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Were you surprised when your last lottery game flipped up some unusual winning number patterns? It happens quite often - even in the big games. Regardless of whether you play Powerball, Super Lotto Plus or homeequity loans smaller lotto in your local city or town, every game gets some strange, unexplained number sequences at times.

This mismatch is quite common, and it's why you need a system that predicts skewed patterns and adjusts for them, to give you better winning odds. But maybe you haven't found such a system yet. So how can you be more selective in choosing when to avoid these number orphans?

The solution is fortunately quite easy, and you don't even need a calculator or pen! You can do it by just checking out the winning number sequence.

Here's the steps:

1. Check out the results of the last game in your area. You can find the results by entering "YourGame winning numbers" or "YourGame results" in any large search engine. Go back to the winning numbers on the last day of play. Doesn't matter if it's a mid-week game or a Saturday one - just make sure you view the LAST set of winning numbers available.

2. See if your game shows unusual number combinations, as in these examples:

- Three consecutive numbers together like 3, 4, 5, or 25, 26, 27, or even 41, 42, 43.

- Numbers concentrated together at one end of the play range, like 33, 35, 36, 38 or 2, 4, 5, 7, 8 (not those numbers you understand - just a injury at work like that).

- Unusual patterns of close numbers of 3 or more that may be in or out of sequence. A pattern like 2, 4, 6, 8 in two areas of the winning numbers is another example.

Here's the secret.

3. If your game shows any of these patterns, then make sure you play the very NEXT game.

Your winning chances will improve because it's unlikely these unusual number pattern sets will appear again in the very NEXT game. Research has shown that the likelihood of certain patterns repeating consistently is very rare in the following game.

By watching out for the strange number patterns like the ones

Ken Silver is the Multi-Million Dollar Lotto guy who has been helping the world's lottery players win 8 out of every 10 games with his Silver Lotto System since 1991.

www.silverlotto.comhttp://www.silverlotto.com

Sound quality is probably even more important for the overall effectiveness of a video production than video quality.

I firmly believe that viewers will tolerate mistakes in video quality before they will tolerate mistakes in sound recording. If a viewer can not hear the sound portion of your video, they will shut it off.

So how do you get quality sound in your video production? Use the right microphone in the correct way.

DISTANCE OF SOUND
Microphones come in all varieties. Some are meant to be spoken into at close range and others are designed to pick up from a long distance. New York Lemon Laws hand held microphone is normally one that picks up best at close range and a shotgun microphone is the type you use to pick up sound from a distance.

DIRECTION OF SOUND
Some mics only pick up sounds that are directly in front of it and others also pick up sounds coming from the side. This is called the pick up pattern and it is often described as a shape. A carotid pick up pattern resembled a heart shape. Carotid being the same root word found in cardio, meaning heart.

The terms omni directional and unidirectional also describe this aspect of microphones. Omni, meaning many, pick up sounds coming from all directions. (No mic does well with sounds coming from behind it.) Uni, meaning one, picks up sound coming from in front only.

WIRELESS AND HARD WIRED
Microphones also come in wired and wireless versions. A wired microphone is plugged into your camera and the on-camera person can only go as far as your cable will let you. A wireless microphone is like a mini radio receiver and transmitter. You plug the receiver portion of the wireless microphone into your camera and the person speaking on- camera wears the transmitter part. A wireless mic allows the person speaking to be far away from the camera since there is no cable acting like an umbilical cord.

SO WHICH MICROPHONE DO YOU NEED?
It depends on how you are going to use it. The single biggest audio mistake people make in video production is to rely on the microphone that comes attached to the camcorder for every purpose. This on-board mic is good for some applications but not for others. The on-board mic on most camcorders is a small shot gun mic. The sounds it picks up best are those about 3-6 feet away coming mostly from the front, but it also does relatively well with sounds coming from the side. Generally speaking, a shot gun microphone is best used for ambient, or natural sound. This is any sound that happens to be occurring while you are video taping. Sounds of cars, birds, crowd rumble, whatever.

The on-board shot gun mic is not necessarily good for picking up a person speaking directly to the camera. In most circumstances, using it this way will result in poor quality audio that has way too much background noise in it to be well understood. You can fix this by eliminating all background noise, if that is possible. Then, place the camera two to four feet from your person speaking and have them talk loudly.

The best way to record a person speaking directly into the camera is to either pin a small lavaliere microphone on their collar or to have them use a handheld just an inch or two from their lips. A lavaliere microphone is the tiny clip-on mic no bigger than your pinky tip. Because they are so small, they essentially disappear in your shot. So lavs are considered more attractive than hand held mics but either will do the job.

If you want to get shots where your con-camera talent is a long distance from the camera, use a wireless. But if your on-camera talent is in the same room as the camera, a hard wire will be fine. In fact it might be better because you have to get a pretty expensive wireless for it to work well. A crummy wireless is a pain in the cajoonies because you will get sound interference from competing radio signals (cell phones, walkie-talkies, etc.) and a tinny result.

In order to use a supplemental microphone when videotaping, you have to have a camera that has an input to plug it in. Many inexpensive camcorders do not have a microphone input so your only option is the on-board mic. This is one of the major drawbacks to using a cheap camcorder.

Camcorders higher up on the quality scale will have a mic input. There are several different kinds, mini-plugs to XLR, so you have to have a mic and camera input that are compatible.
If you are shooting low-budget video, you can get a cheap lav at places like Radio Shack for about $25 that will plug in using a mini jack. Unless you have a fairly expensive camcorder, it will have a mini jack if it has an audio input at all. For the price, these work well.

Lorraine Grula has been a well-respected award winning video professional for over twenty-five years. (Yeah, that makes her kind of old.) Lorraine has done virtually every kind of video production imaginable and now shares her expertise on the web. Her blog, www.VideoProductionTips.comhttp://www.VideoProductionTips.com is full of free information and video tutorials.