05 Distension(不要第一页)

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《差别阈限原理》课件

《差别阈限原理》课件
个刺激的亮度,直到受试者无法分辨出哪个更亮 d. 记录此时两个刺激的亮度差,即为差别阈限
● a. 准备两个刺激,如两个不同亮度的灯光 ● b. 让受试者判断哪个刺激更亮 ● c. 逐渐调整两个刺激的亮度,直到受试者无法分辨出哪个更亮 ● d. 记录此时两个刺激的亮度差,即为差别阈限
● 优点:简单易行,适用于各种类型的刺激 ● 缺点:受试者的主观判断可能受到其他因素的影响,如疲劳、注意力不集中等
嗅觉刺激:通过气味、香氛等嗅觉元素来 呈现刺激
味觉刺激:通过味道、口感等味觉元素来 呈现刺激
心理刺激:通过心理暗示、心理压力等心 理元素来呈现刺激
差别阈限的应用
第六章
在心理学中的应用
心理测量:用于 测量个体的心理 特征和差异
Байду номын сангаас
心理诊断:用于 诊断个体的心理 问题和障碍
心理治疗:用于 治疗个体的心理 问题和障碍
20世纪初,美国心理学家韦伯提出差 别阈限的测量方法
20世纪30年代,美国心理学家费希 纳提出差别阈限的公式
20世纪50年代,美国心理学家斯滕 伯格提出差别阈限的应用领域
20世纪70年代,美国心理学家罗杰 斯提出差别阈限的心理学意义
21世纪初,差别阈限原理在教育、管 理等领域得到广泛应用
差别阈限原理在心理学中的应用
刺激的机体状态
生理状态:如疲劳、饥饿、睡 眠不足等
心理状态:如情绪、注意力、 动机等
环境因素:如温度、湿度、噪 音等
生理因素:如年龄、性别、体 质等
刺激的呈现方式
视觉刺激:通过图像、颜色、形状等视觉 元素来呈现刺激
听觉刺激:通过声音、音乐、语音等听觉 元素来呈现刺激
触觉刺激:通过触摸、按压、震动等触觉 元素来呈现刺激

瞧不起的英文短语

瞧不起的英文短语

瞧不起的英文短语Condescending English PhrasesIt is a common experience for many individuals, particularly those from marginalized or minority backgrounds, to encounter condescending language in their daily lives. These condescending English phrases, often used unintentionally or subconsciously, can have a significant impact on the recipient's self-esteem, sense of belonging, and overall well-being. In this essay, we will explore the prevalence of such phrases, their underlying societal biases, and the importance of being mindful of our language choices.One of the most prevalent condescending English phrases is "You're so articulate." This phrase, often directed towards individuals from ethnic minority backgrounds, carries the implication that the speaker is surprised by the person's ability to communicate effectively in English. The subtext suggests that the speaker had low expectations or preconceived notions about the individual's linguistic capabilities, which can be deeply offensive and perpetuate harmful stereotypes.Another commonly used condescending phrase is "You're so brave." This statement is frequently directed towards individuals with disabilities, LGBTQ+ individuals, or those who have overcome significant challenges. While the intention may be to express admiration or support, the phrase can be perceived as patronizing, implying that the individual's existence or accomplishments are somehow extraordinary or remarkable, simply because they defy societal norms or expectations.The phrase "You're so exotic" is another example of a condescending English expression. This term is often used to describe individuals from non-Western or non-mainstream cultural backgrounds, reducing their identity to a mere novelty or curiosity. Such language objectifies the individual and fails to recognize their unique cultural heritage, experiences, and personhood.One particularly insidious condescending phrase is "You're so inspirational." This statement is commonly directed towards individuals with disabilities or those who have overcome adversity, with the implication that their mere existence or accomplishments are inherently inspiring, simply because they differ from the societal norm. This phrase can be problematic as it places the burden of inspiration on the individual, rather than acknowledging the systemic barriers and challenges they have faced.Another condescending English phrase that is often used is "You're so well-spoken." Similar to the "You're so articulate" example, this phrase suggests that the speaker is surprised by the individual's ability to communicate effectively, particularly when the individual is from a marginalized or minority background. This phrase perpetuates the harmful stereotype that individuals from certain backgrounds are inherently less capable of articulate speech.The phrase "You're so passionate" can also be considered condescending, particularly when directed towards individuals who are advocating for social justice or speaking out against oppression. This phrase can be perceived as dismissive, implying that the individual's emotions or convictions are excessive or unreasonable, rather than acknowledging the legitimate concerns they are raising.Finally, the phrase "You're so strong" can be condescending when used in certain contexts. While this statement may be intended as a compliment, it can be perceived as minimizing the individual's struggles and the emotional toll they have endured. It can also imply that the individual is expected to be perpetually resilient, without acknowledging the need for support or vulnerability.These condescending English phrases, while often used unintentionally, can have a profound impact on the individuals who encounter them. They can reinforce societal biases, undermine therecipient's sense of self-worth, and perpetuate harmful stereotypes. It is crucial for individuals to be mindful of their language choices and to strive to use more inclusive, respectful, and empowering language.By recognizing the prevalence of condescending phrases and the underlying biases they reflect, we can work towards creating a more equitable and inclusive society. This involves challenging our own assumptions, actively listening to the experiences of marginalized individuals, and making a conscious effort to use language that affirms and empowers, rather than diminishes or patronizes.In conclusion, the use of condescending English phrases is a pervasive issue that requires our attention and collective effort to address. By being mindful of our language choices and striving to create a more inclusive and respectful communication environment, we can contribute to the dismantling of systemic biases and the promotion of genuine understanding and respect for all individuals, regardless of their background or identity.。

DELTA DOP-B05高色彩宽屏用户友好HMI产品说明书

DELTA DOP-B05高色彩宽屏用户友好HMI产品说明书

DOP -B05High Color Wide Screen User-Friendly HMI ProductsB05S111 Instrunction Sheet(1) PrefaceThank you for purchasing DELTA’s DOP-B series. This instruction sheet will be helpful in the installation, wiring and inspection of Delta HMI. Before using the product, please read this instruction sheet to ensure correct use. You should thoroughly understand all safety precautions before proceeding with the installation, wiring and operation. Place this instruction sheet in a safe location for future reference. Please observe the following precautions:Install the product in a clean and dry location free from corrosive and inflammable gases or liquids. Ensure that all wiring instructions and recommendations are followed. Ensure that HMI is correctly connected to a ground. The grounding method must comply with the electrical standard ofthe country (Please refer to NFPA 70: National Electrical Code, 2005 Ed.). Do not disassemble HMI, modify or remove wiring when power is applied to HMI. Do not touch the power supply during operation. Otherwise, it may cause electric shock.If you have any questions during operation, please contact our local distributors or Delta sales representatives.The content of this instruction sheet may be revised without prior notice. Please consult our distributors or download the most updated version at /ia(2) Safety PrecautionsCarefully note and observe the following safety precautions when receiving, inspecting, installing, operating,maintaining and troubleshooting. The following words, DANGER, WARNING and STOP are used to mark safety precautions when using the Delta’s HMI product. Failure to observe these precautions may void the warranty! InstallationWiringOperationD o not modify wiring during operation. Otherwise it may result in electric shock orpersonal injury.N ever use a hard or pointed object to hit or strike the screen as doing this may damage thescreen and let the screen has not respond at all, and then cause HMI to work abnormally.Maintenance and InspectionD o not touch any internal or exposed parts of the HMI as electrical shock may result.Do not remove operation panel while power is on. Otherwise electrical shock may result. W ait at least 10 minutes after power has been removed before touching any HMI terminalsor performing any wiring and/or inspection as an electrical charge may still remain in the HMI with hazardous voltages even after power has been removed. T urn the power off before changing backup battery and check system settings after finishing change. (all data will be cleared after changing battery). B e sure the ventilation holes are not obstructed during operation. Otherwise malfunction may result due to bad ventilation or overheating troubles.Wiring MethodCommunication Wiring(3) Pin Definition of Serial CommunicationNote2: B05S111 models do not support RS-422 flow control function. Note3: COM3 is the extension port (COM2 and COM3 share one physical port)(4) Parts NamesDOP-B05S111 (Front View)A Power LED Indicator (Lights in green when HMI works normally.) BTouch Screen / DisplayDOP-B05S111 (Rear View)(5) DimensionsNote:T=1.6mm(0.063")~ 6mm(0.24")BUnits: mm (inches)(6) SpecificationsL C D M O D U L EDisplay Type 5.6” TFT LCD (65536 colors) Resolution 320 x 234 pixelsBacklight LED Back Light (less than 20,000 hours half-life at 25C) (Note 1)Display Size113.28 x 84.70mm Operation SystemDelta Real Time OS MCU 32-bit RISC Micro-controllerNOR Flash ROMFlash ROM 128 MB(OS System: 30MB / Backup: 16MB / User Application: 82MB)SDRAM 64Mbytes Backup Memory 16MbytesSound EffectOutput Buzzer Multi-Tone Frequency2K ~ 4K Hz85dBAUX N/A Ethernet InterfaceN/AUSB 1 USB Host (Note 2) Ver 1.1 / 1 USB Slave Ver 2.0Memory Card N/ASerial COM PortCOM1 RS-232 (supports hardware flow control)COM2 RS-232RS-485 COM3RS-422RS-485Function Key N/A Perpetual Calendar (RTC) Built-inCooling Method Natural air circulation Safety ApprovalCEUL (Note 3)KCC (Note 3)WaterproofDegree IP65NEMA4OperationVoltage (Note 4) DC +24V -10% ~ +15%(please use isolated power supply)Voltage Endurance AC500V for 1 minute (between charging (DC24V terminal) and FG terminals) PowerConsumption (Note4) 3.0W Backup Battery 3V lithium battery CR2032 x 1Backup BatteryLife It depends on the temperature used and the conditions of usage,about 3 years or more at 25C.Operation Temp. 0oC ~ 50oC Storage Temp. -20oC ~ +60oCAmbient Humidity 10% ~ 90% RH [0 ~ 40C], 10% ~ 55% RH [41 ~ 50C]Pollution Degree 2Vibration IEC 61131-2 compliant 5Hz f 8.3Hz = Continuous: 3.5mm,8.3Hz f 150Hz = Continuous: 1.0gShock IEC 60068-2-27 compliant 15g peak for 11 ms duration, X, Y, Zdirections for 6 timesDimensions (W) x (H) x (D) mm 184 x 144 x 50 Panel Cutout (W) x (H) mm172.4 x 132.4 WeightApprox.670gsupplied to HMI. The life of LED backlight shown here is an estimated value under 25C normal temperature and humidity conditions.2) USB Host port can provide up to 5V/ 500mA of power.3) Some models are in the process of application to UL and KCC certification. For more information, please consult our distributors.4) The value of the power consumption indicates the electrical power consumed by HMI only without connecting to anyperipheral devices. In order to ensure the normal operation, it is recommended to use a power supply which the capacity is 1.5 ~2 times the value of the power consumption.5)The content of this quick start may be revised without prior notice. Please consult our distributors or download the most updated version at /ia/.。

