effect

I'm sorry I haven't read the book, but I was reading a comment about Drummond and at the end it says if your on Paxil don't stop using it. my question is why? I've talked to the pharmacist and he said he didn't see any side effects if I were to quit using Paxil. Does anybody know why, you cannot stop. I've heard this from a few people.help, cause I have quit taking it for 2 weeks and I really feel like my life is falling apart.

5 star book.. the 1 star person shouldnt have posted a question instead of a review

With the rising number of age 30-45 people having anxiety and panic attacks, this book was a godsend. I myself have been having them since 30, and this book pointed out how our chemical balance and hormone balance gradually changes at that time. The second half of the book gives you tools to help adapt to these changes without having to run to your doctors all of the time and pop pills. I really thought this book was very helpful and do recommend it to anyone suffering from these problems that doesn't want to be a Martyr to pill popping!

Can anyone ever read through all the pure lies that exist in the health care literature? Now we have some nut case Naturetic Doctor (whatever that is; this clown is NOT an M.D. people, not even a D.O. or a Ph.D!) telling us that cholesterol is good and so is saturated fat! Do these so-called experts (yeah, right) look for every health information breakthrough and write a book championing the exact opposite view? With all the medical information available to us about cholesterol (HDL and LDL and VDRL fractionation, etc.) and its harmful effects, someone still has the chutzpah to write (or publish) this tripe? People: if you want to read a health book that will provide you with sound scientific/medical facts that is supported by research from respected institutions - THIS BOOK IS NOT IT! Read something from Dean Ornish, Kenneth Cooper, or Barry Sears. This book should never have been allowed to pollute the information pool that we have to wade through to get to a sound nutritional plan. It's ridiculous and inane to assert that cholesterol and saturated fats are going to save your life...yeah, sure they are! M.D. in the Real World

I wish I could have read this book seven years ago. I have just read this book a month ago and have embarked in a more saturated diet using Coconut Oil and can already feel a tremendous difference in terms of energy and well being.
Bruce Fife has a very easy way to write that will save the reader a lot of trouble going through the scientific literature on this highly controvertial subject.
His presentation, however, leaves no margin for any doubt anymore. Unless you want to continue suffering from low thyroid function, excess oxidation leading to cancer development and an array of other ailments you have to change your diet to a more healthy alternative and that includes coconut oil, grass fed milk butter, olive oil, etc...
I am indebted to this book and its life changing recommendations.

"Saturated Fat May Save Your Life!" may be the greatest (and most important) health book ever written!

It explains what the TRUE causes of heart disease are (they're not what the doctors & the media have been telling you!).

Contrary to popular LIES (fabricated by greedy drug companies & the food industry), saturated fat & cholesterol DO NOT cause heart disease.

"Saturated Fat May Save Your Life" tells you EVERYTHING you need to know about dietary fats & cholesterol, including which fats are actually ESSENTIAL for good health, and which fats (omega 6 based vegetable oils) you should AVOID LIKE THE PLAGUE!

The author, Bruce Fife N.D., tells the reader in very easy-to-understand language why the public has been "duped" into believing that dietary fats (saturated fat)& cholesterol have been unjustly portrayed as "villans".

You learn why vegetable oils (found in cooking & salad oils, frozen foods, fast foods, potato chips & dietary supplements) are the TRUE CAUSE of heart disease.

You will also learn what simple steps you can take to lower your risk of suffering a heart attack or stroke through eliminating & adding certain foods to your diet, and which nutritional supplements offer the best protection against the oxidation - induced damage caused by bad fats.

If you or a loved one has or is concerned about, you MUST READ "Saturated Fat May Save Your Life!"

This "breakthrough" book may just save YOUR life!

As a bodybuilder who is very much informed about pro-hormones and other supplements, I have to mention that androstendione has fallen into disfavor.

The hype about the product has proved to be just that -- hype.
The supplement has largely been replaced by androdiol -- a more potent and more effective substance, and norandrodiol. The better pro-hormone products contain a combination of both "diols."

