're in the Voice Editing row (Row #3)
Hit the second column button; if the display says VOLUME, hit it again
Put the cursor under the parameter in the window, dial until CUTOFF appears
Punch the red button, dial in the value you want.
Sounds nasty, doesn't it? Well, I've got news for you: compared to trying
to figure out where the up-arrow is going to put the cursor on the
Wavestation's Mix-Envelope page, it's a CINCH. The interaction of the
controls is logical and works exactly the same way for all actions on
the synth (with some exceptions that make a lot of sense themselves);
in less than a half hour, you'll be FLYING. Especially since when you're
doing something like setting up Multi Patches or editing sounds, the
number of keystrokes to get somewhere drops precipitously. I do not LIKE
this setup-- I prefer a full front panel-- but it does work, and work well,
as opposed to something like the SY77, ugh.
VOICE ARCHITECTURE
Each voice (there are eight) has two Oscillators driving two Wavetables
running into a Filter and then to a Pan unit.
The oscillators each have octave, pitch and detune (five octaves-plus
range on each), pitch keyboard-track defeat, and two pitch modulation
sources, one with a sidechain control and one straight in. The second
modulator can be quantized for glissandi. Note that this is all just
PITCH control; waveform control is in the Wave modules, that come next.
The Waves have a common Wavetable (the unit comes with 32 and has room
for 12 more) and individual Start Wave, Startsample, hardwired modulation
settings for Wave Envelope, keyboard tracking, and velocity scaling,
and two more modulators, one with a sidechain input. The stepping mode
can be set smooth or stepped. Since the Waves are the most unique part of
the Micro's sound, I'll talk more about them later.
The mixer lets you blend both Osc/Waves with a white noise source; the
mixer can be overdriven if desired. The VOlume page also has modulations
for Volume envelope, velocity, keyboard tracking, and two general mods,
one with sidechain. MIDI Controller 7 always controls overall volume.
The filter is a four-pole lowpass analog filter with cutoff, resonance,
modulation of cutoff by the Filter envelope, velocity, keyboard track,
and two modulators, one with sidechain. The resonance also has its
own mod source (As the manual says, "Yes, it can be done."), and goes
into self-oscillation very nicely, thank you.
The panning module sets a voice's stero position and has its own modulator.
Normally voices are set to center in Single mode, but in Multis you have
the option of spreading different Singles out a bit. MIDI COntroller 10
always controls voice pan, as an added modulation to existing ones.
There are two LFOs. Each has rate control, shape and symmetry controls
that provide many different waveforms (over 300 of them, actually),
a rate-randomizer, rate and level modulators, switchable LFO sync,
and a simple three stage envelope especially for LFO amount.
There are three envelopes, labeled Volume, Filter and Wave. They are hardwired
but defeatable to the pages named, and can also be sent anywhere else
if desired. The Volume envelope is ADSR, the Filter envelope is DADSR,
and the Wave Envelope is eight-time/eight-level with looping and variable
sustain point. It can do either sustain or release loops, and has modulator
inputs for times and levels. The Wave envelope has global modulation to
all times and levels at once; the other envelopes have individual
modulators and amounts for each stage.
The unit also has Glide (equal rate or equal time, choosable), several
temperaments including user-defined tuning tables, and can store names
of up to 16 ASCII characters.
There are also Macro and Fast-Edit pages. I won't describe them in detail,
but they allow you to call up several preset envelope shapes and/or
modulation types, enter them instantaneously, and modify them or existing
envelopes/modulations with special screens (an exception to the normal
editing modes) that let you fly in new values in a flash. If you're not
interested in exactitude, and want to hack out a useful sound in a hurry,
these modes make it easy. (And if you're a perfectionist, you always
have the option of going in and tweaking the parameters in the regular
edit mode.)