Lession5

Lession5

建立超链接
超链接标签<a></a>
超链接标签<a></a>用于在网页中建立超级链接。 基本格式为: <a href="资源地址">链接文字</a> ›标签<a>表示一个链接的开始,</a>表示链接的结束; ›属性“href”定义了这个链接所指的地方,可以指向任何一个文件源: 例如一个HTML网页,一个图片,一个影视文件等等。
<A HREF=“aa.rar”>课件下载</A> <A HREF=“aa.zip”>课件下载</A> <A HREF=“aa.ppt”>课件下载</A> <A HREF=“aa.doc”>课件下载</A> <A HREF=“mailto:web@”> 写邮件给朋友</A>
17
文件下载
14Biblioteka 指向其他页面内锚点的超链接:
› 1、需要在”其他页面”中定义锚点,定义锚
点应使用<a name=xxx></a> › 2、在超链接中指向该锚点。 指向锚点的超链接为:
<a href = 页面的URL#该文件中的锚点 >link</a>
15
16
网站连接
新浪网
<A HREF=""> 新浪网</A>

TEXT 属性用于设置正文的颜色; LINK 属性用于设置未被访问的链接的颜色; VLINK 用于设置已被访问过的链接的颜色; ALINK 用于设置活动链接(即当前选定的链接)的颜色。

英语distinguish的中文是什么

英语distinguish的中文是什么

英语distinguish的中文是什么英语distinguish的中文是什么英语单词distinguish虽说只有动词的词性,但是它具体的中文意思不止一种的。

下面店铺将为你推荐英语单词distinguish所指的中文意思及例句的内容,希望能够帮到你!英语单词distinguish的中文意思英 [dɪˈstɪŋgwɪʃ] 美 [dɪˈstɪŋɡwɪʃ]第三人称单数:distinguishes现在分词:distinguishing过去分词:distinguished过去式:distinguished不及物动词区分,辨别,分清; 辨别是非及物动词区分,辨别,分清; 辨别出,识别; 引人注目,有别于; 使杰出,使著名相关例句及物动词1. Speeches distinguishes man from the animals.言语使人区别于动物。

2. She distinguished herself as an African American lawyer.她成了一位杰出的黑人律师。

3. He can distinguish a genuine antique from a reproduction.他能区别真正的古董与复制品。

4. I can distinguish my roommates by their footsteps.我能根据室友的脚步声辨认出他们。

英语单词distinguish的词典解释1. 区分;辨别;分清If you can distinguish one thing from another or distinguish between two things, you can see or understand how they are different.e.g. Could he distinguish right from wrong?...他能分辨是非吗?e.g. Research suggests that babies learn to see by distinguishing between areas of light and dark...研究表明婴儿通过辨别光亮和黑暗的区域来学会看东西。

berytech GPT-4学习导航指南说明书

berytech GPT-4学习导航指南说明书

Unit 1 Study Guide: Geography and Arizona History KEYUse this KEY to check your Study Guide. Do not write on this page! Make corrections to your own worksheet as needed.Goal 1. Five Themes of Geography. Resources: NB Pages 15● Identify the five themes of geography; describe what each includes.Location- Describes where something isAbsolute location- exact, fixed locationRelative location – In relation to something else; can change; uses direction,landmarks, etc.Place- The physical and human factors that make one area different from another Physical factors- natural things like mountains, lakes, plants, animals, climateHuman factors- cultures and things people make; languages, buildings, etc.Movement- how people, goods, ideas move from place to placeHuman-environment interaction- Ways people depend on, adapt to, and modify theenvironmentRegion- areas with unifying characteristicsExamples: climate, natural resources, political/economic/religious systemsGoal #2.Maps: Resources: NB pages 16, 19● Interpret maps, graphs, and charts that depict various aspects of the US and world regions.*There will be maps, charts, and graphs on the test that show data related to the study ofArizona history. You will need to read and interpret the data being represented.Goal #3. Arizona History Resources: NB Page 21● Analyze Arizona’s transition from territory to statehood.● Describe changes in the locations of Arizona’s capital, important people, and how provisions in itsconstitution influenced the process of Arizona becoming a state.-Tell how the United States obtained the land that eventually became the state of Arizona Originally inhabited by Native Indian tribes, such as the Pima, Navajo and Apache. The Spanish were in control in the area first, but then Mexico declared and won independence from Spain. After the Mexican-American War, the US claimed the region. The Gadsden Purchase completed the area that makes up Arizona. Arizona was then a territory- first connected with New Mexico, then on our own. Eventually, Arizona wrote a constitution and joined the US as the 48th state on February 14, 1912.-Describe the events that led up to Arizona becoming a territory separate from New Mexico.In 1850, Arizona became a part of the territory of New Mexico. It briefly joined the Confederate States during the Civil War. After the Civil War ended, the state rejoined the US and wasgiven its modern shape.-How did Arizona’s capital city change location before 1889?Capital was first located in Prescott. It moved to Tucson, back to Prescott and finally toPhoenix in 1889.-Tell who rejected Arizona’s first constitution and why it was rejected.President Taft refused to approve the Constitution because it gave the people the power to remove (or “recall”) judges from office. When the right t o “recall” judges was removed,Arizona became the 48th US state on February 14, 1912.- Provide details about the following important people from Arizona’s past:Charles Poston- Gold miner and land speculator; Known as the “Father of Arizona”because lobbied President Lincoln to create a separate Arizona Territory. Served as the first delegate to the US House of Representatives from the Territory of Arizona.George W. P. Hunt-was Arizona’s first Governor. He served seven terms. He believedwomen should have the right to vote, was against the death penalty, and pro-union.Carl Hayden- Arizona’s first representative to the US House of Representatives. Served 8 terms before becoming a US Senator, where he served 7 terms. Was the longest serving member of Congress EVER! Helped get the Central Arizona Project built (that brings water to Arizona).-Explain what the “5 Cs” are and why they are important to Arizona’s modern development. Climate, citrus, cotton, copper, and cattle。

赵丽四级词汇笔记

赵丽四级词汇笔记

naive 天真的,幼稚的nai+ve,奶+喂。

喂奶,给小孩native 土著人native去掉t,比土著人还要少一点,就是天真的,幼稚的;也可以理解成naive加上t,天真+很土(t)=土著人***tantalize 逗引或招惹。

逗弄,使干着急。

tantalus 致命的诱惑tantalizing 诱人的tantalizing smell 诱人的气味希腊神话,tantalus,因其将其子剁碎给众神吃而受到惩罚,被打入阴间并被罚站立在水中,当他想去饮水时水即流走,其头上挂有水果,但当他想拿水果时却退开。

***rim 边缘brim 边缘b+rim,不+rim。

b加在rim前意思不变。

grim 恐怖的g+rim,鬼+rim。

鬼站在边缘上,很恐怖。

trim 修剪整齐t+rim,剃+rim。

剃掉多余的部份,修剪整齐。

zjprim 呆板的prose 单调,散文p+rose,铺+rim。

铺天盖地的玫瑰,很单调。

另,散文经常写的是爱情,玫瑰是爱情的象征,铺天盖地的玫瑰,铺天盖地的爱情,就是散文。

plight 困境p+light,扑+light。

把光给扑灭了,就陷入困境。

pray 祈祷p+ray,扑+ray。

舞台上,一个人扑倒在一束光线的下面,在祈祷。

口决:只有rim是边缘;前面加b,含义不变;前面加鬼,真恐怖;前面加t才修剪整齐;p在rim前真呆板;铺到玫瑰上更单调;扑灭了光,就陷入困境;扑在光线下才是祈祷。

