On the width of handles in two-dimensional quantum gravity
外文期刊论文格式
外文期刊论文格式【篇一:外文期刊的论文要求格式】your papers title starts here: please centeruse helvetica (arial) 14full first author1, a, full second author2,b and last author3,c12full address of first author, including country3full address of second author, including country list all distinct addresses in the same wayaemail, bemail, cemailkeywords: list the keywords covered in your paper. these keywords will also be used by the publisher to produce a keyword index.for the rest of the paper, please use times roman (times new roman) 12abstract. this template explains and demonstrates how to prepare your camera-ready paper for trans tech publications. the best is to read these instructions and follow the outline of this text. please make the page settings of your word processor to a4 format (21 x 29,7 cm or 8 x 11 inches); with the margins: bottom 1.5 cm (0.59 in) and top 2.5 cm (0.98 in),right/left margins must be 2 cm (0.78 in). (we shall be able to publish your paper in electronic form on our web page , if the paper format and the margins are correct. if not, we will have to scan your paper which, when compared with an electronic version, results in very poor quality) your manuscript will be reduced by approximately 20% by the publisher. please keep this in mind when designing your figures and tables etc.introductionall manuscripts must be in english, also the table and figure texts, otherwise we cannot publish your paper.please keep a second copy of your manuscript in your office. when receiving the paper, we assume that the corresponding authors grant us the copyright to use the paper for the book or journal in question. should authors use tables or figures from other publications, they must ask the corresponding publishers to grant them the right to publish this material in their paper.use italic for emphasizing a word or phrase. do not use boldface typing or capital letters except for section headings (cf. remarks on section headings, below).organization of the textsection headings. the section headings are in boldface capital and lowercase letters. second level headings are typed as part of the succeeding paragraph (like the subsection heading of this paragraph). page numbers. do not number your paper:tables. tables (refer with: table 1, table 2, ...) should be presented as part of the text, but in such a way as to avoid confusion with the text. a descriptive title should be placed above each table. units in tables should be given in square brackets [mev]. if square brackets are not available, use curly {mev} or standard brackets (mev).macros. do not use any macros for the figures and tables. (we will not be able to convert such papers into our system)language. all text, figures and tables must be in english. figures. figures (refer with: fig. 1, fig. 2, ...) also should be presented as part of the text, leaving enough space so that the caption will not be confused with the text. the caption should be self-contained and placed below or beside the figure. generally, only original drawings or photographic reproductions are acceptable. only very good photocopies are acceptable. utmost care must be taken to insert the figures in correct alignment with the text. half-tone pictures should be in the form of glossy prints. if possible, please include your figures as graphic images in the electronic version. for best quality the pictures should have a resolution of 300 dpi(dots per inch).color figures are welcome for the online version of the journal. generally, these figures will be reduced to black and white for the print version. the author should indicate on the checklist if he wishes to have them printed in full color and make the necessary payments in advance.equations. equations (refer with: eq. 1, eq. 2, ...) should be indented 5 mm (0.2). there should be one line of space above the equation and one line of space below it before the text continues. the equations have to be numbered sequentially, and the number put in parentheses at the right-hand edge of the text. equations should be punctuated as if they were anordinary part of the text. punctuation appears after the equation but before the equation number, e.g.c2 = a2 + b2. (1) literature referencesreferences are cited in the text just by square brackets [1]. (if square brackets are not available, slashes may be used instead, e.g. /2/.) two or more references at a time may be putin one set of brackets [3,4]. the references are to be numbered in the order in which they are cited in the text and are to be listed at the end of the contribution under a heading references, see our example below. summaryif you follow the “checklist” your paper will conform to the requirements of the publisher and facilitate a problem-free publication process.references[1] dj.m. maric, p.f. meier and s.k. estreicher: mater. sci. forum vol. 83-87 (1992), p. 119[2] m.a. green: high efficiency silicon solar cells (trans tech publications, switzerland 1987).[3] y. mishing, in: diffusion processes in advanced technological materials, edtied by d. guptanoyes publications/william andrew publising, norwich, ny (2004), in press.chemistry, edited by s.d. schwartz, volume 5 of progress in theoretical chemistry and physics, chapter, 10, kluwer academic publishers (2000).[5] r.j. ong, j.t. dawley and p.g. clem: submitted to journal of materials research (2003)从这里开始你的论文的标题:请中心使用helvetica字体(宋体)14全第一author1,整个第二author2,b和最后author31full地址的第一作者,包括国家第二作者2full地址,包括国家3list所有不同的地址,以同样的方式aemail,bemail,cemail关键词:列出你的论文中所涉及的关键字。
惠普彩色激光打印机 Pro M454 和惠普彩色激光多功能一体机 Pro M479 维修手册说明书
Table -1 Revision history Revision number 1
Revision date 6/2019
Revision notes HP LaserJet Pro M454 HP LaserJet Pro MFP M479 Repair manual initial release
Additional service and support for HP internal personnel HP internal personnel, go to one of the following Web-based Interactive Search Engine (WISE) sites: Americas (AMS) – https:///wise/home/ams-enWISE - English – https:///wise/home/ams-esWISE - Spanish – https:///wise/home/ams-ptWISE - Portuguese – https:///wise/home/ams-frWISE - French Asia Pacific / Japan (APJ) ○ https:///wise/home/apj-enWISE - English ○ https:///wise/home/apj-jaWISE - Japanese ○ https:///wise/home/apj-koWISE - Korean ○ https:///wise/home/apj-zh-HansWISE - Chinese (simplified)
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UL电水壶手柄握持空间标准条款
UL1082 2001 39OF72的,评估电器是否符合33.1.1条的要求,按实际的使用条件或近似的条件进行,如果电器由可调节器式温控器控制,将允许其工作在温控器认可的温度内,对于各种因素,电器将持续工作至热稳定。
33.1.20 With reference to Item 13 of Table 33.1, points likely to be contacted by hand or fingers includethose points on the gripping surface, and adjacent surfaces close enough to be touched while supportingthe appliance in the normal intended manner. See 33.1.21 – 33.1.24. 33.1.20 参考13条及表33.1,由手或手指接触手把握柄上的某些点,以及正常使用时,同支撑电器必须接触的表面。
见33.1.21~33.1.24。
33.1.21 The length of the gripping surface of a handle is considered to be as follows:33.1.21 手把握柄表面的长度如下认为:a) Four inches (102 mm) for an open or D-shaped handle. a)4英寸(102mm)对于开口式或D型手把;b) The entire handle for a webbed type handle. b)完整手柄对于蹼形手柄。