STORING YOUR WORK
The MicroWave has nine edit buffers. If you edit a patch and leave it to go
to another patch, you do NOT lose your edits; they;re waiting there when
you come back. This is LOVELY; I wish the Xpander did this. Even the VS's
Review buffer must be manually saved before hunting around. So you can be
editing up to eight patches at once! The column buttons double as a shift
key and a set of three memory-management tools (Store, Compare, REcall);
this assures that nothing involving memory can be done in the course of
normal keypresses, and that a save or deletion is carefully premeditated.
MULTI PATCHES AND MIDI
Each Multi PAtch (like SIngles, there are 64) has one to eight Instruments.
Each Instrument has its own Single Patch, MIDI Channel, key and velocity
windows, velocity response curve, transpose/detune, temperament, volume
and pan position (overlaying that of the Single patch itself).Each Instrument
can be routed to the stereo outs or to one of the four individual outs.
Each Instrument has its own MIDI input filters, and so on, and so on.
Voice allocation is dynamic. There are four generic Controllers called
CTRL W, X, Y and Z. These have different effects on each Instrument,
but are assigned globally. In addition, the Micro understands Velocity,
Release Velocity, Pressure (Mono AND/OR poly), Pitch Bend, and MIDI
Controllers 1,2,7,10,64,65, and the numbers you pick for W,X,Y,Z. A few
of these are hardwired: 7 to volume, 10 to pan, 64 to sustain, 65 to
portamento switching (defeatable). Oh, I almost forgot. Glide can be
in half-steps (glissando) if desired. My Micro currently understands
everything in my rack, including the joystick on my VS and (if I get one)
the four front-panel sliders on the Roland D-70. And the controllers
can be routed anywhere....
WAVES
A bit more detail is needed on the Wave modules. Here's how they work,
sorta. Each Wavetable (there are 32 preset, 12 blank that can be
loaded via MIDI by the user) has 64 Waves in it. OK so far? 32 Tables,
64 Waves. Now, of those 64 waves, the last three are always the same:
61 is a triangle wave, 62 is a square wave, and 63 is a sawtooth. But
Waves 0 through 60 are DIFFERENT for each Table. Where these waves
come from isn't important: some are stored in ROM, others are interpolated
from the ROM Waves by an algorithm kept in a mayonnaise jar under Wolfgang
Palm's bed and guarded by attack dogs. What IS important is that the MW
is capable of shifting from Wave to Wave in real time, under tha control
of any modulation source you wish! This can be a smooth shift or a stepped
one: unlike the Wavestation, smoothing doesn't halve polyphony. Each Wave
has its own unique character: there are smooth waves, grimy waves, ringing
waves, blah waves, formants, transients, jarring noises. And they get
even MORE character when swept around in Wavetables. Now, some sounds can
benefit from using only one wave at a time; others might use a small range
of Waves; using an etire Table isn't always the best thing to do, as the
jumps from sound to sound can be jarring.
What are the Tables like? Well, my notes aren't much help:
"1 Hollow filter sweep sorta
3 Buzzy Inverted ring hollow !!!!!
4 Saw to Hollow and back?
5 Rectified?
10 high Feedback
12 Phonemish?
13 Evolution-- Animated!
14 Buzzy Rattly Bright!!!
15 Yanking Drawbars on the L-100
17 Multilooped Swell!
21 LEAPing OCTAVE resonances!!!!!
23 Hiccupping Organ twisty loop!!
24 Analogish filter Twist
27 Ragged S/H!!
28 Glittery Arpeg Filter with nasty tip
30 Beware of BIG THUNK at end!!"
...and so on. You have to hear them to understand.
I could spend a year just trying different Wave setups in the same
initialized patch, never touching anything else in the architecture.
PERSONAL EXPERIENCES
The unit is very forgiving of mistakes, with one small but important
exception: if you switch to Multi mode in midsession, you CAN lose
your edits if you're not careful. There's no volume control, except
as an (admittedly fast-to-access) parameter in the grid. MIDI operation
appears flawless, but Nick is hammering on his much harder than I do on
mine, so it's not for me to say. Sustained notes don't quit when you
switch programs, but on rare occasions they can hiccup momentarily.
The buttons activate NOT when you push them, but when you LET GO of them
--weird until you get used to it. The Micro's built like a tank, solid
and heavy.