***chaos 混乱,紊乱chao+s。

吵的复数,混乱,紊乱。

***flirt 调情抚摸着她,逗她笑。

调情。

***quaint 古怪的guai怪,古怪。

acquaint 熟悉,见怪不怪ac+quaint,ac-词根,表示“一再的”。

一再的怪,到最后就熟悉,见怪不怪了。

***charisma 领袖气质cha+ris+ma,china+rise+mao。

中国升起了毛泽东,毛泽东具有领袖气质。

chari+s+ma,chair+s+man。

国外精美ppt模板

国外精美ppt模板
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_Unit 4 单词详解-21-22学年高中英语人教版(19)选择性必修第一册

_Unit 4 单词详解-21-22学年高中英语人教版(19)选择性必修第一册
1.interaction n.交流;相互影响
固定搭配: interaction with sb/sth 与...相互交流/影响
同根词:interact v.互动;交流;相互作用;相互影响 inter-在...之间,相互 international adj.国际的 interpersonal adj.人与人之间的 interdependence n.相互依赖
5.demonstrate vt表现;表达;说明;证明 demonstration n.表现;表达;说明;证明;示范;示威游行 demonstrator n.示威者
6/7. witness/employ P57 同步
8.identical adj.相同的;完全同样的 be identical to/with 与...相同 be identical in 在...相同
bare 光秃的;荒芜的;无遮盖的
bare 部分裸露
naked 一丝不挂
bald 头上无发,山坡无草,树顶无叶
barren 缺少肥力而无草木
27/28.occupy P30 同步 stare P64
29.distract vt.分散(注意力);使分心
distract sb/sth from sth 转移/分散...(对某事)的注意力 distracting adj.令人分心的 distracted adj.心烦意乱的;注意力分散的 distraction n.分散注意力;使人分心的事
17.incident 政治上的事变 accident 意外发生的不幸事件 event 历史上的重大事件
18. assess P.61 同步
19.internal adj.内部的;里面的 external adj.外部的;外面的

最新精神医学理论知识之随境转移Distractability

最新精神医学理论知识之随境转移Distractability

精神医学理论知识之随境转移Distractability随境转移指注意的可转移性增高。

这在躁狂病人表现得最突出。

病人的注意很容易被环境中的变动(尤其是新鲜事的发生或某个人物的出现)而转移开。

一旦被新事物所吸引,病人的注意便集中于该事物,但并不持久,很快又转移到另外的事物上去了。

躁狂比较轻的时候,病人能够和别人作短时间有意义的交谈,或者在始有终地做一些简单的事。

随着病情的加重,保持注意集中于一定事物的时间愈来愈短。

严重时,病人的言语不连贯,也不能做们何一件事,甚至在大小便时,嘴里仍说个不停,手也在比划着。

随境转移也见之于多种器质性精神障碍。

器质性随境转移往往是被动的.病人不能集中注意于任何一件事物,因而精神活动显得支离破碎,很少能看出病人对事物的兴趣,行为的目标导向性也受到损害,这些都与轻躁狂大不相同。

随境转移这个中文译名并不准确,因为“境”指环境,但注意的转移并不一定与环境有联系,比较准确的译名是注意易转移。

一位为幻听所苦的病人用力挥舞一下拳头,幻听便消失了,我们便说,这种幻听是容易转移的(distract ability of the hallucination)。