33.1.22 Points on the surface of an appliance employing an open or D-shaped handle are not consideredlikely to be contacted if: 33.1.22 如果是以下情况,电器使用开口或D型手把表面上某些点不认为可以接触:a) They are protected by a barrier not less than 5/8 inch (15.9 mm) wide on which the temperature rise does not exceed the value indicated in Item 13 of Table 33.1, or a)用不小于5/8英寸(15.9mm)宽的护栏保护,并且其上温度不超过表33.1中的13条之规定值;b) A through-air spacing of not less than 1.5 inch (38 mm) at the index finger, tapering to 1.25 inch (32 mm) at the other end of the hand, is provided from the gripping surface to the hot part. b)通过空气的间隙不小于1.5英寸(38mm)在插入手指处,在手把收尾处减至1.25英寸(32mm),将配置远离热表面抓握。
外文期刊论文格式
外文期刊论文格式【篇一:外文期刊的论文要求格式】your papers title starts here: please centeruse helvetica (arial) 14full first author1, a, full second author2,b and last author3,c12full address of first author, including country3full address of second author, including country list all distinct addresses in the same wayaemail, bemail, cemailkeywords: list the keywords covered in your paper. these keywords will also be used by the publisher to produce a keyword index.for the rest of the paper, please use times roman (times new roman) 12abstract. this template explains and demonstrates how to prepare your camera-ready paper for trans tech publications. the best is to read these instructions and follow the outline of this text. please make the page settings of your word processor to a4 format (21 x 29,7 cm or 8 x 11 inches); with the margins: bottom 1.5 cm (0.59 in) and top 2.5 cm (0.98 in),right/left margins must be 2 cm (0.78 in). (we shall be able to publish your paper in electronic form on our web page , if the paper format and the margins are correct. if not, we will have to scan your paper which, when compared with an electronic version, results in very poor quality) your manuscript will be reduced by approximately 20% by the publisher. please keep this in mind when designing your figures and tables etc.introductionall manuscripts must be in english, also the table and figure texts, otherwise we cannot publish your paper.please keep a second copy of your manuscript in your office. when receiving the paper, we assume that the corresponding authors grant us the copyright to use the paper for the book or journal in question. should authors use tables or figures from other publications, they must ask the corresponding publishers to grant them the right to publish this material in their paper.use italic for emphasizing a word or phrase. do not use boldface typing or capital letters except for section headings (cf. remarks on section headings, below).organization of the textsection headings. the section headings are in boldface capital and lowercase letters. second level headings are typed as part of the succeeding paragraph (like the subsection heading of this paragraph). page numbers. do not number your paper:tables. tables (refer with: table 1, table 2, ...) should be presented as part of the text, but in such a way as to avoid confusion with the text. a descriptive title should be placed above each table. units in tables should be given in square brackets [mev]. if square brackets are not available, use curly {mev} or standard brackets (mev).macros. do not use any macros for the figures and tables. (we will not be able to convert such papers into our system)language. all text, figures and tables must be in english. figures. figures (refer with: fig. 1, fig. 2, ...) also should be presented as part of the text, leaving enough space so that the caption will not be confused with the text. the caption should be self-contained and placed below or beside the figure. generally, only original drawings or photographic reproductions are acceptable. only very good photocopies are acceptable. utmost care must be taken to insert the figures in correct alignment with the text. half-tone pictures should be in the form of glossy prints. if possible, please include your figures as graphic images in the electronic version. for best quality the pictures should have a resolution of 300 dpi(dots per inch).color figures are welcome for the online version of the journal. generally, these figures will be reduced to black and white for the print version. the author should indicate on the checklist if he wishes to have them printed in full color and make the necessary payments in advance.equations. equations (refer with: eq. 1, eq. 2, ...) should be indented 5 mm (0.2). there should be one line of space above the equation and one line of space below it before the text continues. the equations have to be numbered sequentially, and the number put in parentheses at the right-hand edge of the text. equations should be punctuated as if they were anordinary part of the text. punctuation appears after the equation but before the equation number, e.g.c2 = a2 + b2. (1) literature referencesreferences are cited in the text just by square brackets [1]. (if square brackets are not available, slashes may be used instead, e.g. /2/.) two or more references at a time may be putin one set of brackets [3,4]. the references are to be numbered in the order in which they are cited in the text and are to be listed at the end of the contribution under a heading references, see our example below. summaryif you follow the “checklist” your paper will conform to the requirements of the publisher and facilitate a problem-free publication process.references[1] dj.m. maric, p.f. meier and s.k. estreicher: mater. sci. forum vol. 83-87 (1992), p. 119[2] m.a. green: high efficiency silicon solar cells (trans tech publications, switzerland 1987).[3] y. mishing, in: diffusion processes in advanced technological materials, edtied by d. guptanoyes publications/william andrew publising, norwich, ny (2004), in press.chemistry, edited by s.d. schwartz, volume 5 of progress in theoretical chemistry and physics, chapter, 10, kluwer academic publishers (2000).[5] r.j. ong, j.t. dawley and p.g. clem: submitted to journal of materials research (2003)从这里开始你的论文的标题:请中心使用helvetica字体(宋体)14全第一author1,整个第二author2,b和最后author31full地址的第一作者,包括国家第二作者2full地址,包括国家3list所有不同的地址,以同样的方式aemail,bemail,cemail关键词:列出你的论文中所涉及的关键字。
江苏省书法水平等级证书考试报名登记。。。_17-03
• Revision Block
ANSI Y14.1-1980 Standards
– Location: Located in upper right hand corner of the drawing – Contents: Provides space for revision number or symbol, description or identification of change authorization, date, and approvals.
– 1940: SAE Draftsman handbook
• Chevrolet division at GM detailed standards for automotive draftsmen.
– 1945: US Army publication of ordinance manual specified dimensioning and tolerance for the US Army. – 1949: Military Standard 8 was published to specify dimensioning and tolerancing standards for US Army.
ANSI Y14.1-1980 Standards
– Defines standard sheet sizes and formats for engineering drawings
• Definitions
– Drawing refers to original sheet on which information is supplied
• Stanley Parker
– English worker in a torpedo factory in Scotland, devised a method of specifying cylindrical tolerance zones surrounding an absolute location from what was previously specified as rectangular plus/minus tolerances. This became true position.