IMPRESSIONS
The MicroWave is not the ultimate synthesizer, or the ultimate anything.
If it had four oscillators per voice with a vector joystick and an
arpeggiator like the Prophet VS's, wave sequencing like the Wavestation's,
and the modulation matrix and added features of the Xpander, then we'd
REALLY have something. But let's not get ridiculous here. It does give
you a hell of a lot of control, especially via MIDI. It's relatively bugfree
-- I haven't hit a bug yet, and Nick has only reported a couple. And it
sounds
uh.....
Hm. This is the part of the review I was dreading. How DOES it sound?
Argh.
Let me put it this way-- I have not yet (emphasis on the YET) come up
with a sound that has sat me back in my chair, saying, "Oh, baby, THAT'S
why I bought this machine!" Such an immediate, visceral response to the
machine is important to me; in the past, I have gotten them from the
modular drones and analog brasses and wild effects on my Xpander, the silky
strings and hammering pads on my VS, and the gorgeous electric pianosynth
on my EX-8000. But from the MicroWave-- nothing. YET!
The difference was, that the other synths I've named were programmed by
people rather than chimps, and were acquired back in the dim days before
my doctoral thesis, when I could actually sit and work with my gear for
days at a time without being distracted or feeling guilty. The Micro has
so much depth and so much power that if I had some decent presets to at
least HINT at where to start, and some time to really work with the
machine, I KNOW I could get it to scream for me. But the patches I have
created so far are heavy-handed and wearing, by and large. I need to
learn to paint with smaller brushstrokes. I have created about a dozen
patches so far. Some are tutorial in nature, designed to remind me of how
the Wave Envelope looping works (by the way, Nick, I just got the bill
for that panicky phone call to Scotland last month. You DON'T want to know!)
or where waves are in the tables. Others are unimpressive; the strings
are no good, and the wavescanned bass is rather slapdash. But there is
also a burbling drone pad that sounds like the background to Edgar
Froese's "Aqua," and a Moog Taurus that rattles the fillings....
I'm getting closer. Slowly, painfully closer, at a speed that is frustrating
as hell. But my frustration, ultimately, is at MYSELF, for having gotten
rusty. The Xpander and VS are like riding a bike at this point-- I sit
down, I turn some knobs, I get the sound I heard in my head at the start.
And to an extent, I can get the Micro to sound like an Xpander. But what's
the point of that? I am trying to push BEYOND what my other gear can do,
and THAT'S what is so time-consuming and agonizing. There IS something
there; getting to it hurts me.
So. My recommendations? They're fairly simple. The MicroWave costs about
a thousand dollars. Basically it's an eight-voice analog synth with some
digital tricks no other instrument can match and a great multitimbral MIDI
implementation. Its presets stink, and should be cleared at once. It has
no effects processing; I don't believe it needs it.
If you want an analog synth with sonic and programming power, and you're
not afraid of starting from scratch-- BUY THIS MACHINE. In these days of
$1700 Xpanders, $1000 Prophets and $1200 MIDIed Minimoogs, it's an
absolutely unbeatable buy. For your money, you will not find more
power (whether that power is audio or MIDI).
If you need gooey effects and nice realistic presets, buy something else.
Now if you'll excuse me, I'm not going to be able to sleep tonight if
I can't get this (^@&#%$#*! string patch to work....
--
metlay | "Be careful-- you really don't want to
the leader of the gang, er, Team| snap off your wanger in the midst of a
| performance."