Newer products are emerging from supplement makers: topical andro and norandro sprays, and 1-AD, among others.

Unfortunately, information on this subject seems to get outdated quickly, and we may eventually learn that even these newer products are not as good as their promoters say they are.

This book is trying to state actual facts about androstenedione and the way it works, its potential benefits and risks. However, I recommend not using this book as the only source of information. I consider this book a very good summary, for more details seek other sources.

This book makes an important contribution toward dispelling the media-driven myths, and revealing the scientific truth about androstenedione. In an easy-to-read format, with research-based evidence, it supplies practical information on the use of this testosterone precursor, including its health benefits for both men and women. It also warns, responsibly, against its use by young people, for whom it will not only not have the desired effects, but can be damaging. The public deserves to know the facts, and this book does the job.

I bought 'The Sound Studio' by Alec Nisbett in the hope that it could be used as a text book in our studio for our trainee programme. I was totally disappointed.

The cover features a close-up of a vintage SSL mixing desk. That is about as modern as the book gets.

The are five pages on how to cut tape, half a page on digital recording, no mention of DASH, RADAR and ProTools, but two pages on how to make an audience laugh at the right time. No tables of the various types of dB scales such as dB-Phon or dBV etc. He writes such pearls as "Phons are the same as decibels at 1000 Hz." and devotes ONE ENTIRE PAGE out of nearly 400 to multitrack recording without mentioning simu-sync recording or playback. A complete waste of 40 Pounds! I used to have 'The Recording Studio Handbook' by John Woram, but somebody pinched it.

And before somebody accuses me of not being in a position to criticise Mr. Nisbett, I have owned and managed two German recording studios and have written technical and general articles for Studio Sound, Pro Sound News, TV-Technology, Broadcast Systems Engineering, Broadcast International, Production Solutions, Television Europe, Media International, One-to-One, Broadcast, CGI Magazine and a whole lot more that I cannot remember at the moment. I have taught audio engineering for the US Airforce and today I own and manage a 48-track recording studio and a television production company in the Highlands of Scotland called The Byre.

What this book does do, is to reveal why the BBC (Nisbett is a former director-producer at the BBC) has never understood popular music. The words soul, rock, funk, hip-hop, country etc. are never used, but according to Mr. Nisbett, pop music is only recorded in acoustically dead rooms. (So you see, George Martin must have been wrong all that time!)

The four pages on compression had me laughing out loud. Compressors are only there, says Mr. Nisbett, to prevent over modulation. Admittedly, this book was first written in 1962, but it was revised in 1995, so Mr. Nisbett must have heard of such techniques as side chaining and auto panning by now! I built my first compressor (using a light bulb and a light-variable resistor) in 1966 - yes, I really am that old! I used it to 'fatten' the sound of a drum set as we used to call them then. But the news of such methods has yet to reach the pages of 'The Sound Studio.'

There is no mention of modern methods such as sampling, looping and the updating of the original book seems to have been done in a patchwork fashion. Some mention of synthesizers is made (white noise is just a function on a synthesizer - pink noise does not get a mention) but how they work must remain a mystery. Attack, decay, sustain, release? Sorry, wrong book!

We are given half a page on how to make the sound of horses hooves by using two half coconut shells. Oh Star Wars, eat your heart out!

But if you want to know how to cue reel-to-reel tape recorders (I last used one 10 years ago) or gramophone records using a Telefunken transcription player, there are eight pages for you. Unfortunately, no mention is made of more modern turntables (i.e. post 1970) such as direct drive 1210's and the use of slipmats.

One gets the impression that Mr. Nisbett does not really approve of big mixing desks and multitrack recording. If he would have left it in its original 1962 form, it would have made an interesting historical document. As it is, it is a sad reflection of how and why the men at the BBC have never understood modern music and how to record it.