旗袍设计比赛英语作文高中
The Cheongsam Design CompetitionThe high school I attend recently hosted a cheongsam design competition that was both exciting and inspiring.The event was organized by our schools art department to celebrate the rich cultural heritage of traditional Chinese clothing.The competition was open to all students,and the response was overwhelming.Many talented individuals showcased their creativity and passion for fashion by submitting unique and innovative designs.The cheongsam,also known as the qipao,is a traditional Chinese dress that has evolved over the centuries.It is characterized by its high collar, fitted waist,and elegant slit on the side.The judging criteria for the competition included originality,craftsmanship,and the incorporation of traditional elements into a modern design.The contestants were encouraged to experiment with different fabrics,colors,and patterns while maintaining the essence of the cheongsam.The competition was divided into two categories:the traditional category and the modern category.In the traditional category,the designs were expected to closely follow the classic cheongsam silhouette,with subtle variations in the details.The modern category, on the other hand,allowed for greater freedom in terms of design and style.The entries were displayed in a special exhibition at the school,where students,teachers, and even parents had the opportunity to admire the beautiful creations.The atmosphere was filled with excitement and anticipation as everyone eagerly awaited the announcement of the winners.The judging panel consisted of experienced fashion designers,art teachers,and even a few students who had demonstrated exceptional talent in the field.They carefully evaluated each design,considering the creativity,craftsmanship,and adherence to the competitions theme.The winners were announced at a special awards ceremony,where the top three designs from each category were recognized.The firstplace winner in the traditional category was a stunning cheongsam made of silk,featuring intricate embroidery and a delicate floral pattern.The modern category winner presented a bold and contemporary design, combining the classic cheongsam silhouette with a futuristic,asymmetrical hemline.The competition not only showcased the artistic talents of our students but also served as a reminder of the importance of preserving and celebrating our cultural heritage.It was awonderful opportunity for everyone involved to learn more about the history and significance of the cheongsam,and to appreciate the beauty and elegance of this timeless garment.In conclusion,the cheongsam design competition was a resounding success.It brought together students from various backgrounds and interests,united by their love for fashion and their desire to pay tribute to a beautiful aspect of Chinese culture.The event will undoubtedly leave a lasting impression on all who participated and witnessed the incredible talent and creativity displayed by our young designers.。
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.。
Wideband and Dual-Band Design of a Printed Dipole Antenna
Wideband and Dual-Band Design of a Printed Dipole AntennaQing-Qiang He,Bing-Zhong Wang,and Jun HeAbstract—A wideband and dual-band dipole antenna with an in-tegrated balun feed is given.First,the antenna structure is opti-mized and a41.5%bandwidth is obtained where voltage standing wave ratio(VSWR)is less than2.In order to further get a larger bandwidth and dual-band capabilities of this antenna,some rec-tangle apertures are etched onto the antenna surface,and a better dipole antenna is fabricated.Through investigating rectangle aper-ture with different sizes,a47.8%bandwidth is obtained at L-band, and a15.1%bandwidth comes true at S-band.Agreement between calculations and measurements is very good.The result indicates that the novel design not only may obtain better wideband charac-teristic but also can let the dipole antenna work at L-and S-bands. Index Terms—Balun,dipole,rectangle aperture,wideband.I.I NTRODUCTIONI N both military and commercial applications there hasbeen an evergrowing demand for antennas that possess the following highly desirable attributes:multiband or broadband, compact size,low profile,and conformal.Printed microstrip antennas have been widely investigated and are attractive for their configuration advantages.While their bandwidth capabil-ities have been pushed to30%approximately,they may still be not adequate for some future system demands.A structure that looks promising is printed dipole antenna with an integrated balun feed.Therefore investigation of dipole antennas with an integrated balun feed is more and more concerned[1]–[7]. Original investigation was given by Wilkinson in1974[1]. Recent researches have dealt with bandwidth improvement and impedance optimization of the printed dipole[2]–[4]. Conventional equivalent circuit transmission line method to improve bandwidth characteristic can be found in[7].Recently Heriberto et al.[5]proposed a novel neural network combined with thefinite-difference time-domain method in the optimiza-tion of dipole antenna input impedance,and an approximate 40%bandwidth is obtained where voltage standing wave ratio (VSWR)is less than2.In this letter,a new method is proposed and researched.Some rectangle apertures are used and etched onto the surface of the printed dipole antenna,and it brings forth a good effect and achieves dual-band behavior.The dependence of VSWR on the sizes of the rectangle aperture is investigated.Calculation andManuscript received January29,2007;revised November15,2007.This work was supported by the National Natural Science Foundation of China (No.90505001),the High-Tech Research and Development Program of China (No.2006AA01Z275),and the Creative Research Group Program of UESTC, 51401030105DZ0219.The authors are with the Institute of Applied Physics,University of Elec-tronic and Science Technology of China,Chengdu610054,China(e-mail: heqingqiang518@;bzwang@).Digital Object Identifier10.1109/LAWP.2007.913325Fig.1.The model structure of dipole antenna.experiment show that the bandwidth of the dipole antenna isbetter than that of the model proposed in[5].Moreover,thenovel dipole antenna can work with dual-band characteristics,which is useful for applications.II.C ONFIGURATION OF D IPOLE A NTENNAA.Model Configuration and Initial DesignThe initial model of the dipole is shown in Fig.1.The ra-diation metal arm of the dipole antenna is etched onto a teflonsubstrate with a thickness of1mm and a relative permittivity of2.2.The arm length is designed atapproximately,where is the free space wavelength corresponding to an operating frequency of1.3GHz,andwidth mm.The height of the dipole antenna is80.5mm.A long slot is cut on the metal coat ofthe dipole antenna along z-direction withlength mm, andwidth mm.The integrated transmission line(dashed line)used as matching balun is on the opposite side of the sub-strate,andtakesmm,mm,mm,mm,and mm,respectively.The feed strip has a lengthof,andwidth mm.The inclined strip has a vertical heightof with anangle of72,andwidth mm.The U-shaped strip is made up of threesections with lengthsof,and,respectively,andwidthmm.Fig.2gives the plots of VSWR versus frequencies based onthe initial design.A good agreement between calculation andmeasurement is obtained.At the same time,an approximate35.3%bandwidth of VSWR is obtained,in which the center fre-quency is definedas,whereand are the lower and higher frequencies with VSWR equal to2.1536-1225/$25.00©2008IEEEFig.2.Calculated and measuredVSWRs.Fig.3.Calculated VSWR of the optimized dipole antenna.B.Optimized Model ConfigurationAccording to [7],the input impedance can be directly writtenas(1)whererepresents the characteristic impedance of the in-clinedstrip,represents the characteristic impedance of the U-shapedstrip,represents the characteristic impedance of the slotline,represents the radiation impedance of the dipoleantenna,represents the electric length of the U-shapedstrip,andrepresents the electric length of the slot line.A broadband input impedance match can be realized by a properly designing of the dimensions of these parameters.Therefore,theseparametersand are further optimized.Fig.3gives the plots of VSWR versus frequencies whentakingmm,mm,mm,mm,mm,and mm.The bandwidth of VSWR increases obviously and adds up to approximately 41.5%.The VSWR curve becomes flatter than that in the ini-tial design.III.W IDEBAND AND D UAL -B AND D ESIGN OFD IPOLE A NTENNAAccording to [8],the multiband behavior of the antenna is primarily a function of the periodic placement of the gapsorFig.4.Photograph of dipole antenna.