Bonhoeffer(190年,转引自Jaspers,1963年)描述了酒精中毒性谵妄病人错觉幻觉的易转移性。

检查者使病人保持中等程度的注意,方法是主动和病人进行简单问答式交谈,此时知觉障碍便很少出现。

如果不理病人,随他去,病人对环境不关心,错觉幻觉便大量出现。

不过,当检查者迫使病人集中注意于视觉刺激时,视野中会出现许多错觉。

当急性精神病状态正在走向恢复,也许只有在病人注意内收时才出现幻觉,一旦注意被转移开,幻觉便消失了。

有一位病人用唱歌对抗使他苦恼的幻听,取得了成功。

从此,幻听一出现他便唱歌,也确能控制住幻听。

Kleist(1980年,转引自Mayer-Gross,1955年)首先发现运动可影响病人的思维活动。

亨廷顿氏舞蹈症病人在交谈中注意很容易转移,这可以看做运动模式的不断改变对病人思维进程的影响。

Native Instruments MASCHINE MIKRO MK3用户手册说明书

Native Instruments MASCHINE MIKRO MK3用户手册说明书

The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu-ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru-ments GmbH.ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH.All other product and company names are trademarks™ or registered® trademarks of their re-spective holders. Use of them does not imply any affiliation with or endorsement by them.Document authored by: David Gover and Nico Sidi.Software version: 2.8 (02/2019)Hardware version: MASCHINE MIKRO MK3Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product.NATIVE INSTRUMENTS GmbH Schlesische Str. 29-30D-10997 Berlin Germanywww.native-instruments.de NATIVE INSTRUMENTS North America, Inc. 6725 Sunset Boulevard5th FloorLos Angeles, CA 90028USANATIVE INSTRUMENTS K.K.YO Building 3FJingumae 6-7-15, Shibuya-ku, Tokyo 150-0001Japanwww.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp StreetLondon EC2A 4NUUKNATIVE INSTRUMENTS FRANCE SARL 113 Rue Saint-Maur75011 ParisFrance SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 5F, Shenzhen Zimao Center111 Taizi Road, Nanshan District, Shenzhen, GuangdongChina© NATIVE INSTRUMENTS GmbH, 2019. All rights reserved.Table of Contents1Welcome to MASCHINE (23)1.1MASCHINE Documentation (24)1.2Document Conventions (25)1.3New Features in MASCHINE 2.8 (26)1.4New Features in MASCHINE 2.7.10 (28)1.5New Features in MASCHINE 2.7.8 (29)1.6New Features in MASCHINE 2.7.7 (29)1.7New Features in MASCHINE 2.7.4 (31)1.8New Features in MASCHINE 2.7.3 (33)2Quick Reference (35)2.1MASCHINE Project Overview (35)2.1.1Sound Content (35)2.1.2Arrangement (37)2.2MASCHINE Hardware Overview (40)2.2.1MASCHINE MIKRO Hardware Overview (40)2.2.1.1Browser Section (41)2.2.1.2Edit Section (42)2.2.1.3Performance Section (43)2.2.1.4Transport Section (45)2.2.1.5Pad Section (46)2.2.1.6Rear Panel (50)2.3MASCHINE Software Overview (51)2.3.1Header (52)2.3.2Browser (54)2.3.3Arranger (56)2.3.4Control Area (59)2.3.5Pattern Editor (60)3Basic Concepts (62)3.1Important Names and Concepts (62)3.2Adjusting the MASCHINE User Interface (65)3.2.1Adjusting the Size of the Interface (65)3.2.2Switching between Ideas View and Song View (66)3.2.3Showing/Hiding the Browser (67)3.2.4Showing/Hiding the Control Lane (67)3.3Common Operations (68)3.3.1Adjusting Volume, Swing, and Tempo (68)3.3.2Undo/Redo (71)3.3.3Focusing on a Group or a Sound (73)3.3.4Switching Between the Master, Group, and Sound Level (77)3.3.5Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.773.3.6Navigating the Software Using the Controller (82)3.3.7Using Two or More Hardware Controllers (82)3.3.8Loading a Recent Project from the Controller (84)3.4Native Kontrol Standard (85)3.5Stand-Alone and Plug-in Mode (86)3.5.1Differences between Stand-Alone and Plug-in Mode (86)3.5.2Switching Instances (88)3.6Preferences (88)3.6.1Preferences – General Page (89)3.6.2Preferences – Audio Page (93)3.6.3Preferences – MIDI Page (95)3.6.4Preferences – Default Page (97)3.6.5Preferences – Library Page (101)3.6.6Preferences – Plug-ins Page (109)3.6.7Preferences – Hardware Page (114)3.6.8Preferences – Colors Page (114)3.7Integrating MASCHINE into a MIDI Setup (117)3.7.1Connecting External MIDI Equipment (117)3.7.2Sync to External MIDI Clock (117)3.7.3Send MIDI Clock (118)3.7.4Using MIDI Mode (119)3.8Syncing MASCHINE using Ableton Link (120)3.8.1Connecting to a Network (121)3.8.2Joining and Leaving a Link Session (121)4Browser (123)4.1Browser Basics (123)4.1.1The MASCHINE Library (123)4.1.2Browsing the Library vs. Browsing Your Hard Disks (124)4.2Searching and Loading Files from the Library (125)4.2.1Overview of the Library Pane (125)4.2.2Selecting or Loading a Product and Selecting a Bank from the Browser (128)4.2.3Selecting a Product Category, a Product, a Bank, and a Sub-Bank (133)4.2.3.1Selecting a Product Category, a Product, a Bank, and a Sub-Bank on theController (137)4.2.4Selecting a File Type (137)4.2.5Choosing Between Factory and User Content (138)4.2.6Selecting Type and Character Tags (138)4.2.7Performing a Text Search (142)4.2.8Loading a File from the Result List (143)4.3Additional Browsing Tools (148)4.3.1Loading the Selected Files Automatically (148)4.3.2Auditioning Instrument Presets (149)4.3.3Auditioning Samples (150)4.3.4Loading Groups with Patterns (150)4.3.5Loading Groups with Routing (151)4.3.6Displaying File Information (151)4.4Using Favorites in the Browser (152)4.5Editing the Files’ Tags and Properties (155)4.5.1Attribute Editor Basics (155)4.5.2The Bank Page (157)4.5.3The Types and Characters Pages (157)4.5.4The Properties Page (160)4.6Loading and Importing Files from Your File System (161)4.6.1Overview of the FILES Pane (161)4.6.2Using Favorites (163)4.6.3Using the Location Bar (164)4.6.4Navigating to Recent Locations (165)4.6.5Using the Result List (166)4.6.6Importing Files to the MASCHINE Library (169)4.7Locating Missing Samples (171)4.8Using Quick Browse (173)5Managing Sounds, Groups, and Your Project (175)5.1Overview of the Sounds, Groups, and Master (175)5.1.1The Sound, Group, and Master Channels (176)5.1.2Similarities and Differences in Handling Sounds and Groups (177)5.1.3Selecting Multiple Sounds or Groups (178)5.2Managing Sounds (181)5.2.1Loading Sounds (183)5.2.2Pre-listening to Sounds (184)5.2.3Renaming Sound Slots (185)5.2.4Changing the Sound’s Color (186)5.2.5Saving Sounds (187)5.2.6Copying and Pasting Sounds (189)5.2.7Moving Sounds (192)5.2.8Resetting Sound Slots (193)5.3Managing Groups (194)5.3.1Creating Groups (196)5.3.2Loading Groups (197)5.3.3Renaming Groups (198)5.3.4Changing the Group’s Color (199)5.3.5Saving Groups (200)5.3.6Copying and Pasting Groups (202)5.3.7Reordering Groups (206)5.3.8Deleting Groups (207)5.4Exporting MASCHINE Objects and Audio (208)5.4.1Saving a Group with its Samples (208)5.4.2Saving a Project with its Samples (210)5.4.3Exporting Audio (212)5.5Importing Third-Party File Formats (218)5.5.1Loading REX Files into Sound Slots (218)5.5.2Importing MPC Programs to Groups (219)6Playing on the Controller (223)6.1Adjusting the Pads (223)6.1.1The Pad View in the Software (223)6.1.2Choosing a Pad Input Mode (225)6.1.3Adjusting the Base Key (226)6.2Adjusting the Key, Choke, and Link Parameters for Multiple Sounds (227)6.3Playing Tools (229)6.3.1Mute and Solo (229)6.3.2Choke All Notes (233)6.3.3Groove (233)6.3.4Level, Tempo, Tune, and Groove Shortcuts on Your Controller (235)6.3.5Tap Tempo (235)6.4Performance Features (236)6.4.1Overview of the Perform Features (236)6.4.2Selecting a Scale and Creating Chords (239)6.4.3Scale and Chord Parameters (240)6.4.4Creating Arpeggios and Repeated Notes (253)6.4.5Swing on Note Repeat / Arp Output (257)6.5Using Lock Snapshots (257)6.5.1Creating a Lock Snapshot (257)7Working with Plug-ins (259)7.1Plug-in Overview (259)7.1.1Plug-in Basics (259)7.1.2First Plug-in Slot of Sounds: Choosing the Sound’s Role (263)7.1.3Loading, Removing, and Replacing a Plug-in (264)7.1.4Adjusting the Plug-in Parameters (270)7.1.5Bypassing Plug-in Slots (270)7.1.6Using Side-Chain (272)7.1.7Moving Plug-ins (272)7.1.8Alternative: the Plug-in Strip (273)7.1.9Saving and Recalling Plug-in Presets (273)7.1.9.1Saving Plug-in Presets (274)7.1.9.2Recalling Plug-in Presets (275)7.1.9.3Removing a Default Plug-in Preset (276)7.2The Sampler Plug-in (277)7.2.1Page 1: Voice Settings / Engine (279)7.2.2Page 2: Pitch / Envelope (281)7.2.3Page 3: FX / Filter (283)7.2.4Page 4: Modulation (285)7.2.5Page 5: LFO (286)7.2.6Page 6: Velocity / Modwheel (288)7.3Using Native Instruments and External Plug-ins (289)7.3.1Opening/Closing Plug-in Windows (289)7.3.2Using the VST/AU Plug-in Parameters (292)7.3.3Setting Up Your Own Parameter Pages (293)7.3.4Using VST/AU Plug-in Presets (298)7.3.5Multiple-Output Plug-ins and Multitimbral Plug-ins (300)8Using the Audio Plug-in (302)8.1Loading a Loop into the Audio Plug-in (306)8.2Editing Audio in the Audio Plug-in (307)8.3Using Loop Mode (308)8.4Using Gate Mode (310)9Using the Drumsynths (312)9.1Drumsynths – General Handling (313)9.1.1Engines: Many Different Drums per Drumsynth (313)9.1.2Common Parameter Organization (313)9.1.3Shared Parameters (316)9.1.4Various