metlay@organ.music.cs.cmu.edu | --sound advice from the Nickmeister
From ucivax!orion.oac.uci.edu!usc!samsung!caen!spool.mu.edu!uunet!mcsun!uknet!ukc!edcastle!dcs.ed.ac.uk!nick Mon Oct 21 21:38:38 PDT 1991
Article: 23187 of rec.music.synth
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From: nick@dcs.ed.ac.uk (Nick Rothwell)
Newsgroups: rec.music.synth
Subject: Re: A Review of the Waldorf MicroWave
Message-ID: <19944@skye.dcs.ed.ac.uk>
Date: 21 Oct 91 11:40:30 GMT
References: <1991Oct19.181428.89662@cs.cmu.edu>
Sender: nnews@dcs.ed.ac.uk
Organization: Muriel Gray Fan Club (sole member)
Lines: 43
>Let me put it this way-- I have not yet (emphasis on the YET) come up
>with a sound that has sat me back in my chair, saying, "Oh, baby, THAT'S
>why I bought this machine!" Such an immediate, visceral response to the
>machine is important to me; in the past, I have gotten them from the
>modular drones and analog brasses and wild effects on my Xpander, the silky
>strings and hammering pads on my VS, and the gorgeous electric pianosynth
>on my EX-8000. But from the MicroWave-- nothing. YET!
Give it a couple of months. That's how long it took me. I spent a couple of
months programming up blah sounds and then started to get the "Oh, yeah,
now *that's* what I'm after...!" patches once I started to get to know my
way around.
>I need to
>learn to paint with smaller brushstrokes.
I would reckon that this is the case. It's surprising how the machine jumps to
life once you start adding some subtle animation (pitch especially). Detuning
is essential, I find, since the wavetables tend to be very bright harmonically,
and this is the best way to animate them. The other thing is to become familiar
with the wavetables: there's often a tiny segment of four or five waves buried
somewhere in one table that's wonderful for a particular effect.
>It has
>no effects processing; I don't believe it needs it.
It certainly doesn't need any onboard effects (cf. the wavestations of this
world which require harmonically-enhanced phasing choruses to plug the
deficiencies of the architecture). I tend to sit my MicroWave in a fairly
high, but clean and thin, reverb setting, and chorus it gently as well. More
than that and the sparkling high-end punch tends to get lost.
The machine's main weakness seems to be bass. The wavetables start to fall
apart in the lower registers and I haven't managed to make the machine
rumble in any satisfactory way. But, I'm happy using my MKS-70 and D-70 for
bass anyway.
--
Nick Rothwell | "That's the Waldorf MicroWave set for General MIDI."
LFCS | "EEEEEIIIIAAAAAOOOOOOUUUUMMMM ZUMZUPZUMZUPZUMZUP..."
Edinburgh University | "Is that `STRINGS 1'?"
nick@dcs.ed.ac.uk | "Yeah. You got a problem with that?"
From ucivax!orion.oac.uci.edu!usc!apple!well!hary@well.sf.ca.us Tue Sep 3 20:07:28 PDT 1991
Article: 21278 of rec.music.synth
Path: ucivax!orion.oac.uci.edu!usc!apple!well!hary@well.sf.ca.us
From: hary@well.sf.ca.us (Joseph Hary)
Newsgroups: rec.music.synth
Subject: Re: microwave
Message-ID: <27023@well.sf.ca.us>
Date: 31 Aug 91 20:59:14 GMT
Sender: hary@well.sf.ca.us
Distribution: usa
Organization: Whole Earth 'Lectronic Link, Sausalito, CA
Lines: 22
In all the comparsions of the microwave to the wavestation and other
istruments, something seems to be missing:
The microwave has an unique sound that you cant achieve through wavetable
playback of a string of samples. In fact, in a microwave there are only
about 15k bytes of sample memory -247 waves of 64 bytes each. The wavetables
in a microwave consist of pointers to these waves.
Now the unusual and powerful action of a microwave oscillator is to use
these waves as starting points and to interpolate among the spectra of
adjecent waves. A wavetable may only point to two 'real' rom based waves
and the microwave will create 58 new waves that will interpolate between
the spectra suggested by the rom waves (the same holds true for user waves
downloaded into ram). Depending on how you set up a wavetable, you can
go for a wild ride through timbre space. The unfortunate thing about the
microwave is that they did not provide a means to edit the wavetables using
the front panel - you have to develop software to edit the waves.
