Cannon Fire Torrent Download [key Serial Number]
Darleen Lamphere
On the real Bf-109 the stick had a trigger for the machine gun, and a button for the cannon. So if you want to be realistick, you should use the same arrangement. On the other hand, if you don't care about realism, if your stick has a 2-stage trigger, like the TM Warthog and the VPC T-50, then you can assign the MG to the first stage and the cannon to the second trigger stage. Then when you pull the trigger all the way, both MG and cannon will fire at the same time.
Or if joystick is not Warthog/Cougar, T50 or X-52 with dual stage trigger, use Joy2key and set joy trigger to press the keys needed for MG and Cannon - maybe need remove the modifier key for "Fire Cannon/Rockets" - simultaneous.
if you want to have the gun and machine guns on the trigger set a "switch" on a stick key. You can assign a switch or a modifier to give different functions to your keys. You should read the guide, they are down when you open the section of the keys.
But, none of this modifier options allow fire Cannon and MG simultaneous (in Bf 109) with ONE button press - OP premise, and are using two joy button like the actual (and real) Bf 109 configuration require - configuration that is more flexible because allow fire MG only, cannon only or both, by press one or other button or the two simultaneous, so if is need use two joy' buttons, better just use the default configuration.
In 109s fitted with the motor cannon as well as mgs, was it possible to fire the cannon independently of the mgs and vice versa? I seem to remember reading that it could be done, but it (the reading) was a long time ago , and search as I may at the moment, I cannot find an answer
TIA
Mike
If an early Stuka (B/R) grip top, it is likely a KG12 model. The KG12 also saw use on the 109E and 110C. Later Stukas (G) used the KG13. Can you confirm the letter-number painted on the top side of the grip? Thank you.
Early Fw190 A series used the KG14 grip - that's what's shown here. The lever on the side, allowing three settings (each marked on the grip head in white; e.g., 1.gr.), determined what combination of MGs/cannons was fired by the front trigger (here, the trigger's in the up, "safe" position). The KG 14 would be replaced by the KG13B on later Fw190s.
The 109G-6 used the KG13A. The trigger, when in the down, armed position, fired the nose cannon; the button at top center (covered by the trigger when the trigger was in the up, safe position) fired the MGs. The button at the top, to the left, dropped external stores.
In this photo you can see the trigger (for cannon) in the firing position after being rotated 270 degrees; there it contacts a small firing button set into the upper front of the grip. At the same time, the topmost button (for MGs) is exposed. To fire all weapons, together, the index finger pulls the trigger, while the thumb depresses the top button. I hope this makes sense.
Also living at Indian Key during the Maloney tenure was Dr. Henry Perrine, his wife, and three children. The Perrine family history is a tragic one. Dr. Perrine would be killed at the hands of Indians during the Aug. 7, 1840, attack on Indian Key. Perhaps because of that tragedy, two of the Perrine children, Hester and Henry Jr., wrote about their experiences during their 20-month stay on the island. The pages they would write provide insights into island life during that period that would have gone otherwise unrecorded.
Another interesting event was the response by island residents when one day, three waterspouts formed off Indian Key. According to Hester, some of the men took control of one of the cannons situated around the island, pointed it toward the three waterspouts spinning, and fired at them, thinking the cannonball could disrupt the forces of nature. The enemy, though fired upon, did not respond to the assault but churned past Indian Key toward Lower Matecumbe. Before they reached the island, the waterspouts fizzled out and dissipated.
The overture debuted in Moscow on 20 August [O.S. 8 August] 1882,[2] conducted by Ippolit Al'tani under a tent near the then-almost-finished Cathedral of Christ the Saviour, which also memorialised the 1812 defense of Russia.[3]
The fifteen-minute overture is best known for its climactic volley of cannon fire, ringing chimes, and a brass fanfare finale. It has also become a common accompaniment to fireworks displays on the United States' Independence Day.[4] The 1812 Overture went on to become one of Tchaikovsky's most popular works, along with his ballet scores to The Nutcracker, The Sleeping Beauty, and Swan Lake.[5]
The carillon is sometimes replaced with tubular bells or recordings of carillons, or even church bells. In the sections that contain cannon shots, actual cannons are sometimes replaced by howitzers, tanks, fireworks, or recorded cannons or played on a piece of staging, usually with a large wooden mallet or sledgehammer as used in Mahler's 6th Symphony. The bass drum, and gong/tam-tam are also regularly used as cannon substitutes or adjuncts in indoor performances.