Velocity Responses (316)9.1.5Pitch Range, Tuning, and MIDI Notes (316)9.2The Kicks (317)9.2.1Kick – Sub (319)9.2.2Kick – Tronic (321)9.2.3Kick – Dusty (324)9.2.4Kick – Grit (325)9.2.5Kick – Rasper (328)9.2.6Kick – Snappy (329)9.2.7Kick – Bold (331)9.2.8Kick – Maple (333)9.2.9Kick – Push (334)9.3The Snares (336)9.3.1Snare – Volt (338)9.3.2Snare – Bit (340)9.3.3Snare – Pow (342)9.3.4Snare – Sharp (343)9.3.5Snare – Airy (345)9.3.6Snare – Vintage (347)9.3.7Snare – Chrome (349)9.3.8Snare – Iron (351)9.3.9Snare – Clap (353)9.3.10Snare – Breaker (355)9.4The Hi-hats (357)9.4.1Hi-hat – Silver (358)9.4.2Hi-hat – Circuit (360)9.4.3Hi-hat – Memory (362)9.4.4Hi-hat – Hybrid (364)9.4.5Creating a Pattern with Closed and Open Hi-hats (366)9.5The Toms (367)9.5.1Tom – Tronic (369)9.5.2Tom – Fractal (371)9.5.3Tom – Floor (375)9.5.4Tom – High (377)9.6The Percussions (378)9.6.1Percussion – Fractal (380)9.6.2Percussion – Kettle (383)9.6.3Percussion – Shaker (385)9.7The Cymbals (389)9.7.1Cymbal – Crash (391)9.7.2Cymbal – Ride (393)10Using the Bass Synth (396)10.1Bass Synth – General Handling (397)10.1.1Parameter Organization (397)10.1.2Bass Synth Parameters (399)11Working with Patterns (401)11.1Pattern Basics (401)11.1.1Pattern Editor Overview (402)11.1.2Navigating the Event Area (404)11.1.3Following the Playback Position in the Pattern (406)11.1.4Jumping to Another Playback Position in the Pattern (407)11.1.5Group View and Keyboard View (408)11.1.6Adjusting the Arrange Grid and the Pattern Length (410)11.1.7Adjusting the Step Grid and the Nudge Grid (413)11.2Recording Patterns in Real Time (416)11.2.1Recording Your Patterns Live (417)11.2.2Using the Metronome (419)11.2.3Recording with Count-in (420)11.3Recording Patterns with the Step Sequencer (422)11.3.1Step Mode Basics (422)11.3.2Editing Events in Step Mode (424)11.4Editing Events (425)11.4.1Editing Events with the Mouse: an Overview (425)11.4.2Creating Events/Notes (428)11.4.3Selecting Events/Notes (429)11.4.4Editing Selected Events/Notes (431)11.4.5Deleting Events/Notes (434)11.4.6Cut, Copy, and Paste Events/Notes (436)11.4.7Quantizing Events/Notes (439)11.4.8Quantization While Playing (441)11.4.9Doubling a Pattern (442)11.4.10Adding Variation to Patterns (442)11.5Recording and Editing Modulation (443)11.5.1Which Parameters Are Modulatable? (444)11.5.2Recording Modulation (446)11.5.3Creating and Editing Modulation in the Control Lane (447)11.6Creating MIDI Tracks from Scratch in MASCHINE (452)11.7Managing Patterns (454)11.7.1The Pattern Manager and Pattern Mode (455)11.7.2Selecting Patterns and Pattern Banks (456)11.7.3Creating Patterns (459)11.7.4Deleting Patterns (460)11.7.5Creating and Deleting Pattern Banks (461)11.7.6Naming Patterns (463)11.7.7Changing the Pattern’s Color (465)11.7.8Duplicating, Copying, and Pasting Patterns (466)11.7.9Moving Patterns (469)11.8Importing/Exporting Audio and MIDI to/from Patterns (470)11.8.1Exporting Audio from Patterns (470)11.8.2Exporting MIDI from Patterns (472)11.8.3Importing MIDI to Patterns (474)12Audio Routing, Remote Control, and Macro Controls (483)12.1Audio Routing in MASCHINE (484)12.1.1Sending External Audio to Sounds (485)12.1.2Configuring the Main Output of Sounds and Groups (489)12.1.3Setting Up Auxiliary Outputs for Sounds and Groups (494)12.1.4Configuring the Master and Cue Outputs of MASCHINE (497)12.1.5Mono Audio Inputs (502)12.1.5.1Configuring External Inputs for Sounds in Mix View (503)12.2Using MIDI Control and Host Automation (506)12.2.1Triggering Sounds via MIDI Notes (507)12.2.2Triggering Scenes via MIDI (513)12.2.3Controlling Parameters via MIDI and Host Automation (514)12.2.4Selecting VST/AU Plug-in Presets via MIDI Program Change (522)12.2.5Sending MIDI from Sounds (523)12.3Creating Custom Sets of Parameters with the Macro Controls (527)12.3.1Macro Control Overview (527)12.3.2Assigning Macro Controls Using the Software (528)13Controlling Your Mix (535)13.1Mix View Basics (535)13.1.1Switching between Arrange View and Mix View (535)13.1.2Mix View Elements (536)13.2The Mixer (537)13.2.1Displaying Groups vs. Displaying Sounds (539)13.2.2Adjusting the Mixer Layout (541)13.2.3Selecting Channel Strips (542)13.2.4Managing Your Channels in the Mixer (543)13.2.5Adjusting Settings in the Channel Strips (545)13.2.6Using the Cue Bus (549)13.3The Plug-in Chain (551)13.4The Plug-in Strip (552)13.4.1The Plug-in Header (554)13.4.2Panels for Drumsynths and Internal Effects (556)13.4.3Panel for the Sampler (557)13.4.4Custom Panels for Native Instruments Plug-ins (560)13.4.5Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) (564)14Using Effects (567)14.1Applying Effects to a Sound, a Group or the Master (567)14.1.1Adding an Effect (567)14.1.2Other Operations on Effects (574)14.1.3Using the Side-Chain Input (575)14.2Applying Effects to External Audio (578)14.2.1Step 1: Configure MASCHINE Audio Inputs (578)14.2.2Step 2: Set up a Sound to Receive the External Input (579)14.2.3Step 3: Load an Effect to Process an Input (579)14.3Creating a Send Effect (580)14.3.1Step 1: Set Up a Sound or Group as Send Effect (581)14.3.2Step 2: Route Audio to the Send Effect (583)14.3.3 A Few Notes on Send Effects (583)14.4Creating Multi-Effects (584)15Effect Reference (587)15.1Dynamics (588)15.1.1Compressor (588)15.1.2Gate (591)15.1.3Transient Master (594)15.1.4Limiter (596)15.1.5Maximizer (600)15.2Filtering Effects (603)15.2.1EQ (603)15.2.2Filter (605)15.2.3Cabinet (609)15.3Modulation Effects (611)15.3.1Chorus (611)15.3.2Flanger (612)15.3.3FM (613)15.3.4Freq Shifter (615)15.3.5Phaser (616)15.4Spatial and Reverb Effects (617)15.4.1Ice (617)15.4.2Metaverb (619)15.4.3Reflex (620)15.4.4Reverb (Legacy) (621)15.4.5Reverb (623)15.4.5.1Reverb Room (623)15.4.5.2Reverb Hall (626)15.4.5.3Plate Reverb (629)15.5Delays (630)15.5.1Beat Delay (630)15.5.2Grain Delay (632)15.5.3Grain Stretch (634)15.5.4Resochord (636)15.6Distortion Effects (638)15.6.1Distortion (638)15.6.2Lofi (640)15.6.3Saturator (641)15.7Perform FX (645)15.7.1Filter (646)15.7.2Flanger (648)15.7.3Burst Echo (650)15.7.4Reso Echo (653)15.7.5Ring (656)15.7.6Stutter (658)15.7.7Tremolo (661)15.7.8Scratcher (664)16Working with the Arranger (667)16.1Arranger Basics (667)16.1.1Navigating Song View (670)16.1.2Following the Playback Position in Your Project (672)16.1.3Performing with Scenes and Sections using the Pads (673)16.2Using Ideas View (677)16.2.1Scene Overview (677)16.2.2Creating Scenes (679)16.2.3Assigning and Removing Patterns (679)16.2.4Selecting Scenes (682)16.2.5Deleting Scenes (684)16.2.6Creating and Deleting Scene Banks (685)16.2.7Clearing Scenes (685)16.2.8Duplicating Scenes (685)16.2.9Reordering Scenes (687)16.2.10Making Scenes Unique (688)16.2.11Appending Scenes to Arrangement (689)16.2.12Naming Scenes (689)16.2.13Changing the Color of a Scene (690)16.3Using Song View (692)16.3.1Section Management Overview (692)16.3.2Creating Sections (694)16.3.3Assigning a Scene to a Section (695)16.3.4Selecting Sections and Section Banks (696)16.3.5Reorganizing Sections (700)16.3.6Adjusting the Length of a Section (702)16.3.6.1Adjusting the Length of a Section Using the Software (703)16.3.6.2Adjusting the Length of a Section Using the Controller (705)16.3.7Clearing a Pattern in Song View (705)16.3.8Duplicating Sections (705)16.3.8.1Making Sections Unique (707)16.3.9Removing Sections (707)16.3.10Renaming Scenes (708)16.3.11Clearing Sections (710)16.3.12Creating and Deleting Section Banks (710)16.3.13Working with Patterns in Song view (710)16.3.13.1Creating a Pattern in Song View (711)16.3.13.2Selecting a Pattern in Song View (711)16.3.13.3Clearing a Pattern in Song View (711)16.3.13.4Renaming a Pattern in Song View (711)16.3.13.5Coloring a Pattern in Song View (712)16.3.13.6Removing a Pattern in Song View (712)16.3.13.7Duplicating a Pattern in Song View (712)16.3.14Enabling Auto Length (713)16.3.15Looping (714)16.3.15.1Setting the Loop Range in the Software (714)16.3.15.2Activating or Deactivating a Loop Using the Controller (715)16.4Playing with Sections (715)16.4.1Jumping to another Playback Position in Your Project (716)16.5Triggering Sections or Scenes via MIDI (717)16.6The Arrange Grid (719)16.7Quick Grid (720)17Sampling and Sample Mapping (722)17.1Opening the Sample Editor (722)17.2Recording Audio (724)17.2.1Opening the Record Page (724)17.2.2Selecting the Source and the Recording Mode (725)17.2.3Arming, Starting, and Stopping the Recording (729)17.2.5Checking Your Recordings (731)17.2.6Location and Name of Your Recorded Samples (734)17.3Editing a Sample (735)17.3.1Using the Edit Page (735)17.3.2Audio Editing Functions (739)17.4Slicing a Sample (743)17.4.1Opening the Slice Page (743)17.4.2Adjusting the Slicing Settings (744)17.4.3Manually Adjusting Your Slices (746)17.4.4Applying the Slicing (750)17.5Mapping Samples to Zones (754)17.5.1Opening the Zone Page (754)17.5.2Zone Page Overview (755)17.5.3Selecting and Managing Zones in the Zone List (756)17.5.4Selecting and Editing Zones in the Map View (761)17.5.5Editing Zones in the Sample View (765)17.5.6Adjusting the Zone Settings (767)17.5.7Adding Samples to the Sample Map (770)18Appendix: Tips for Playing Live (772)18.1Preparations (772)18.1.1Focus on the Hardware (772)18.1.2Customize the Pads of the Hardware (772)18.1.3Check Your CPU Power Before Playing (772)18.1.4Name and Color Your Groups, Patterns, Sounds and Scenes (773)18.1.5Consider Using a Limiter on Your Master (773)18.1.6Hook Up Your Other Gear and Sync It with MIDI Clock (773)18.1.7Improvise (773)18.2Basic Techniques (773)18.2.1Use Mute and Solo (773)18.2.2Create Variations of Your Drum Patterns in the Step Sequencer (774)18.2.3Use Note Repeat (774)18.2.4Set Up Your Own Multi-effect Groups and Automate Them (774)18.3Special Tricks (774)18.3.1Changing Pattern Length for Variation (774)18.3.2Using Loops to Cycle Through Samples (775)18.3.3Load Long Audio Files and Play with the Start Point (775)19Troubleshooting (776)19.1Knowledge Base (776)19.2Technical Support (776)19.3Registration Support (777)19.4User Forum (777)20Glossary (778)Index (786)1Welcome to MASCHINEThank you for buying MASCHINE!MASCHINE is a groove production studio that implements the familiar working style of classi-cal groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instru-ment, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.Creating beats is often not very intuitive with a computer, but using the MASCHINE hardware controller to do it makes it easy and fun. You can tap in freely with the pads or use Note Re-peat to jam along. Alternatively, build your beats using the step sequencer just as in classic drum machines.Patterns can be intuitively combined and rearranged on the fly to form larger ideas. You can try out several different versions of a song without ever having to stop the music.Since you can integrate it into any sequencer that supports VST, AU, or AAX plug-ins, you can reap the benefits in almost any software setup, or use it as a stand-alone application. You can sample your own material, slice loops and rearrange them easily.However, MASCHINE is a lot more than an ordinary groovebox or sampler: it comes with an inspiring 7-gigabyte library, and a sophisticated, yet easy to use tag-based Browser to give you instant access to the sounds you are looking for.What’s more, MASCHINE provides lots of options for manipulating your sounds via internal ef-fects and other sound-shaping possibilities. You can also control external MIDI hardware and 3rd-party software with the MASCHINE hardware controller, while customizing the functions of the pads, knobs and buttons according to your needs utilizing the included Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go-ing!—The MASCHINE team at Native Instruments.MASCHINE Documentation1.1MASCHINE DocumentationNative Instruments provide many information sources regarding MASCHINE. The main docu-ments should be read in the following sequence:1.MASCHINE MIKRO Quick Start Guide: This animated online guide provides a practical ap-proach to help you learn the basic of MASCHINE MIKRO. The guide is available from theNative Instruments website: https:///maschine-mikro-quick-start/2.MASCHINE Manual (this document): The MASCHINE Manual provides you with a compre-hensive description of all MASCHINE software and hardware features.Additional documentation sources provide you with details on more specific topics:►Online Support Videos: You can find a number of support videos on The Official Native In-struments Support Channel under the following URL: https:///NIsupport-EN. We recommend that you follow along with these instructions while the respective ap-plication is running on your computer.Other Online Resources:If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help:▪Knowledge Base▪User Forum▪Technical Support▪Registration SupportYou will find more information on these subjects in the chapter Troubleshooting.Document Conventions1.2Document ConventionsThis section introduces you to the signage and text highlighting used in this manual. This man-ual uses particular formatting to point out special facts and to warn you of potential issues.The icons introducing these notes let you see what kind of information is to be expected:This document uses particular formatting to point out special facts and to warn you of poten-tial issues. The icons introducing the following notes let you see what kind of information canbe expected:Furthermore, the following formatting is used:▪Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software andpaths to locations on your hard disk or other storage devices is printed in italics.▪Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in thesoftware is printed in blue. Whenever you see this formatting applied, you will find thesame text appearing somewhere on the screen.▪Text appearing on the displays of the controller is printed in light grey. Whenever you seethis formatting applied, you will find the same text on a controller display.▪Text appearing on labels of the hardware controller is printed in orange. Whenever you seethis formatting applied, you will find the same text on the controller.▪Important names and concepts are printed in bold.▪References to keys on your computer’s keyboard you’ll find put in square brackets (e.g.,“Press [Shift] + [Enter]”).►Single instructions are introduced by this play button type arrow.→Results of actions are introduced by this smaller arrow.Naming ConventionThroughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer.The term “effect” will sometimes be abbreviated as “FX” when referring to elements in the MA-SCHINE software and hardware. These terms have the same meaning.Button Combinations and Shortcuts on Your ControllerMost instructions will use the “+” sign to indicate buttons (or buttons and pads) that must be pressed simultaneously, starting with the button indicated first. E.g., an instruction such as:“Press SHIFT + PLAY”means:1.Press and hold SHIFT.2.While holding SHIFT, press PLAY and release it.3.Release SHIFT.1.3New Features in MASCHINE2.8The following new features have been added to MASCHINE: Integration▪Browse on , create your own collections of loops and one-shots and send them directly to the MASCHINE browser.Improvements to the Browser▪Samples are now cataloged in separate Loops and One-shots tabs in the Browser.▪Previews of loops selected in the Browser will be played in sync with the current project.When a loop is selected with Prehear turned on, it will begin playing immediately in-sync with the project if transport is running. If a loop preview starts part-way through the loop, the loop will play once more for its full length to ensure you get to hear the entire loop once in context with your project.▪Filters and product selections will be remembered when switching between content types and Factory/User Libraries in the Browser.▪Browser content synchronization between multiple running instances. When running multi-ple instances of MASCHINE, either as Standalone and/or as a plug-in, updates to the Li-brary will be synced across the instances. For example, if you delete a sample from your User Library in one instance, the sample will no longer be present in the other instances.Similarly, if you save a preset in one instance, that preset will then be available in the oth-er instances, too.▪Edits made to samples in the Factory Libraries will be saved to the Standard User Directo-ry.For more information on these new features, refer to the following chapter ↑4, Browser. Improvements to the MASCHINE MIKRO MK3 Controller▪You can now set sample Start and End points using the controller. For more information refer to ↑17.3.1, Using the Edit Page.Improved Support for A-Series Keyboards▪When Browsing with A-Series keyboards, you can now jump quickly to the results list by holding SHIFT and pushing right on the 4D Encoder.▪When Browsing with A-Series keyboards, you can fast scroll through the Browser results list by holding SHIFT and twisting the 4D Encoder.▪Mute and Solo Sounds and Groups from A-Series keyboards. Sounds are muted in TRACK mode while Groups are muted in IDEAS.。