(a)Front side,(b)Back side.cells.Thus,in order to further push for a larger bandwidth or multiband capabilities of this dipole antenna,some rectangle apertures are etched onto surface of the proposed antenna,as shown in Fig.4.The novel structure of Fig.4is fabricated based on the above optimized model structure in Fig.1.On the 36mm 18mm rectangle metal coat,the big rectangle aper-ture is depicted with parametersof and ,and the dimen-sions of the small rectangle aperture are depicted with a scalingfactor,.The whole rectangle metal coat is considered as a periodic cell.Three periodic cells are placed alone the dipole antenna arm,and four periodic cells are placed alone the long slot direction of the dipole antenna where the long slot is still reserved.Therefore the conventional dipole is modified and re-constructed.By introducing some rectangle apertures onto the surface of the dipole antenna,the current distribution over the whole antenna surface is altered,and produced multi-resonance behavior.The novel structure is fed through a 1.5-mm diameter and50coaxial probe with an SMA connector at the antenna bottom.The dipole metal coat is connected to the SMA outer conductor,and on the other side of the dielectric substrate,the SMA inner conductor is connected to the microstrip line (balun),which is used to excite the dipole antenna.At the same time,an input impedance match can also come true at the dual-band by virtue of the optimized balun structure based on the above dimensions of parameters,which extends bandwidth and realizes dual-band application.Through investigating different aperture dimensions,dif-ferent VSWR characteristics are obtained.In Fig.5,the curves of VSWR versus frequencies are given whenparameter takes different values.It can be seen that the curves are moved toward lower frequencies with the increase in the sizeof .Whereas,in Fig.5(b),with the decrease in the sizeof ,the curves of VSWR become much flatter.Therefore appropriatelychoosing can lower the resonant frequency and broaden the bandwidth.On the other hand,similar characteristics of VSWR have been obtained by changing the sizeof ,as shown in Fig.6(a)and (b).HE et al.:WIDEBAND AND DUAL-BAND DESIGN OF A PRINTED DIPOLE ANTENNA3Fig.5.VSWRs versus frequency for various A.Fig.6.VSWRs versus frequency for various B.Fig.7.Calculated and measured VSWRs.IV .E XPERIMENTAL R ESULTSThe calculated and measured VSWRs of the novel dipoleantenna are shown in Fig.7whenmmand mm.A 47.8%bandwidth is obtained at L-band.Moreover,a 15.1%bandwidth comes true at S-band,thus the noveldipoleFig.8.Measured E-plane (left)and H-plane (right)patterns at L-and S-bands.(a)1.2GHz,(b)1.6GHz,(c)3.2GHz,and (d)3.5GHz.antenna is very suitable for operation with frequency agility technology.Fig.8(a)and (b)illustrate the measured E-and H-plane radiation patterns.The E-and H-plane radiation patterns are similar to that of a short dipole antenna at 1.2and 1.6GHz,respectively.In Fig.8(c)and (d),E-plane radiation patternsbecome endfire radiations withapproximatedB back lobes at 3.2and 3.5GHz,respectively.The unroundness of H-plane radiation patterns becomes big.The measured antenna gains are 2.37,3.03,3.13,and 2.49dB at 1.2,1.6,3.25,and 3.55GHz,respectively.V .C ONCLUSIONThis paper presents an improved printed dipole antenna.The dipole antenna exhibits a wideband characteristic,which makes4IEEE ANTENNAS AND WIRELESS PROPAGATION LETTERS,VOL.7,2008it a good candidate for emerging broadband wireless commu-nication schemes.The novel dipole antenna is also tested at L-and S-bands,and yields a bandwidth of about600and480MHz, respectively,which is very suitable for wireless applications re-quiring frequency agility technology.R EFERENCES[1]W.C.Wilkinson,“A class of printed circuit antennas,”in Proc.IEEEAP-S Antennas Propag.Symp.Dig.,Oct.1974,pp.270–273.[2]B.G.Duffley,G.A.Morin,M.Mikavica,and Y.M.M.Antar,“A wide-band printed double-side dipole array,”IEEE Trans.Antennas Propag.,vol.52,no.2,pp.628–631,Feb.2004.[3]E.Levine,S.Strikman,and D.Treves,“Double side printed arrays withlarge bandwidth,”IEE Proc.-H Microwaves,Antennas Propag.,vol.135,no.1,pp.54–59,Feb.1988.[4]A.Nesic,I.Radnovic,and V.Brankovic,“Ultrawideband printed arrayfor60GHz frequency range,”in Proc.IEEE AP-S Antennas Propag.Symp.Dig.,Jul.13–18,1997,vol.2,pp.1272–1275.[5]H.J.Delgado and M.H.Thusby,“A novel neural network combinedwith FDTD for the synthesis of a printed dipole antenna,”IEEE Trans.Antennas Propag.,vol.53,no.7,pp.2231–2236,Jul.2005.[6]S.Thirakoune,A.Petosa,A.Lttipiboon,and K.Levis,“Broadbandprinted dipole antennas,”in Proc.IEEE AP-S Antennas Propag.Symp.Dig.,Jun.16–21,2002,vol.3,pp.52–55.[7]R.Bawer and J.J.Wolfe,“A printed circuit Balun for use with spiral an-tennas,”IEEE Trans.Microw.Theory Tech.,vol.8,no.3,pp.319–325, May1960.[8]S.R.Best,“On the significance of self-similar fractal geometry in de-termining the multiband behavior of the Sierpinski gasket antenna,”IEEE Antennas Wireless Propag.Lett.,vol.1,pp.22–25,2002.。
Multiple ligating clip applier instrument
专利名称:Multiple ligating clip applier instrument发明人:Menges, John Rudolph,Pedlick, John Stanley申请号:EP83300570.5申请日:19830204公开号:EP0090484A1公开日:19831005专利内容由知识产权出版社提供专利附图:摘要:A multiple clip applier including a handle and a cartridge which holds a large number of ligating clips and which snaps into a cartridge-receiving channel (8) on thehandle. The handle operates like an elongated scissors with scissors handles (2, 4) at one end and jaws (16, 26) at the other to which clips may be delivered in rapid succession.Opening and closing the scissors handles (2, 4) operates the mechanism of the handle to open and close the jaws (16, 26) and to provide a long stroke motion for delievering clips from the end of the cartridge to the nose section (6). Clips may be indexed through the cartridge by reciprocating parts of the cartridge with respect to one another with a short stroke cocking motion captured from the long stroke delivery motion from acooperating slot and pin mechanism. These two motions are accomplished within the envelope of motion of the normal opening and closing of the scissors handles (2, 4) to operate the jaws (16, 26) of the applier and to feed and index clips from the cartridge to the nose (6). The mechanism of the present invention permits the overall shape of the handle to be small, compact and readily adaptable for use even deep in an incision site.申请人:ETHICON INC.地址:U.S. Route 22 Somerville New Jersey 08876 US国籍:US代理机构:Jones, Alan John更多信息请下载全文后查看。
INTERMEDIATE CLASP FOR BAND
专利名称:INTERMEDIATE CLASP FOR BAND 发明人:NAGASHIMA, Shizuo,HAYASHI,Shinichi,KOJIMA, Tsutomu申请号:JP2008050653申请日:20080111公开号:WO08/084881P1公开日:20080717专利内容由知识产权出版社提供摘要:Intended is to provide an intermediate clasp for a band, which has an excellent wearing feel on a wrist or the like but does not hurt, when worn, the wrist or finger and the clothes. The intermediate clasp includes a curved base plate (1), two curved folding plates (2) connected directly or indirectly to chain members (C) and supported turnably on the two end portions of the base plate (1) so that they can be folded and extended in a hinged double door manner, and a lock mechanism (4) for locking the folded closure of the folding plates. The lock mechanism (4) adopts a constitution, in which it is locked not through the base plate (1) butdirectly between the folding plates (2).申请人:NAGASHIMA, Shizuo,HAYASHI, Shinichi,KOJIMA, Tsutomu地址:10-7, Hiranuma 1-chome, Yoshikawa-shi Saitama 3420056 JP,6 Takeda Tobadono-cho, Fushimi-ku, Kyoto-shi, Kyoto 6128501 JP,20-2, Yoshikawa 2-Chome, Yoshikawa-shi, Saitama 3420055 JP,c/o Kyocera Corporation Kagoshima Sendai Plant, 1810 Taki-cho, Satsumasendai-shi, Kagoshima 8950292 JP,c/o Kyocera Corporation Head Office, 6 Takeda Tobadono-cho, Fushimi-ku, Kyoto-shi, Kyoto 6128501 JP 国籍:JP,JP,JP,JP,JP代理机构:ISHIHARA, Tsuneo 更多信息请下载全文后查看。
Guide for Authors