In his 1966 Deutsche Grammophon recording, Herbert von Karajan scored the first 02'43" (or 36 bars) for voices instead of strings at the start and the subsequent dialogue between strings and woodwind, adding the Russian Orthodox plainchant God Preserve Thy People text to the melody and slightly rearranging the texture to suit voices a capella rather than instruments. Two years later, the American conductor Igor Buketoff, son of a Russian Orthodox priest, went a stage further on his RCA Victrola recording with the New Philharmonia Orchestra. Not only did he deploy voices for the opening chant but he also had a children's chorus sing the folk tune "By the Gates" and brought the choir back to bolster the chant and the Russian Imperial national anthem God Save the Tsar!.[7]
On 7 September 1812, at Borodino, 120 km (75 mi) west of Moscow, Napoleon's forces met those of General Mikhail Kutuzov in a concerted stand made by Russia against the seemingly invincible French Army. The Battle of Borodino saw casualties estimated as high as 100,000 and the French were masters of the field. It was, however, ultimately a pyrrhic victory for the French invasion.[8]
With resources depleted and supply lines overextended, Napoleon's weakened forces moved into Moscow, which they occupied with no delegation to receive the conquerors. Expecting a capitulation from Tsar Alexander I, the French instead found themselves in a barren and desolate city. To make things worse, 48 hours after Napoleon's entry to the Russian city on 14 September 1812, three quarters of Moscow was burned to the ground.[9]
Deprived of winter stores, Napoleon had to retreat. Beginning on 19 October and lasting well into December, the French Army faced several overwhelming obstacles on its long retreat: famine, typhus, freezing temperatures, harassing cossacks, and Russian forces barring the way out of the country. Abandoned by Napoleon in November, the Grande Arme was reduced to one-tenth of its original size by the time it reached Poland and relative safety.[10]
In 1869, the full edition of War and Peace by Leo Tolstoy was published. The novel reported a very accurate description of the Napoleonic invasion of 1812, reviving memories of the Russian resistance. This led to the commissioning of new monuments, paintings and also of new musical compositions, including Tchaikovsky's.
The Cathedral of Christ the Saviour, commissioned in 1812 by Tsar Alexander I to commemorate the Russian victory, was nearing completion in Moscow in 1880; the 25th anniversary of the coronation of Alexander II would be at hand in 1881; and the 1882 All-Russia Arts and Industry Exhibition at Moscow was in the planning stage. Tchaikovsky's friend and mentor Nikolai Rubinstein suggested that he write a grand commemorative piece for use in related festivities. Tchaikovsky began work on the project on 12 October 1880, finishing it six weeks later.[11]
Meanwhile, Tchaikovsky complained to his patron Nadezhda von Meck that he was "... not a conductor of festival pieces," and that the Overture would be "... very loud and noisy, but [without] artistic merit, because I wrote it without warmth and without love." He put it together in six weeks. It is this work that would make the Tchaikovsky estate exceptionally wealthy, as it is one of the most performed and recorded works from his catalog.[13][14][15]
In Russia, during the Soviet era, the imperial anthem was replaced with the chorus "Glory, Glory to you, holy Rus'!" (Славься, славься, святая Русь!), which came from the finale of Mikhail Glinka's opra Ivan Susanin, a historical drama about a patriotic commoner of the same name. The original version of the song, written by Vasily Zhukovsky and Egor Fyodorovich Rozen, praised the Tsar and the Russian Tsardom, while the latter version by Sergey Gorodetsky was one of a patriotic form and is sometimes regarded as the unofficial anthem of Russia in the 20th century and even today. With the dissolution of the Soviet Union at the end of the Cold War, the original score returned.[16][17]
As a rousing patriotic hymn, the Overture has subsequently been adapted into and associated with other contexts than that of the Russian resistance to Napoleon's invasion. The 1812 Overture is popularly known[18] in the United States as a symbol of the United States Independence Day, a tradition that dates back to a 1974 choice made by Arthur Fiedler for a performance at the Boston Pops July 4th concert.[19][20]
The piece begins with the simple, plaintive Russian melody of the Eastern Orthodox Troparion of the Holy Cross (also known as "O Lord, Save Thy People") played by four cellos and two violas.[22] This represents the Russian people praying for a swift conclusion to the invasion. Then, the French national anthem, "La Marseillaise", is heard, representing the invading French army.[23] Then, the melody of "La Marseillaise" is heard competing against Russian folk music, representing the two armies fighting each other as the French approached Moscow. At this point, five cannon shots are heard, representing the Battle of Borodino. This is where "La Marseillaise" is most prominent, and seems to be winning. After this, a long descending run represents the French army retreating out of Moscow as the freezing winter winds rage on. At the end of this run the opening motif is repeated, which can be interpreted as prayers being answered. The grand finale culminates with eleven more cannon shots and the melody of "God Save the Tsar!".[24]
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