I note that you attached my review to a page on the 6th edition of this book. I've seen that, but do note that it is out of date and is completely superseded by the 2003 7th edition. If you stock this it would be better to put the review on that one (it has a red cover), and delete references to the 6th and previous editions. Incidentally the old version has 'Talbot-Smith' down as a co-author, and to the best of my knowledge, that's completely wrong. AB

The Seventh Edition of 'The Sound Studio' may look much the same (in layout and length) as the previous version, but the content is thoroughly updated (with much new digital material) and plainly has been rewritten in detail throughout. The balance between analogue and digital is right on: as the author points out, sound is primarily an analogue medium - at source, microphone, loudspeaker and ear - with some interesting digital possibilities in the processing and recording, which are now introduced and clearly described.

As before, the book provides a broad overview of the whole field for anyone working in radio, recording, film or (like me) television. For professionals in all branches of these media, it will be invaluable for reference - and comes equipped with an unusually good glossary and extensive index. But I would also recommend it as the ideal introduction to the subject for anyone who wants to work in the real, practical world of sound, including sound in support of picture (as distinct from the nerd's private world of digital gimmickry, which so many other audio books in recent years seem to cater for).

The one thing to watch out for when picking up a copy of this book is to make sure it is the up-to-date 7th edition, not the outdated 5th or 6th, of which some are still to be found in libraries and even some shops. AB

"Over 40 fun, easy tricks anyone can do!" That's what it says on the cover and thats what this book is about. 42 of the most basic effects. For instance, how to simulate and earthquake: Shake your camcorder and parts of your set.

I was really disappointed. If you consider applying make-up a special effect then you won't be. This would probably be a good book for kids.

Well, I was amazed to see that the special effects section of this book was very helpful. This is definitely a book I would actually pay for, considering I work for a book distribution company.

The format of the book was incredible! The sections were each displayed very descriptively, while most how-to books I read are poorly descriptive.

An unimportant comment of this book is that it is too short. You fail to learn all of the basic concepts of digital recording.

This book deserves a 5-star remark, but I would feel much more comfortable giving this book only 4-stars. I felt it could be longer and contain more concepts of digital recording.

I just want to say another thing on behalf of my new company, Titanium Skate Co. We would like to inform all of the skaters that our products will begin the manufacturing process in August.

Watsuji's trip to Europe was contemporary with the publication of Heidigger's DASEIN("TIME AND BEING"), and his CLIMATE is in response to that book. His is a non-Western (and therefore still timely) perspective on Western globalizing philosophies, and this first book of cultural philosophy is a precursor to a long career which is virtually unavailable to the non-Japanese speaker (scandalously, only about a third of his three-volume ETHICS, the RINRIGAKU, is available in English). CLIMATE was not revised in later life, so there are some flaws and flat-out errors for the student of culture, but it's valuable nonetheless for its non-Western perspective and original, phenomenological thinking about how "climate" (not the natural world but how the natural world affects the person and society) produces markedly different societies. Considering Watsuji's reputation in Japan, I am surprised that more of his mature work is unavailable in English; but this is a good place to start, continuing on to the RINRIGAKU for a more mature consideration of these topics.

Plese let me say first, I am a Japanese researcher of dance therapy. When I think the differences of concept of body and mind between the United States and Japan, I always feel our traditional recognition for human being is really wonderful. Basically we take it granted for that our being and thought are effected by nature. Watsuji's idea on this book is mainly described about this concept. Climate is our fundamanetal suroundings. Climate leads us to create our own culture. This is human being who lives in this earth. I really hope to read in English feeling the difference of the expression between English and Japanese.

The last chapter of this book is informative and interesting on why people prefer certain colors. The rest of the book deals with metaphysics and psycho-babble.

This book is an excellent tool for gaining an understanding the broad implications of color's effects on humans. It deals with everything from the scientific to the mystic. It is well organized and easy to understand.

It has been quite a while since I've read a book that makes this many little mistakes. Sure, it does a few things right, and there are also a couple of major blunders. But what eventually killed the story for me was the number of times I would be reading a short portion, roll my eyes, and utter, "Oh, come on!" At the outline stage, THE DOMINO EFFECT could only have been an adequate, mediocre adventure. But in execution, this book feels like death by a thousand cuts. I should have known right off the bat that this would be a poor one. The back cover gives us: "[the Doctor's] efforts are hampered by crippling chest pains." Our brave, fearless hero is facing the dastardly powers of crippling chest pains? Help! What next? Fitz stuck in the TARDIS with a hangover and Anji battling a ferocious Bad Hair Day?