All editorial correspondence should be sent to: E-mail: *****************.Thejournalrequiresthatauthorssubmit electronicallyto:E-mail:*****************.All manuscripts must be single-spaced and have gener-ous margins. Begin each section at the top of a new page. Number all pages in sequence beginning with the title page. Arrange the article in the following order:Title page. This should contain the complete title of the manuscript: the names and affiliations of all authors, specific to the department level; the institution at which the work was performed; the name, address, telephone number, fax number, and e-mail address for all correspondence. If a manuscript was worked on by a group, one or more authors may be named from the group. The other members of the group are not considered authors, but may be listed in the acknowledgment section. Grant(s) or contract(s) acknowl-edgment, including name of the grant(s) or contract(s) sponsor and the contract grant number, must be supplied, if applicable, as the last item of the title page. Other acknowl-edgments must be supplied at the end of the manuscript.Disclosure statement. All authors must disclose any affiliations that they consider to be relevant and important with any organization that to any author’s knowledge has a direct interest, particularly a financial interest, in the subject matter or materials discussed. Such affiliations include, but are not limited to, employment by an industrial concern, ownership of stock, membership on a standing advisory council or committee, a seat on the board of directors, or being publicly associated with a company or its products. Abstract. This should be a factual condensation of the entire work structured into one paragraph. The abstract should be < 250 words.Key words. Following the abstract, supply a list of five to seven key words or key phrases, to supplement those al-ready appearing in the tile of the paper, to be used for index-ing purposes. Use terms from the medical subject headings of index medicus. If suitable MeSH terms are not avail-able for recently introduced terms, use terms com¬monly known.Text. The text should follow the format: Introduction, Materials and Methods, Results, Discussion, and Con-clusion (if needed). Use subheadings and paragraph titles whenever possible. Place Acknowledgments as the last el-ement of the text, before the references. Text length should be within 25 single-spaced pages. Length limits include title page, abstract, body, references, and figure legends. Authors whose first language is not English should arrange for their manuscripts to be written in idiomatic English prior to sub-mission. If photographs of human subjects are used, a copy of the signed consent form must accompany the manuscript. Letters of permission must be submitted with any material that has previously been published.Guide for AuthorsReferences. All references should be numbered consec-utively in order of appearance in the text and should be as complete as possible. The final list should be numbered in order of citation in text and include full article title, names of all authors (do not use name et al.), and inclusive page numbers. Abbreviate journal manes accor¬ding to index Medicus style. Note the following examples. Journal article: King VM, Armstrong DM, Apps R, Trott JR. Numerical aspects of pontine, lateral reticular, and inferior olivary pro-jections to two paravermal cortical zones of the cat cerebel-lum. J Comp Neurol 1998;390(4): 537-51. Books: Shi HP , Li W, Wang KH, eds. The practice guidelines for the scored Patient-Generated Subjective Global Assessment (PG-SGA) as a nutrition assessment tool in patients with cancer. 1 st ed. Beijing: People’s Medical Publishing House Co., LTD, 2013. More information about the reference style can be found at .Legends. A descriptive legend must accompany each illustration and must define all abbreviations used therein.Tables. Each table must have a title. Tables should be numbered in order of appearance with Roman numerals and be referred to by number in logical order in the text.Illustrations. They should be numbered in one consec-utive series using Arabic numerals and be cited in order in the text. Four-color illustrations will be considered for pub-lication. Illustrations will be in color in the online version of the article at no cost to the author.File requirementsText. Must be submitted in Word (DOC or RTF). Do not embed tables or figures. Please include the title page, syn -opsis, abstract, main body, references, acknowledge-ments, and figure legends in a single file. Length should be within 25 single-spaced pages.Tables. Must be created using the Table tool in Word (DOC or RTF). Each table must be in a separate file, and the files should be named by Table # (i.e., Table 1, Table 2, etc.).Electronic artwork. In general, each file must contain a single figure and be named by Figure # (i.e., Figure 1, Figure 2, etc.). All figures Submission should be original. It implies that the image or parts thereof have not been published elsewhere. Figures must be in TIFF or JPG. TIFF (or JPEG): Bitmapped (pure black & white pixels) line drawings and monochrome keep to a minimum of 1000 dpi. TIFF (or JPEG): Combinations bitmapped line/half-tone (color or grayscale) keep to a minimum of 300 dpi.Figure captions. All figures have a caption (with source information, when required). The captions have been in-cluded at the end of the text files. Please provide captions and illustrations separately. Please contains detailed expla-nation of all symbols and abbreviations.All manuscripts submitted to JNO must be submittedsolely to this journal, may not have been published in anoth-er publication of any type, professional or lay, and become the property of the publisher. No published material may be reproduced or published elsewhere without the written per-mission of the publisher and the author. The authors need to declare the above in the cover letter for the submission.。
英语函电包装对话作文
英语函电包装对话作文Title: Dialogues on English Correspondence Packaging。
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Dialogue 1: Understanding Packaging Requirements。
A: Hello, I'm reaching out to discuss our recent correspondence regarding packaging requirements.B: Hi there. Yes, I recall our conversation. What specific aspects do you need clarification on?A: I'm uncertain about the dimensions required for the packaging. Could you provide those details again?B: Of course. The dimensions should be 12 inches in length, 6 inches in width, and 8 inches in height. Is that clear?A: Perfect, thank you for confirming. And what about the weight limit for the package?B: The weight limit is 5 kilograms. Anything beyondthat would incur additional charges.A: Understood. Lastly, are there any specific packaging materials we need to use?B: Yes, we require sturdy cardboard boxes to ensure the safety of the contents during transit.A: Got it. Thank you for the clarification. I'll ensure our packaging complies with these requirements.---。
QBiC MS-1 产品说明书
4.Attach QBiC MS-1 to the mount.٨When using double-sided tapeAttach the mount using the supplied double-sided tape. Make sure to wipe off water, oil or dirt on the attachment surface in advancewire through the security hole and tie it to a secure ٨When using a commercially available screwUsing a “1/4-20UNC” screw (Length: 6mm or less) available in the market, you can attach to a standard tripod and the like.㪍㪯㪈㪤㪮㪤㪦㪈㪋㩷㪩㪇㪄㪯㫏㫏Attach QBiC MS-1 and the holder to the fixed mount.Please read this manual carefully before using this product and keep it for future preference.INSTRUCTION MANUALPlease read all precautions and warnings before starting to use.The information is provided to ensure proper operation of this product and will prevent you or others from personal injury or loss of assets.Review the following symbols so that you understand them before reading the rest of the Verify the following before you use this product or QBiC.䊶There is no damage in the mounts. 䊶QBiC is firmly attached. 䊶The screws are firmly tightened.䊶The mounts are firmly installed to the respective position.When using this product or QBiC attaching to your body or helmet while driving a car, motorbike or bicycle, pay attention to the traffic and road surface conditions around you to prevent any accident.Never operate this product or QBiC while driving a car, motorbike or bicycle.