I find that wavetable editing allows me to specify a basic 'spectral'
envelope that can simulate real instruments or create fanciful ones. The
interpolation algorithms frequently generate inharmonic partials which create
that bell-like tone. Overall, the microwave feels like a musical instrument
rather than a computer to me - because of the ease of timbral manipulation.
-Joe
A much more important factor in the social movement than those already mentioned was the ever-increasing influence of women. This probably stood at the lowest point to which it has ever fallen, during the classic age of Greek life and thought. In the history of Thucydides, so far as it forms a connected series of events, four times only during a period of nearly seventy years does a woman cross the scene. In each instance her apparition only lasts for a moment. In three of the four instances she is a queen or a princess, and belongs either to the half-barbarous kingdoms of northern Hellas or to wholly barbarous Thrace. In the one remaining instance208— that of the woman who helps some of the trapped Thebans to make their escape from Plataea—while her deed of mercy will live for ever, her name is for ever lost.319 But no sooner did philosophy abandon physics for ethics and religion than the importance of those subjects to women was perceived, first by Socrates, and after him by Xenophon and Plato. Women are said to have attended Plato’s lectures disguised as men. Women formed part of the circle which gathered round Epicurus in his suburban retreat. Others aspired not only to learn but to teach. Arêtê, the daughter of Aristippus, handed on the Cyrenaic doctrine to her son, the younger Aristippus. Hipparchia, the wife of Crates the Cynic, earned a place among the representatives of his school. But all these were exceptions; some of them belonged to the class of Hetaerae; and philosophy, although it might address itself to them, remained unaffected by their influence. The case was widely different in Rome, where women were far more highly honoured than in Greece;320 and even if the prominent part assigned to them in the legendary history of the city be a proof, among others, of its untrustworthiness, still that such stories should be thought worth inventing and preserving is an indirect proof of the extent to which feminine influence prevailed. With the loss of political liberty, their importance, as always happens at such a conjuncture, was considerably increased. Under a personal government there is far more scope for intrigue than where law is king; and as intriguers women are at least the209 equals of men. Moreover, they profited fully by the levelling tendencies of the age. One great service of the imperial jurisconsults was to remove some of the disabilities under which women formerly suffered. According to the old law, they were placed under male guardianship through their whole life, but this restraint was first reduced to a legal fiction by compelling the guardian to do what they wished, and at last it was entirely abolished. Their powers both of inheritance and bequest were extended; they frequently possessed immense wealth; and their wealth was sometimes expended for purposes of public munificence. Their social freedom seems to have been unlimited, and they formed combinations among themselves which probably served to increase their general influence.321 The old religions of Greece and Italy were essentially oracular. While inculcating the existence of supernatural beings, and prescribing the modes according to which such beings were to be worshipped, they paid most attention to the interpretation of the signs by which either future events in general, or the consequences of particular actions, were supposed to be divinely revealed. Of these intimations, some were given to the whole world, so that he who ran might read, others were reserved for certain favoured localities, and only communicated through the appointed ministers of the god. The Delphic oracle in particular enjoyed an enormous reputation both among Greeks and barbarians for guidance afforded under the latter conditions; and during a considerable period it may even be said to have directed the course of Hellenic civilisation. It was also under this form that supernatural religion suffered most injury from the great intellectual movement which followed the Persian wars. Men who had learned to study the constant sequences of Nature for themselves, and to shape their conduct according to fixed principles of prudence or of justice, either thought it irreverent to trouble the god about questions on which they were competent to form an opinion for themselves, or did not choose to place a well-considered scheme at the mercy of his possibly interested responses. That such a revolution occurred about the middle of the fifth century B.C., seems proved by the great change of tone in reference to this subject which one perceives on passing from Aeschylus to Sophocles. That anyone should question the veracity of an oracle is