I'll get the positive stuff out of the way first. The pacing is quite good. I never felt bogged down or bored. This is an important consideration, since if the book had not been as swift, it would have turned from being merely bad into being totally excruciating. Of course, the downside for this sort of pace in this sort of book is that the narrative jumps merrily from mistake to blunder to miscue.

The biggest "little" mistake that the author makes is something that I find particularly annoying. It's when characters are required to do really stupid things in order for the plot to advance. This is lazy enough when it happens to a character who exists only within the confines of the story. But it's unforgivable when it happens to a regular, continuing character.

Anji has, through the EDAs so far, been portrayed as an intelligent and capable woman. Why is she so slow to realize that something is wrong with this United Kingdom? Why do all the anachronisms and inconsistencies fail to clue her in? Why is she acting so dumb? The fact that history is in a state of flux has been known since TIME ZERO. Even if part of the audience came to this book fresh, this is listed on the back cover. So, before the book has even begun, the reader already knows that this is not the "real" Earth and must wait for the character to catch up. Seriously, how can Anji not pick up on any of the obvious clues? Okay, I'm not expecting her to nip outside and check the back cover of the current book (at least, not in a novel not written by Steve Lyons), but she at least lived through the end of TIME ZERO, and the clues she's given are blindingly obvious. Each time an abnormality presented itself to her, I would say to myself, "Ah, okay, finally she'll figure it out now and we can move on to something else" -- only to have her obliviously continue on her way. Argh!

I can't think of another book that I can see falling apart and falling out of control quite like this one. There are so many awkward passages that it gives the impression of being written in a single weekend. One can just imagine the author racing through to meet the deadline, clumsily throwing shallow, one-dimensional characters and implausible plot-points down on the page simply to have something to hand in. (Not to suggest that this is what actually happened -- that's simply how it felt to this reader.) The book never seems to know what it is doing. For example, the first thirty pages are told in a combination of flashbacks, and a straightforward, third person narrative voice. I actually liked the story being told in this way; it kept things interesting. But the journal extracts end within the first fifty pages, and the book continues normally. Why the switch? Why were they there in the first place? I enjoyed the first-person passages when I was reading them, but when they vanished without replacement, they retroactively came across as merely a pointless gimmick. Authors pick their narrative voice with reason, but I couldn't figure out what point this served in this novel.

Nowhere is the rushed nature of the book more evident than at its conclusion. It's actually quite easy for me to discuss without providing spoilers because I simply didn't understand enough to describe in detail. I read the conclusion. I reread selected portions. I then read some sections a third time. It still didn't make any sense. This conclusion makes less sense the more one thinks about it. The book tells me that the uberstory situation is now worse than it was before, but I can't for the life of me figure out why. It's bad enough that the ending consists almost entirely of technobabble, but I really object to it consisting almost entirely of incomprehensible technobabble. Even if it had made sense (and I concede the possibility that there exists a simple explanation that I am simply too dimwitted to understand), it's terribly unfair to end a book like this with a solid chapter of scientific-sounding nonsense.

I was quite disappointed with this book. David Bishop's WHO KILLED KENNEDY? was massively entertaining, engrossing, and utterly unforgettable -- in other words, the complete opposite of THE DOMINO EFFECT. Oh, and can anyone explain to me what the "domino effect" is as far as what it has to do with this story? Anji mentioned it in passing, but what it actually means here remains a mystery to me. Outside of the confines of this story, I would have said that it has something to do with one event in history having effects and repercussions long after the event has completed. Yet, that doesn't seem to have anything to do with this story, which is more a series of constant interference trying to produce one single circumstance.

What a surprise! A Doctor Who book that doesn't get all funny after page 150!

The Domino Effect succeeds brilliantly as a normal, modest Doctor Who book that does not try too hard. The result is a thoroughly enjoyable read, from one cover to the next.