䊶It could cause injury when this product or QBiC accidentally hits your body in a collision or a fall.Do not attach this product or QBiC outside a car, motorbike or bicycle. 䊶It may be prohibited by law to attach an object other than specified outside a car, motorbike or bicycle. If you have a permit and intend to attach this product or QBiC outside a car, motorbike or bicycle, make sure to attach them firmly so that they won’t come off during driving.䊶This may damage the quality of rubber material.Clean this product only with a dry, soft cloth. In case of heavy dirt, wash lightly with fresh water. Then wipe it with a dry, soft cloth.Do not use this product in hot place or under strong sunlight for a long period of time.䊶Excessive heat may damage the quality of this product or change itsshape, causing QBiC to drop due to insufficient support, leading to injury or Do not install this product to wet place or use under water.䊶It may weaken the attachment of the double-faced tape causing the product to easily detach itself. Keep this product, package or packing materials out of baby 㵭s reach. 䊶They could choke or injure a baby if swallowed. Contact a doctor immediately if this happens.Do not install this product in areas where salt erosion or corrosive gas is produced.䊶The product will be damaged and it may cause QBiC to drop accidentally, Do not attach objects other than specified to the mounts.䊶The object may drop due to insufficient support, leading to injury or غDouble-sided tapePlease refer to the above-mentioned QBiC Website.5.Remove QBiC 㩷MS-1 from the mount.ԘPress down the lock.ԙHolding the lock down, slide QBiC MS-1 and the holder backward to remove.3. Attach the mount.ԘԙԚ2. Attach the holder to QBiC 㩷MS-1 (sold separately).غScrew غNut غHandle ԘAssemble the tilt holder and the tilt shoe. Align the holes. ԙInsert the nut and the handle into the hole. Fix it firmly.1.Assemble the holder.ԘԙԙԘLoosen the handle screw and fold back the tilt shoe.ԙInsert the claws on the holder into the holes on the back of QBiC MS-1. ԚThen tighten the screw into the tripod thread of QBiC MS-1.。
Handbag library
Handbag LibraryHandbag stylesBARREL- is a horizontal cylindrical purse shape with a zip top closure. Also referenced as a 'Roll Bag'.DOUBLE HANDLE- is a small to medium size bag with double handles that are worn over the shoulder.CLUTCH- also known as a 'Pouchette' is a small bag with no straps or handles worn tucked under the arm. May have detachableshoulder straps or wristlets.FLAP- is a bag that has a flap-over as its closure.FRAME- is a bag that has a metal top fastening withh a snap, knob or clasp closure.HOBO - is a crescent shape shoulder bag with a zip top closure that dips in the center.DRAWSTRING- is a bag that has a cord woven through eyelets to gather the top for the closure. Also referenced as a 'Pull-Tie'.TRAPEZOID- is a bag with an A-line shape inverted either way. Another term used is a 'Four-Poster'.SATCHEL- is a square or dome shaped bag with a zip top closure. Known for its wide flat bottom and gusset, this short handled bag is carried over the crook of the elbow or in the hand.SHOULDER- is a small to medium sized bag with long chains or thin straps that is carried over the shoulder or strung across the body. Today Short- Shoulders are Trending. Shoulder bags liberated the hands and made their stylistic debut in the 1930'sTOTE- is a medium to large square bag with an open top entry and two handles. This carry-all originated in the 40's. Also referred to as a 'Shopper'.BACKPACK- is a knapsack that distributes weight between the shoulders. Worn across the back or slung on either shoulder, backpacks tend to have draw tops with flap-overs or are dome shaped with zip top closures. Also referenced as a ruchsack.BUCKET- is a stiff shoulder bag shaped like a bucket with a wide open top entry and oval or round bottom. It originated in France when Louis Vuitton's 'Noe', a bucket bag, was originally made for champagne and the company's patenting of a treatment to strengthen monogrammed canvas, their signature material.CAMERA- is a rectangle bag with rounded corners. It has a top zip closure and usually has outside pockets. The camera shape originated from the bags that were used to carry photographic equipment.FACILE- is a bag that has a covered frame that snaps together as the closure.LUGGAGE FRAME- is a top fastened bag with a frame of metal like a suitcase, popular in the 50's.LUGGAGE HANDLE- is a bag with covered hard structured cut-out handles originating in the 60's.Structured - is how you would describe a hard constructed handbag.Page6 Wire Frame- is a zip top bag with wire piping running along the top to hold its frame like shape.Basic stitchtwo thread lockstitch criss cross stitch diagnol stitch three thread lockstitch zig-zag lockstitch-1zig-zag lockstitch-2zig-zag chainstitch zig-zag stitch scalloped stitchSpecialty stitch Page7 linkage stitch chain stitch 2 needle cover stitch ladder stitch cross stitchwhipstitch winghole stitchingStuds/Rivets/Screws/BoltsBeveled studsGrommet studsPage8 Ornate studsround studsscrews and boltsChainsBorder perfsFloral cut outFloral Cut-outs are a series of punched floral shapes through leatherGeometric cut outGeometric Cut-outs are a series of punched geometric shapes through leather such as squares, circles and trinagles.LacingWoven/BraidAssort photo texturescalf leather pattern ostrich crocodile leopard Lacing and whipstitching are casual treatments used in handbag design. Lacings are used to draw and tie together two opposite edges.....Whipstitching is a stitch passing over an edge diagonally...as in finishing a fabric edge or binding two pieces of fabric together.woven/braid series contains a collection of woven, rope and braids. These ornamental strips / strands of leather or fabric are used for decorating edges or used as handle treatments.snakebraid patternPage11 Dog leashesDouble handlesShoulder handlesTop handlesDrawstringFobsHandle tabsTabsLockPlatesRingsOverlaysTasselsZipper pullerFlat pocketsFrame pocketsSlip pocketsZip pocketsBottom viewsround oval rectangle T-shaperaw edge turn edge stitched edge piped edgeFrame。
Drive Medical Rollator 产品说明书
Please read these instructions before assembly or use of this Rollator. This Rollator must always be assembled and fitted for the user by a qualified Drive Medical Authorized dealer. Before using your new Rollator please ensure thatyour weight is within the weight capacity of this unit. This Rollator will require very little assembly and the assembly can be completed without tools.1. T o open your rollator, pull both side frames outward.Push the folding hinge with the black handle untilstraight to secure the unit in the proper position.2. Place a handle bar in each handle bar receptacleand adjust to the desired height. The brake cableshould remain on the same side as the corresponding wheel. Do not cross cables. Insert locking knobs into adjustment holes and tighten to secure handle in place, making sure both handles are at equal height.3. Slide wheels back until push pins pops through theadjustment hole located on the bottom section ofthe wheel frame. Lock wheels in place by inserting the locking knobs into the top section of the wheel frameand tightening until secure (figures 1 & 2).4. T est and adjust the loop lock mechanism tension toensure proper and secure locking before use.5. Mount the basket in the proper location above therollator pouch, between the handle bars.NOTE: T o assemble basket, see next section on basket assembly.12431. Fold back of basket (A) forwardand attach to first side (B) usingthe small assembly hook locatedon the side of A. Hook should beon the INSIDE to assure properassembly.ABCD2. Fold second side (C) upward andattach it to back of basket (A)using the small hook located onthe side of A.3. Slide side D past the 2 small hooks located on B and C and secure in place by sliding D backward to fit into the 2 hooks. This should be done simultaneously.12locking knobThis new generation loop lock handle has been designed to offer maximum comfort and safety. Two functionsare incorporated: a normal loop lock and a parkingloop lock. Those functions are fully separated, to avoid misunderstandings. Contact areas