a supposition which never crosses the mind of the elder dramatist. A knowledge of augury counts among the greatest benefits222 conferred by Prometheus on mankind, and the Titan brings Zeus himself to terms by his acquaintance with the secrets of destiny. Sophocles, on the other hand, evidently has to deal with a sceptical generation, despising prophecies and needing to be warned of the fearful consequences brought about by neglecting their injunctions. The stranger had a pleasant, round face, with eyes that twinkled in spite of the creases around them that showed worry. No wonder he was worried, Sandy thought: having deserted the craft they had foiled in its attempt to get the gems, the man had returned from some short foray to discover his craft replaced by another. “Thanks,” Dick retorted, without smiling. When they reached him, in the dying glow of the flashlight Dick trained on a body lying in a heap, they identified the man who had been warned by his gypsy fortune teller to “look out for a hidden enemy.” He was lying at full length in the mould and leaves. "But that is sport," she answered carelessly. On the retirement of Townshend, Walpole reigned supreme and without a rival in the Cabinet. Henry Pelham was made Secretary at War; Compton Earl of Wilmington Privy Seal. He left foreign affairs chiefly to Stanhope, now Lord Harrington, and to the Duke of Newcastle, impressing on them by all means to avoid quarrels with foreign Powers, and maintain the blessings of peace. With all the faults of Walpole, this was the praise of his political system, which system, on the meeting of Parliament in the spring of 1731, was violently attacked by Wyndham and Pulteney, on the plea that we were making ruinous treaties, and sacrificing British interests, in order to benefit Hanover, the eternal millstone round the neck of England. Pulteney and Bolingbroke carried the same attack into the pages of The Craftsman, but they failed to move Walpole, or to shake his power. The English Government, instead of treating Wilkes with a dignified indifference, was weak enough to show how deeply it was touched by him, dismissed him from his commission of Colonel of the Buckinghamshire Militia, and treated Lord Temple as an abettor of his, by depriving him of the Lord-Lieutenancy of the same county, and striking his name from the list of Privy Councillors, giving the Lord-Lieutenancy to Dashwood, now Lord Le Despencer. "I tell you what I'll do," said the Deacon, after a little consideration. "I feel as if both Si and you kin stand a little more'n you had yesterday. I'll cook two to-day. We'll send a big cupful over to Capt. McGillicuddy. That'll leave us two for to-morrer. After that we'll have to trust to Providence." "Indeed you won't," said the Surgeon decisively. "You'll go straight home, and stay there until you are well. You won't be fit for duty for at least a month yet, if then. If you went out into camp now you would have a relapse, and be dead inside of a week. The country between here and Chattanooga is dotted with the graves of men who have been sent back to the front too soon." "Adone do wud that—though you sound more as if you wur in a black temper wud me than as if you pitied me." "Wot about this gal he's married?" "Don't come any further." "Davy, it 'ud be cruel of us to go and leave him." "Insolent priest!" interrupted De Boteler, "do you dare to justify what you have done? Now, by my faith, if you had with proper humility acknowledged your fault and sued for pardon—pardon you should have had. But now, you leave this castle instantly. I will teach you that De Boteler will yet be master of his own house, and his own vassals. And here I swear (and the baron of Sudley uttered an imprecation) that, for your meddling knavery, no priest or monk shall ever again abide here. If the varlets want to shrieve, they can go to the Abbey; and if they want to hear mass, a priest can come from Winchcombe. But never shall another of your meddling fraternity abide at Sudley while Roland de Boteler is its lord." "My lord," said Edith, in her defence, "this woman has sworn falsely. The medicine I gave was a sovereign remedy, if given as I ordered. Ten drops would have saved the child's life; but the contents of the phial destroyed it. The words I uttered were prayers for the life of the child. My children, and all who know me, can bear witness that I have a custom of asking His blessing upon all I take in hand. I raised my eyes towards heaven, and muttered words; but, my lord, they were words of prayer—and I looked up as I prayed, to the footstool of the Lord. But it is in vain to contend: the malice of the wicked will triumph, and Edith Holgrave, who even in thought never harmed one of God's creatures, must be sacrificed to cover the guilt, or hide the thoughtlessness of another." "Aye, Sir Treasurer, thou hast reason to sink thy head! Thy odious poll-tax has mingled vengeance—nay, blood—with the cry of the bond." HoME古一级毛片免费观看
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