灰色简约风常规通用模板

灰色简约风常规通用模板

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Stereo1[1]

Stereo1[1]

Monocular field (35 deg)
Blind area (170 deg)
Blind area
“I have 4 stereo-cameras!”
Stereopsis requires two 2D images taken from slightly different positions
Occlusion Geometric perspective Texture perspective Aerial perspective Size Shading Motion parallax
Monocular Sources of Depth Information (“cues”)
Binocular Sources of Depth Information
Depth perception is crucially important for everyday activities
Getting out of bed in the morning Reaching for nearby objects (such as the alarm clock) Pouring coffee into your cup Tossing an object (e.g., keys) to someone Driving or biking to school Crossing the street Navigating a cluttered environment (e.g., a crowded dining room) Engaging in sports (e.g.., tennis, basketball) Eating dinner (coordinating your knife and fork, reaching for a glass) Lighting a candle Threading a needle Tossing your clothes into the laundry hamper Jumping into bed for the night

Distortion in p-i-n Diode Control Circuits

Distortion in p-i-n Diode Control Circuits

of merit, based upon the assumption removes all stored charge if its period
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You might find this additional information useful...29 articles, 8 of which you can access free at:This article cites/cgi/content/full/293/2/G469#BIBL including high-resolution figures, can be found at:Updated information and services/cgi/content/full/293/2/G469 can be found at:AJP - Gastrointestinal and Liver Physiology about Additional material and information /publications/ajpgi This information is current as of August 15, 2007 . abnormal function of the gastrointestinal tract, hepatobiliary system, and pancreas. It is published 12 times a year (monthly) by the publishes original articles pertaining to all aspects of research involving normal or AJP - Gastrointestinal and Liver Physiology on August 15, 2007 Downloaded fromDistension during gastroesophageal reflux:effects of acid inhibitionand correlation with symptomsNeelesh A.Tipnis,Poong-Lyul Rhee,and Ravinder K.MittalDivision of Gastroenterology,San Diego Veterans Affairs Health Care System and University of California,San Diego, CaliforniaSubmitted9January2007;accepted infinal form25May2007Tipnis NA,Rhee P-L,Mittal RK.Distension during gastroesopha-geal reflux:effects of acid inhibition and correlation with symptoms. Am J Physiol Gastrointest Liver Physiol293:G469–G474,2007.First published June7,2007;doi:10.1152/ajpgi.00019.2007.—We studied spontaneous gastroesophageal reflux(GER)-induced esophageal dis-tension using ultrasound imaging and its role in the genesis of esophageal symptoms before and during esomeprazole therapy.Ten controls and10GER disease(GERD)patients were studied by combined impedance,esophageal pH,manometry,and ultrasonogra-phy before and during esomeprazole therapy.Physiological data and symptoms were recorded for2h following a standardized meal.From ultrasound images,the esophageal cross-sectional area(CSA)at the peak of GER-induced distension was determined and compared be-tween controls vs.patients,symptomatic vs.asymptomatic GER episodes,and before vs.during esomeprazole in GERD patients.The mean lumen CSA is greater in the patients than controls(271Ϯ71 mm2vs.163Ϯ56mm2,Pϭ0.001)but not different among asymptomatic reflux episodes,and those associated with regurgitation (290Ϯ110mm2)or heartburn(271Ϯ67mm2).Eight chest pain episodes associated with reflux revealed a tendency toward larger mean esophageal distension(459Ϯ40mm2)compared with asymp-tomatic reflux(268Ϯ70mm2,Pϭ0.058).Following esomeprazole treatment,most GER episodes were nonacidic and asymptomatic except in two patients in whom cyclical reflux was associated with large esophageal distensions.Esomeprazole did not alter the lumen CSA during GER.Esophageal distension is greater in the GERD subjects compared with controls;however,it is unlikely that the GER-induced distension of the esophagus plays a significant role in the genesis of heartburn sensation.Esomeprazole therapy does not alter the GER-induced distension of the esophagus.intraluminal impedance;ultrasound imaging of the esophagusREFLUX OF GASTRIC ACID(HCl)into the esophagus is an impor-tant cause of heartburn and inhibition of acid with proton pump inhibitors(PPI)a potent therapy for heartburn relief(8,27). However,prolonged pH monitoring studies indicate that there is a poor correlation between acid reflux into the esophagus and heartburn symptoms(24,25).Furthermore,only5–10%of acid reflux episodes are associated with heartburn symptoms (4).It is unclear why only a small percentage of acid reflux episodes result in gastroesophageal reflux(GER)symptoms.In addition,some patients continue to feel heartburn despite adequate acid suppression by PPI therapy.In these patients, symptoms may be related to nonacid reflux(28).Several investigators have observed that distension of the esophagus with a balloon induces heartburn sensation(7,26).It is possible that,in addition to esophageal acidification, GER-induced distension of the esophagus may cause heartburn sensation.It may be that the majority of reflux episodes are small in volume and do not cause significant distension of the esophagus whereas large volume reflux occurring at infrequent intervals induces significant distension of the esophagus and is responsible for the heartburn.PPI therapy increases gastric pH,which is often used as a surrogate marker of the effectiveness of acid suppression(9, 16).The percent time that the gastric pH isϾ4does correlate with the healing of esophagitis(1).Besides increasing gastric pH,PPI therapy suppresses the volume of acid secretion in the stomach(5,13).Reduction of the volume of gastric acid secretion may reduce the volume of esophageal refluxate and associated esophageal distension.Therefore,it is possible that the beneficial effects of PPI therapy in reducing heartburn may be related to the reduction in the volume of reflux and associ-ated esophageal distension.Esophageal pH and impedance monitoring techniques do not measure the volume of reflux or esophageal distension during GER(18,23).We recently described the ability of high-frequency intraluminal ultrasonography(HFIUS)technique to determine esophageal distension during bining HFIUS imaging with multiple intraluminal impedance(MII) and pH monitoring allows evaluation of esophageal distension during acid and nonacid reflux episodes.The goals of our study were1)to compare esophageal distension during spontaneous GER episodes between healthy individuals and patients with GER disease(GERD),2)to compare the degree of esophageal distension between symptomatic and nonsymptomatic GER episodes in patients with GERD,and3)to determine the effects of potent acid suppression on the GER-induced disten-sion of the esophagus.METHODSThe Human Research Protection Program at the University of California San Diego approved the study protocol and each subject signed a consent form before enrollment and participation in the study.The study population consisted of10healthy individuals(7 men,ages18–64yr)with either no or minimal symptoms of GERD(no more than one time per month,no nocturnal symptoms, and no symptoms requiring H2receptor antagonist or PPI)and10 patients(6men,age range20–56yr)with chronic heartburn symptoms and objective evidence of GERD by either pH criteria or esophagitis observed on endoscopy.Patients with GERD were asked to discontinue all acid suppression therapy and prokinetic agents for at least7days before thefirst study day.Address for reprint requests and other correspondence:R.K.Mittal,the Division of Gastroenterology,VA Medical Center,Univ.of California,San Diego,CA92161(e-mail:rmittal@).The costs of publication of this article were defrayed in part by the paymentof page charges.The article must therefore be hereby marked“advertisement”in accordance with18U.S.C.Section1734solely to indicate this fact.Am J Physiol Gastrointest Liver Physiol293:G469–G474,2007.First published June7,2007;doi:10.1152/ajpgi.00019.2007.on August 15, 2007Downloaded fromCatheter assembly.A custom-built catheter assembly consisting of a 2-mm-diameter,four-channel solid-state pressure transducer cathe-ter (Gaeltec,Isle of Skye), 1.5-mm-diameter Comfortec MII-pH impedance-pH probe (Sandhill Scientific,Highlands Ranch,CO),and 1.2-mm,30-MHz HFIUS catheter (CVIS,Sunnyvale,CA)was used for these studies.The catheters were assembled and positioned in the esophagus in a fashion that one pressure transducer,pH sensor,and ultrasound transducer were located at one level in the esophagus,5cm above the lower esophageal sphincter (LES)(Fig.1).All physiolog-ical measurements were recorded on a physiological recorder (Sand hill Scientific,Highlands Ranch,CO)and ultrasound images were recorded in real time on an S-VHS recorder using a Hewlett Packard System.The two recording equipments were synchronized by using a video timer (Thalaner Electronics,Ann Arbor,MI).Study protocol.The catheter assembly was placed transnasally and the LES was identified by the station pull-through method.Subjects were studied for at least 2h following the ingestion of a standardized,mixed liquid-solid meal (850kcal,consisting of a 250-g egg salad sandwich,8oz.of tomato soup,8oz.of peas,and 16oz.of lemon-lime soda).All recordings were obtained with the subjects in a semirecumbent,right decubitus position.Subjects were required to maintain quiet during the study and were not allowed to sleep.Symptoms of regurgitation,heartburn,chest pain,and any others reported by the subjects during the monitoring period were recorded onto the physiological recorder.Patients with GERD were treated with esomeprazole magnesium (Nexium,Astra-Zeneca,Wilmington,DE)40mg daily for at least 7days,following which physiological monitoring was repeated.Data analysis.GER episodes were identified from the pH and MII records in the postprandial period by the computer program (Bio-view Analysis Software,Sandhill Scientific).Confirmation of reflux epi-sode (by pH and MII criteria)was performed manually.The MII criterion for reflux entry into the esophagus was a 50%reduction in the baseline impedance value at both 3and 5cm above the LES.GERevents were categorized by pH as 1)major acid GER in which the intraesophageal pH dropped Ͼ1pH unit and or reached a nadir below pH 4,2)weakly acidic GER in which intraesophageal pH decreased by Ͼ1pH but the nadir remained above pH 4,and 3)nonacid GER in which intraesophageal pH decreased Ͻ1pH position of reflux (liquid,gas,or mixture)was noted for each GER episode.Esophageal symptom (regurgitation,heartburn,or chest pain)occur-ring within 5min of a GER episode was scored as a GER-associated symptom.Symptom index (SI)was determined by dividing the number of GER-associated symptoms by the total number of symp-toms.An SI of 50%or greater was considered positive.Ultrasound images,starting 5s before the onset of GER episode (identified by pH and MII)to 5s after the end of the esophageal contraction that cleared the GER,were digitized at a frequency of 250ms (4Hz)with a digitalvideo editing system (Pinnacle DV500and Adobe Premiere 6.0,Adobe Systems,Mountain View,CA).The circumference of the esophageal lumen at baseline,and cross-sectional area (CSA)(re-ported as mean mm 2ϮSE)and circumference of the esophageal lumen at the peak esophageal distension was measured with graphing software (Sigma Scan Pro,Jandel Scientific,San Rafael,CA).To determine esophageal stretch caused by GER,Greene’s strain was calculated by the equation as described previously (26).Statistical analysis.The number of GER episodes and frequency of acid,weakly acidic,and nonacid GER were evaluated between con-trols and GERD patients.These comparisons were made using ␹2likelihood ratio or Fisher’s exact test.To minimize the effects of outliers and GER frequency on the analysis of esophageal distension,the mean esophageal lumen CSA at peak distension during GER episode was determined for each subject.By using ANOVA with correction for multiple comparisons where appropriate,the mean esophageal lumen CSA was compared between 1)normal subjects and patients with GERD and 2)GERD patients on the study day 0and day 7of esomeprazole therapy.Pairwise t -test was used to compare the mean esophageal lumen CSA among the GER episodes catego-rized by acid composition and sensation.RESULTSCharacteristics of GER in control subjects.A total of 109GER episodes (by pH and impedance recording)were recorded in 10control subjects,of which 92could be adequately analyzed.Poor ultrasound images prevented analysis in the remainder (Fig.2).Eighty-three (76%)GER episodes were acidic,10(9%)weakly acidic,and 16(15%)nonacidic;54%ofweakly acidic and nonacid reflux episodes were detected dur-ing first half hour recording period following the ingestion of meal,with smaller numbers in the later hour of the study.Impedance data revealed that 98%of GER episodes were liquid reflux and only 2%were air or mixed (liquid-air)reflux.Ninety-two percent of GER episodes reached the proximal esophagus (impedance segments 15or 17cm