Sure, sure we're dealing with parallel universes, quantum physics, Monsters from the Vortex, what have you. But guess what? I UNDERSTOOD THE WHOLE BOOK. Incredible! Unbelieveable!

The book is well-researched without being stuffy, the book has nice plots and twists, the book has a nice bit of suspense, the characters react believably under stress, it makes you think a bit about the world you're in, it even calls into question some things our pampered, computer-literate, wired, unrepressed western society revels in taking for granted.

It is, furthermore, topical in that it is linked to the psychology of terrorism and the issues surrounding its repression.

It falls just short of being a perfect candidate to initiate a friend to the world of Who; unfortunately some knowledge of the previous novels (Sabbath!) is helpful in understanding what's going on. Otherwise, it's just a great and at times thought-provoking read.

As someone with a general scientific background, I found this book high on padding and relatively low on the content I wanted and was expecting - the author spends much time on the history of the subject and on the basic properties of air, leaving little space for details on the physiology and medical side of the subject. I have no medical education or qualifications, though I still found much of the actual medical text in the book over simplified and lacking in detail.

This is a revised and expanded version of "Going Higher". The author has added additional text and illustrations. It is now even better than previous editions. Like Dr. Houston, I carry my altimeter with me on airplane flights. His observations match mine. Little do most passengers realize that the atmospheric pressure in the cabin may be the equivalent of the atmosphere at 7000 to 9000 feet.

Dr. Houston has written an excellent book on the effects of altitude on people. He reviews the history of mountain exploration, explains the physiological effects of the reduction of atmospheric pressure, and presents a practical guide for acclimitization to altitude. Whether you are going to ski in the Rockies or climb in the Himilayas, this is a useful and entertaining book. I also recommend "Altitude Illness" by Bezruchka

White says he "will measure the book's success by the extent to which is surprises its readers, catches them offguard, and forces them to think about new ways not merely about the Columbia but about nature and its relation to human beings and human history."

Well if this is his standard he failed miserably. The book is an absolute bore because it focuses so much on ancient history. White tries to bring in Native Americans and salmon as a way of bridging the gap between nature and humans - it does so, but it is painfully slow, dull and uninteresting. The book changes a little as it moves into more modern times, but his ending thesis would have been just as strong had he not tortured the reader with a 50 page history lesson.

The last chapter also includes the term "Organic Machine" about a dozen too many times. We figured out from the title what the term meant, rampant repetition doesn't bring out his meaning any more.

Richard White's "Organic Machine" is a neat display of erudition and intelligence. Through the prism of the Columbia river, the book delves into the difficult relations between native Americans and white settlers. It shows the stronghold an aluminum multinational on local economy and politics. It informs us about the megalomania of giant state bureaucracies. It analyses the emergence and subsequent (enormously expensive) blunders in managing nuclear reactors, followed by the immense human and economic costs. It explores the society's attitudes to endangered species such as salmon, threatened with extinction because of technical progress. It shows us the power and resilience of a large river, unwilling to yield to the numerous dams built during the last 100 years.

The Organic Machine compares to John Barry's "Rising Tide", which treated the Mississippi's history as a classic epic in 400+ pages. "Rising Tide" is a compelling page-turner, not at all times sharp in its analysis, but centered around brilliantly narrated biographies and societal sketches. The Columbia's history has been just as rich, but Richard White took a totally different approach to explain the river. All elements which made Rising Tide such a fun read are there, and more. But Richard White chose to strip the story to the bone. What remains is 112 pages of crisp, flawless analysis. "Organic Machine" is very smart, but I thought the author was too dispassionate. Every page in this book screams for more illustrative anecdotes, it should have been at least three times its actual size.

Hands down the best history book written in English on a river. It rivals William Cronon's "Nature's Metropolis" as the best environmental history book I've read. Anyone who spends time near/on rivers (especially the Columbia) will appreciate this book. White tells a fascinating, compact story (~100 pages) that will force the consciencious reader to rethink his/her relationship with rivers as a source of energy. The book is also a lesson in form and style.