are wide, to limit pressure on the fingers.Normal loop lock function may be applied, while walking with the Rollator, e.g. as a help to make a corner, or as a help to get up or off the side walk. Activating the Locks is performed by pulling the loop lock handle up, similar to operating the brakes of a bicycle.The parking loop lock will be applied at standstill. When the user wants to sit down on the seat, the parking loop lock must be applied first, for safety reasons. If theuser has to reach away from the Rollator, e.g. for taking something from the self in a shop, it will be safe to apply the parking loop lock first.The way of activating the parking loop lock is by pushing the handle down. This way is convenient for peoplewho cannot easily pinch the handle, because of certain disabilities of their hands. Releasing the parking loop lock can be done by moving the handle up. For operation the parking loop lock, the loop lock handle is provided with a wider section at the end.The Rollator loop lock handle has been designed for operating the loop locks of a Rollator or walker and incorporates two functions: operating of normal loop lock and operating the parking loop lock. Normal loop lock will be used during walking, e.g. as help to make a corner. The parking loop lock function will be used at a standstill, e.g. to keep the Rollator at its place, when using the seat to sit down.CHARACTERISTICS OF THE LOOP LOCK HANDLE ARE:1. Normal loop lock function2. Parking loop lock function3. Operation of the normal loop lock and operationof parking loop lock are fully separated, to avoidmisunderstandings.Normal loop lock isactivated by pulling thehandle UP, similar tooperating the brakes of abicycle. Once the handleis released, the lock willrelease as well. Release the parking looplock by pulling the handle UP.The handle will return to itsbasic position; the parkingloop lockis OFF.NORMALLOOP LOCKPARKINGLOOP LOCK1. Remove basket.2. Stand behind rollator and pull back on black lockinghandle until folding hinge is disengaged.3. Push sides of frame together until rollator is flat. NOTE: It is not recommended to adjust the wheel length when folding.Keep the loop lock handle free from dirt etc. to keep it operating properly. In case the loop locks are lockingtoo little, the cable might be too loose. The cable can be adjusted by means of the adjuster screw, located where the cable is connected to the loop lock handle. If the loop lock cable wire is broken, it has to be replaced.CAUTION:Don’t use the loop lock handle for other functions than locking a Rollator or walker. T ake care that the looplock handle is in good condition, fully assembled (no loose parts) and fixed, for safety reasons. Please read all cautions and warning labels before using this Rollator. This unit is designed to be used as a mobility aid, creating a natural gate as the user walks securely with their primary weight distribution between the handlebars with the unit in front of the user.If the Rollator has a seat, always engage the locking mechanism on the loop lock before using the seat. At no time can this unit be used to transport individuals while seated for risk of bodily injury.。
KXTS3282W Integrated Telephone System
This document is a text description of the control panel layout for the product listed below.“PDF” files of the complete operating instructions are available from the Customer Support section of .If you need the operating instructions in an alternate format, please request it from Customer Support.Model Number KX-TS3282WIntegrated Telephone SystemThe handset cradle is located on the left side of the face of the unit. The handset sits in the two square recessed areas located in the upper and lower left corners of the base unit's face. The handset is connected to the unit witha coiled cord. The speakerphone speaker is located on the left side of the face of the unit between the upper and lower recessed areas which hold the handset.On the left side of the base unit near the back, there is a recessed area. The headset jack is located there.The upper square recessed area on the face of the unit is the smooth surface. This is the display. Below thedisplay is a row of 4 small round buttons. The left-most button is the FUNCTION button. The FUNCTIONbutton is also the EDIT button. To the right of this button is the CLEAR button. The third button from the left isthe EXIT button. The right-most button is the ENTER button.Below these buttons is a row of 3 small oval buttons. These are the One-Touch Auto Dial buttons. From left to right, they are the M1, M2 and M3 buttons. Up and to the right of these buttons, below the display is a largeround concave control key. This is the Navigator control. This control has four active areas that are at the 12o'clock, 3 o'clock, 6 o'clock and 9 o'clock positions. The 12 and 6 o ' clock positions are the UP and DOWN keys respectively. These are also used to access the Caller List. The 3 and 9 o ' clock positions are the right and left arrow keys respectively. These are also used to access the directory. The 3 o ' clock position is often used as the "yes" key during programming. Below and to the right of the NA VIGATOR control are 2 small round buttonswith a raised nib. These are the volume control buttons. The right hand button is used to increase the volumeduring a call and the left hand button is used to decrease the volume.Below these buttons is a row of 5 long rectangular buttons. The left-most button is the CONFERENCE button.To the right of the CONFERENCE button is the INTERCOM button with an indicator light just above it. Thethird button from the left is the LINE 1 button with an indicator light just above it. The fourth button from theleft is the LINE 2 and DATA port button with an indicator light just above it. The right-most button is the HOLD button. Below these buttons, there is another row of 3 long rectangular buttons.The left one is the DIAL LOCK button. The middle one is the PAUSE button. The right one is the REDIAL button. Below this row of buttons is the telephone keypad laid out in the conventional telephone arrangementwith a "nib" on the 5 button. Below the telephone keypad is a row of 3 long rectangular buttons.The left one is the MUTE button. Next to the MUTE button is the FLASH button. The right one is the speakerphone button with an indicator light just above it.To the right of the telephone keypad is a column of 9 small rectangular buttons. The top one is the PAGE button. Below the PAGE button, there are 8 extension buttons. From the top they are EXTENSION 1, EXTENSION 2, EXTENSION 3, EXTENSION 4, EXTENSION 5, EXTENSION 6, EXTENSION 7, and EXTENSION 8.To the right of the extension buttons is a shallow recessed rectangle. This recessed area contains a memory card to be used as a name index. The microphone is recessed into the lower right corner on the bottom of the unit.PQQX13437YA-BM November 13, 2002。
Camp Chef Big gASS 烧烤机说明书
CETTE NOTICE CONTIENT DES RESEIGNEMENTS IMPORTANTS PERMETTANT UN ASSEMBLAGE ADÉQUAT ET Á UNE UTILISATION SÉCURITAIRE DE L’APPAREIL.WARNING: Chemicals known to the state of California to cause cancer, birth defects, or other reproductive harm are created by the combustion of propane.Sport Utility, Big gASS Grill, Keg Roaster, Ultimate Roaster Are From the Makers of Camp Chef and Covered Under One or More of the Following Patents: 356714, 378646, 417120, 328547, 358057, 3647723985 N 75 W, Hyde Park, UT 84318 • 800.650.2433 • MAX POT DIAMETER 10”Read and follow all warnings and instructions in included instruction manual before assembly and use of appliance.Lisez et suivez attentivement toutes les instructions dans le manuel d’instructions fourni avant le montage et l’utilisation de l’appareil.254MM DIAMÉTRE MAXIMUM DU POTGARDEZ POUR RÉFÉRENCE ULTÉRIEUREKEEP FOR FUTURE REFERENCE UNIQUEMENT POUR L’EXTÉRIEURFOR OUTDOOR USE ONLY Regulator Model150/451, R329, RA329, RJ-A JY70-003, JY95A7A (JY95-007)RYQ Series (RYQF01)THIS INSTRUCTION MANUAL CONTAINS IMPORTANT INFORMATION NECESSARY FOR THE PROPER ASSEMBLY AND SAFE USE OF THIS PRODUCT.LModel: SL30L• 30,000 BTU Cast Aluminum Burner • Appliance Style Temperature Controls • Large Cooking Surface • Convenient Cooking HeightSL30L INSTRUCTIONS AND TROUBLE SHOOTING1. R emove handle bolt from bottom of