above the LES).Esophageal lumen CSA at the peak of esophageal distension ranged from 132to 356mm 2.The mean lumen CSA atpeak Fig. 1.Schematic of combined high-frequency in-traluminal ultrasound (HFIUS),multiple intraluminalimpedance (MII),pH and manometry catheter assem-bly.The catheter is assembled such that the ultrasoundtransducer and pH sensor are located at 5cm above thelower esophageal sphincter (LES).Solid-state pres-sure transducers are located intragastrically and 5,10,and 15cm above the LES.Impedance electrodes arelocated to allow recording of impedance channels at 3,5,7,9,15,and 17cm above the LES.This arrange-ment allows simultaneous recording of ultrasound,pH,pressure and impedance data at a level 5cm abovethe LES and impedance and pressure data 15cmabove the LES.G470ESOPHAGEAL DISTENSION DURING GERon August 15, 2007 Downloaded fromdistension was 224Ϯ47mm 2for nonacidic,190Ϯ24for weakly acidic,and 161Ϯ54mm 2for acidic GER episodes.In subjects with both nonacidic and acidic GER (n ϭ6),the mean lumen CSA was greater for the nonacidic compared with acidic GER (P ϭ0.006).Similarly,in subjects with both weakly acidic and acidic GER (n ϭ6),the mean lumen CSA was greater for weakly acidic compared with acidic GER (P ϭ0.02).There was no statistical difference between the nonacid and weakly acidic GER in the control subjects (n ϭ5).None of the reflux episodes in normal subjects were associated withheartburn and chest pain but regurgitation was experienced during six GER episodes in four subjects.Characteristics of GER in patients with reflux disease.A total of 120GER episodes were recorded in 10patients with the GERD.Ninety-two of these episodes were of good quality and allowed complete analysis.Eighty-eight percent (n ϭ106)of the GER episodes in the GERD subjects were acid reflux,7%(8)were nonacid,and 5%(6)weakly acidic.Similar to the control subjects,40%of the weakly acidic and nonacid reflux episodes were recorded in the first half-hour period after ingestion of the meal,with smaller percentages in the later hour of the study.Impedance data revealed that 81%of the GER episodes were of liquid and 18%were of air or mixed (air and liquid)variety.Ninety-four percent of the GER episodes reached the proximal esophagus.The luminal CSA at the peak of esophageal distension in patients ranged from 68to 521mm 2(Fig.3).There was no difference in the median CSA of the esophageallumen at peak distension for nonacid (275Ϯ78mm 2),weakly acidic (332Ϯ107mm 2),and acid GER epi-sodes (259Ϯ66mm 2)in the GERD patients.Comparison of esophageal distension between GERD and control subjects,and symptomatic GER.The median CSA of the esophageal lumen at the peak of distension was signifi-cantly greater in GERD subjects compared with controls (Fig.4).The difference in the CSA is equivalent to a diameter of ϳ12mm.Nine patients reported heartburn during the recording pe-riod.The total number of GER-associated symptoms of regur-gitation,heartburn,and chest pain was 15,28,and 8,respec-tively.All nine subjects reporting symptoms had positive SI scores (8were 100%,1was 60%).One subject had two episodes of heartburn that were not associated with MII or pH GER.Five subjects had Ͼ50%asymptomatic GER.Two subjects contributed 15heartburn and 7chest pain episodes to the total number of respective symptoms.These patients dem-onstrated a characteristic reflux pattern,i.e.,recurring reflux episodes every 10–15s,continuously for 60–90min after the ingestion of the meal.There was no difference in the luminal CSA between asymptomatic GER episodes and those that were accompanied by regurgitation and heartburn.In the three individuals with chest pain,GER episodes associated with chest pain had a tendency for greater esophagealdistensionFig.2.Study design flow chart.GERD,gastro-esophageal reflux disease;CSA,cross-sectionalarea.Fig.3.Example of small volume rge volumegastroesophageal reflux (GER)episodes.A :asymp-tomatic GER episode.B :chest pain symptom.BothGERs were nonacidic and while on treatment withpotent acid suppressant.The esophageal lumen CSAat peak GER-induced distension was 268and 446mm 2,respectively.G471ESOPHAGEAL DISTENSION DURING GER on August 15, 2007 Downloaded fromthan asymptomatic episodes (Fig.5).Similarly,esophageal strain was greater in episodes associated with chest pain (3.08Ϯ0.34)but did not reach significance compared with episodes that were asymptomatic (2.29Ϯ0.30,P ϭ0.098)or associated with regurgitation (2.51Ϯ0.03,P ϭ0.090)or heartburn (2.51Ϯ0.14,P ϭ0.173).Effect of PPI therapy on characteristics of GER in patients.Two of the 10patients did not return for a recording session following PPI therapy (one lost to follow-up and one did not want repeat testing).Subjectively,all patients reported signif-icant improvement in symptoms during the PPI therapy.The frequency of GER episodes while on treatment with PPI therapy was not significantly different compared with pretreat-ment GER frequency (10.3Ϯ3.7and 8Ϯ2,respectively,P Ͼ0.05).Ninety percent (n ϭ58)of the GER episodes while on treatment with esomeprazole were nonacidic,and of the re-mainder 7%(4)were weakly acidic and 3%(2)were acidic.The esophageal lumen CSA was not different between the 2study days (pretreatment 273Ϯ80mm 2vs.on treatment252Ϯ77mm 2,P Ͼ0.05).Reflux episodes were less likely tobe associated with symptoms following esomeprazole treat-ment (55vs.37%,P ϭ0.02).GERD symptoms reported afteracid suppression included regurgitation (4),heartburn (10),andchest pain (2).Thirteen of the 16(81%)symptoms occurredwith nonacid reflux episodes.One episode each of regurgita-tion and chest pain were associated with weakly acidic refluxand one episode of regurgitation with acidic reflux.Twopatients with frequent reflux episodes before the esomeprazoletherapy continued to experience the same on treatment andaccounted for all 10heartburn episodes,and one of thesepatients accounted for both of the chest pain episodes.Nosymptoms were reported during the other 44GER episodes.DISCUSSIONDistension of the esophagus with a balloon is a reproducible stimulus to induce esophageal sensation of heartburn and chest pain.Our study is the first attempt to determine the role of GER-induced distension in the genesis of spontaneous heart-burn.We recorded luminal CSA (as a surrogate marker of esophageal distension)during spontaneous GER in normal subjects and patients with reflux disease to determine therelationship between esophageal distension and symptoms.Our data shows that the luminal CSA is greater in GERDpatients compared with normal subjects,which is consistentwith findings of Pandolfino et al.(15),who found a morecompliant gastroesophageal junction in GERD patients.Amore compliant esophagus was also found in GERD subjects inesophageal balloon distension experiments (10,11).The majornew finding of our study is that there is no difference in theesophageal luminal CSA between GER episodes that elicitedsymptoms compared with the ones that did not produce heart-burn and regurgitation.There were eight chest pain symptomsin three subjects that showed tendency toward larger esopha-geal distensions than the other reflux episodes,but one mayargue that these numbers are relatively small for a meaningfulcomparison.The number of GER episodes and esophageal symptoms was reduced following PPI therapy;however,re-flux-induced distension of esophagus was not affected,also suggesting that the GER-induced distension of the esophagus isunlikely to play a major role in the genesis of heartburn.It maybe that physiological (GER-induced)esophageal distension is insufficient in diameter to serve as the major stimulus in the genesis of heartburn.Esophageal CSA during GER episodes is much smaller than the CSA of the balloon (35mm diameterballoon ϭCSA 963mm 2)often used in the experimental studies to elicit heartburn and chest pain sensation.One may question whether or not our recording technique is adequate to measure esophageal distension during GER.In-creases in the volume of swallowed and injected water boluses into the esophagus do increase luminal CSA in a linear fashion,with volumes ranging between 5and 15ml (18).Therefore,we believe that the lumen CSA is a reasonable marker of reflux-induced distension of the esophagus.Esomeprazole is a potent inhibitor of gastric acid secretion.More than 90%of GER episodes,following once-a-day ther-apy with 40mg esomeprazole,were nonacid and theremainder parison of esophageal lumen CSA at peak distension by symptom in 10GERD subjects before acid suppression therapy.Reflux episodes asso-ciated with chest pain (459Ϯ40mm 2)had larger mean esophageal distension than asymptomatic reflux (268Ϯ70mm 2)but did not reach significance (P ϭ0.058).There was no difference between asymptomatic reflux episodes com-pared with regurgitation (290Ϯ110mm 2)-or heartburn (271Ϯ67mm 2)-associated refluxepisodes.Fig.4.Esophageal lumen CSA at peak GER-induced distension.Esophageal lumen CSA at peak GER-induced distension was greater in 10GERD subjects (before treatment with esomeprazole)compared with 10control subjects (271Ϯ71vs.163Ϯ56mm 2,P ϭ0.001).G472ESOPHAGEAL DISTENSION DURING GERon August 15, 2007 Downloaded fromweakly acidic reflux,a finding similar to the one reported by Vela and others (5,13,28,29).These findings demonstrate the potency of acid inhibition with esomeprazole and confirm thecompliance for drug ingestion in our study subjects.Despite the increase in pH of reflux contents,esophageal distensionduring spontaneous GER episodes was not different between the 2study days,which is surprising and contrary to our expectation.Vidon and others (29)show that treatment withlansoprazole decreased postprandial gastric acid secretion and the volume of gastric contents.Therefore,one would expect asignificant decrease in the gastric volume following esomepra-zole treatment and also a decrease in the volume of reflux content.However,such was not the case.It is possible that acid,being in the liquid phase of gastric contents,empties relatively quickly and does not contribute significantly to the postprandial gastric volume.Although perfusion of acid in the esophagus,as during the Bernstein test,proves that acid can indeed cause heartburn (2),the question is why is there a poor correlation between acid reflux and spontaneous heartburn even in patients with well-documented reflux disease and why only 5–10%of acid reflux episodes cause heartburn.It is likely that other stimuli besides acid and distension induce heartburn.One such stimulus may be sustained esophageal or longitudinal muscle contraction (SEC)(17).We did not analyze our ultrasound image data for the SECs in this study.Another possible explanation is esoph-ageal hypersensitivity.Closely spaced acid reflux episodes over a short interval are more likely to be associated with heartburn compared with isolated acid reflux episodes (21,22).A second acid infusion in a patient with acid-sensitive esoph-agus induces stronger symptoms with a shorter latency com-pared with the first acid infusion (3).Infusion of acid in the distal esophagus decreases sensitivity to electrical stimulus in the distal as well as proximal esophagus (19,20).Similarly,repeated esophageal distensions reduce the threshold of disten-sion-induced sensation (14).Studies also show that acid in the esophagus reduces threshold for distension-induced sensation and maybe there is role for summation effect of multiple stimuli in producing heartburn (6,12).We observed that two subjects with a cycling pattern of GER experienced more frequent and more severe symptoms (chest pain)compared with the other GERD subjects.Following esomeprazole ther-apy,all reflux episodes in these two subjects were nonacidic;however,they continued to experience a cyclic pattern of GER,heartburn,and chest pain whereas most others did not.We believe that repeated stimuli and induction of hypersensitivity and possible summation effect of different stimuli may be the reason for lack of correlation between symptom and a given noxious stimulus in the esophagus.There are several limitations of our study.First,our data were collected with the subjects in the semirecumbent right decubitus position.Second,the ultrasound images were col-lected only at one location,5cm above the LES.Third,our data analysis could not assess the role of sensitization because repeated distension or summation effect of different stimuli on the genesis of symptoms.Fourth,we only studied patients with documented evidence of GERD by endoscopy and pH moni-toring.Therefore,our findings may be applicable only to this select group of patients and not necessarily to the entire heartburn population.Withstanding those limitations,our data argue against GER-induced esophageal distension as the sole and major stimulus in the genesis of spontaneous heartburn sensation.GRANTSThis study was supported by a grant from Astra Zeneca and VeteransAffairs Merit Award.N.A.Tipnis was supported by an National Institutes of Health institutional training grant.REFERENCES1.Bell NJ,Hunt RH.Role of gastric acid suppression in the treatment 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