stove. Reverse legs and install as shown. Make sure the legs are centered in the grooves of the drum and tighten handle bolt. (Fig 1)2. S crew out thumb screws until flush with inside of cooker leg. Apply extension to each leg. Hand tighten thumb screws. (Fig 2)3 S tand cooker upright on solid level ground. To level: loosen thumb screw on leg extension and adjust leg height. Hand tighten thumb screw. (Fig 3)BURNERS WILL NOT IGNITE1. M ake sure there is propane in the tank and turn propane tank is turned on.2. F ollow all instructions in instruction manual for lighting the burner YELLOW FLAME1. A djust Air Shutter until burner has blue flame. Some yellow tipping of the flame is normal.2. See Instruction Manual for Cleaning the burner FLAME IS VERY SMALL AND WON’T INCREASE.1. M ake sure there is propane in the tank and turn propane tank is turned on a minimum of 3 full turns2. Follow all instructions in manual for leak testing the stove.3. T urn all valves on the stove to the off position. Turn the Propane Tank off.Disconnect regulator from the tank. Reconnect regulator to the tank. Slowly turn tank on. Follow all instructions in the manual for leak testing the stove. If no leaks are found follow all instructions in the manual for lighting the appliance.U S P a t e n t N u m b e r s : 364772SL30L PARTS LIST0313SL30partsLP BURNER (1)0808-ALLP AIR VENT (1)0826LLP SPRING (1)0980LP VALVE (1)0997KNOB (1)330092SL30 DRUM ASM (1)SL30-1SL30 LEG ASM (1)SL30-2#8 MACHINE SCREW (1)0789MANIFOLD (1)330080LP REGULATOR (1)HRL13" LEG EXTENSION (1)LX13-A1/4 THUMB SCREW (4)330076#8 KEPS NUT (1)0779MTIE DOWN BOLT (1)SL30-31" LEG PLUG (8)0971FIG 1FIG 2FIG 3。
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a r X i v :h e p -t h /9801150v 1 22 J a n 1998RH-19-97On the Width of Handles in Two-dimensional Quantum Gravity Thordur Jonsson 1Raunvisindastofnun Haskolans,University of Iceland Dunhaga 3,107Reykjavik Iceland Abstract.We discuss the average length ¯l of the shortest non-contractible loop on surfaces in the two-dimensional pure quantum gravity ensemble.The value of γstr and the explicit form of the continuum loop functions indicate that ¯l diverges at the critical point.Scaling arguments suggest that the critical exponent of ¯l is 11e-mail:thjons@raunvis.hi.isIn spite of the fact that one can calculate the continuum loop functions of two-dimensional quantum gravity more or less explicitly[1]we do not have a very good understanding of what the generic surfaces contributing to the loop functions really look like.In some sense these surfaces are“thick”since they are not like trees or branched polymers and the“minimal baby universe”(minbu)picture of[2]has provided a valuable insight and some quantitative understanding.In this note we discuss the beahavior of a very simple quantity which can be regarded as a measure of how far surfaces are from being branched polymers.This is the length l of the shortest non-contractible loop so we have in mind surfaces of genus g>0.We consider randomly triangulated surfaces and loops which consist entirely of links on the surface.Each link is defined to have length1so the length of a loop is the number of links it contains assuming that each link is traversed only once.It is clear that every homotopy class of loops on a triangulated surface contains a link loop of shortest length.Let S denote the class of surfaces under consideration,let S A be the class of surfaces of area(=number of triangles)A and let|S|denote the area of a surface S.The length of the shortest noncontractible loop on S will be denoted l(S).We denote the average value of l in the canonical ensemble by¯l A and in the grand canonical ensemble by¯l(µ).These averages are defined as¯l=N(A)−1 S∈S A l(S)(1)Aand¯l(µ)=Z(µ)−1 S∈S l(S)e−µ|S|(2) where N(A)=#S A andZ(µ)= S∈S e−µ|S|(3) is the partition function in the ensemble under study.There are several reasons why it is natural to expect the average¯l(µ)to be large asµ→µ0.First recall that the number N g(A)of closed surfaces of genus g made up of A triangles,one of which is marked,grows for large A asN g(A)∼Aγ(g)−2eµ0A(4)g andµ0is independent of g.If the typical handle on a genus g whereγ(g)=−12surface were thin so it could be created by identifying two small regions on a surface2of genus g−1then we would expectγ(g)to grow like2g since the entropy associatedwith choosing a small group of triangles is A.For convenience we shall assume fromnow on that the surfaces we discuss have a marked triangle but this is not essential.Additional evidence for the divergence of¯l(µ)comes from the explicit calculationof the continuum loop functions of2d quantum gravity[3,1].If the handles werethin compared to the diverging lengthscale in the continuum limit we would expectthe loop functions in different genera to be related by simple overall entropic factorsbut this is not the case.Perhaps the strongest argument for the macroscopic nature of handles in2dquantum gravity is obtained by adopting the minbu picture of[2]to estimate thewidth of handles.The minbu picture is in good accord with all numerical andanalytical facts about quantum gravity.The estimate we are interested in is in factimplicit in[2].Let us consider surfaces of genus1and area A.The number of theseis given asymptotically byN1(A)∼eµ0A.(5) Let N1(A;l)denote the number of genus0surfaces of area A with two boundarycomponents of length l with the property that the boundaries cannot be deformedto shorter boundaries on the surface.It follows that if we identify the two boundarycomponents link by link we create a closed genus1surface with a noncontractibleloop of length l which is not homotopic to a shorter loop.The authors of[2]arguethatN1(A;l)∼N0(A)A2l−1(6)√A.We can generically identify the for l≤two boundary loops of surfaces contributing to N1(A,l,l)in l different ways.Anysurface of genus1(with a marked triangle)can be constructed uniquely in this wayfor some l.It follows that√N1(A)∼length l is given byp A(l)= A−1/2,2≤l≤√Al=2l A∼√2.(10) Naively one might have expected¯l(µ)∼(µ−µ0)−1/4since the divergent correlation length defined by the two point function of pure gravity has critical exponent1/4 [4].We will now show that there is in fact no conflict between this result and(10).The homotopy group of a torus is generated by the equivalence classes of two elementary loops l a and l b with the single relation l a l b l−1a l−1b=1.Let us adopt the convention that l a is the shortest noncontractible loop on the torus under con-sideration and we can take l b to be the shortest noncontractible loop which is not homotopic to any power of l a.In a surface which is not thin one would expect the lengths of l a and l b(denoted|l a|and|l b|)to be comparable while in a branched polymer like surface|l a|is of order1while|l b|might be large.Let us denote the grand canonical expectation value of|l b|by¯l′(µ).We will argue that¯l′(µ)diverges with an exponent1whereξ(µ)∼(µ−µ0)−1/4asµ→µ0[4].Identifying the boundaries of two triangles a distance r apart on a planar surface creates an elementary noncontractible loop of length r.For large r this loop must be l b so we expect¯l′(µ)∼ r rGµ(r)∼ξ−2(µ)∼(µ−µ0)−1and we take the action to be the total number of links in the polymer.For simplicity let us assume that the polymers have vertices either of order1or3.This assumption does not affect the values of any generic critical exponents.Let Z l(β)denote the partition function for polymers with a single noncontractible loop of length l.ThenZ l(β)=e−βl Z(β)l2l(14)since any polymer contributing to Z l can be constructed by gluing rooted polymers to the vertices of a closed loop of length l,see Fig.1.The factor of2l is due to the fact that each rooted polymer can sit inside or outside the loop.It follows that the average length of the loop is given by¯l(β)= ∞l=3lZ l2is the mass of the branched polymer model.It follows that that¯l(β)∼(β−β)−1References[1]J.Ambjørn,B.Durhuus and T.Jonsson,Quantum geometry-A statisticalfieldtheory approach.Cambridge monographs on mathematical pbysics,Cambridge University Press,Cambridge(1997).[2]S.Jain and S.Mathur,Phys.Lett.B286(1992)239.[3]J.Ambjørn,J.Jurkiewicz and Y.M.Makeenko,Phys.Lett.B251(1990)517.[4]J.Ambjørn and Y.Watabiki,Nucl.Phys.B445(1995)129.[5]J.Ambjørn,B.Durhuus and T.Jonsson,Phys.Lett.B244(1990)403.7。