tablo的blonote英文版
万圣节恐怖歌曲:Heart Skips a Beat歌词
万圣节恐怖歌曲:Heart Skips a Beat歌词导读:《Heart Skips a Beat 》A second, a minute, and hour, a day goes by.I’m hopin' just to be by your side.I’m turnin' the handleit won’t open.Don’t make me wait, cause right now I need your smile. Knock KnockWhen life had locked me out, I turned to youso open the door.Cause you’re all I need right now it’s true.Nothin' works like you.Little louder Little louder Little louder knockin’Little louder Little louderA warm bath, a good laugh, an old song that you know by heart I’ve tried it but they all leave me coldSo now I’m here waiting to see youmy remedy for all that’s been hurting meKnock KnockWhen life had locked me out,I turned to you so open the door.Cause you’re all I need right now it’s true.Nothin' works like you.You seem to know the way to turn my frown upside downyou always know what to say to make me feel like everything’s ok.Little louder Little louder Little louder knockin’ (X3) Little louder Little louderWhen life had locked me out, I turned to you and you open the door.You’re all I need right now it’s true.Nothin' works like you.When life had locked me down, I turned to you and you open the door.You’re all I need right now it’s true.Nothin' works like you.Little louder Little louder Little louder knockin’ Nothin' works like you, oh oh Little louder Little louder Little louder knockin’When life had locked me out, I turned to you and you open the door.You’re all I need right now it’s true.Nothin' works like you.【万圣节恐怖歌曲:Heart Skips a Beat歌词】1.《No Fear in My Heart》歌词2.A Hero in My Heart英语作文3.圣诞节歌曲:christmas in my heart歌词4.No Fear In My Heart 歌词欣赏5.《My Heart Will Go On》的中文歌词6.朴树《No Fear In My Heart》歌词7.歌曲成都歌词8.歌曲心雨歌词上文是关于万圣节恐怖歌曲:Heart Skips a Beat歌词,感谢您的阅读,希望对您有帮助,谢谢。
Native Instruments MASCHINE 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 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 (25)1.1MASCHINE Documentation (26)1.2Document Conventions (27)1.3New Features in MASCHINE 2.8 (29)1.4New Features in MASCHINE 2.7.10 (31)1.5New Features in MASCHINE 2.7.8 (31)1.6New Features in MASCHINE 2.7.7 (32)1.7New Features in MASCHINE 2.7.4 (33)1.8New Features in MASCHINE 2.7.3 (36)2Quick Reference (38)2.1Using Your Controller (38)2.1.1Controller Modes and Mode Pinning (38)2.1.2Controlling the Software Views from Your Controller (40)2.2MASCHINE Project Overview (43)2.2.1Sound Content (44)2.2.2Arrangement (45)2.3MASCHINE Hardware Overview (48)2.3.1MASCHINE Hardware Overview (48)2.3.1.1Control Section (50)2.3.1.2Edit Section (53)2.3.1.3Performance Section (54)2.3.1.4Group Section (56)2.3.1.5Transport Section (56)2.3.1.6Pad Section (58)2.3.1.7Rear Panel (63)2.4MASCHINE Software Overview (65)2.4.1Header (66)2.4.2Browser (68)2.4.3Arranger (70)2.4.4Control Area (73)2.4.5Pattern Editor (74)3Basic Concepts (76)3.1Important Names and Concepts (76)3.2Adjusting the MASCHINE User Interface (79)3.2.1Adjusting the Size of the Interface (79)3.2.2Switching between Ideas View and Song View (80)3.2.3Showing/Hiding the Browser (81)3.2.4Showing/Hiding the Control Lane (81)3.3Common Operations (82)3.3.1Using the 4-Directional Push Encoder (82)3.3.2Pinning a Mode on the Controller (83)3.3.3Adjusting Volume, Swing, and Tempo (84)3.3.4Undo/Redo (87)3.3.5List Overlay for Selectors (89)3.3.6Zoom and Scroll Overlays (90)3.3.7Focusing on a Group or a Sound (91)3.3.8Switching Between the Master, Group, and Sound Level (96)3.3.9Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.973.3.9.1Extended Navigate Mode on Your Controller (102)3.3.10Navigating the Software Using the Controller (105)3.3.11Using Two or More Hardware Controllers (106)3.3.12Touch Auto-Write Option (108)3.4Native Kontrol Standard (110)3.5Stand-Alone and Plug-in Mode (111)3.5.1Differences between Stand-Alone and Plug-in Mode (112)3.5.2Switching Instances (113)3.5.3Controlling Various Instances with Different Controllers (114)3.6Host Integration (114)3.6.1Setting up Host Integration (115)3.6.1.1Setting up Ableton Live (macOS) (115)3.6.1.2Setting up Ableton Live (Windows) (116)3.6.1.3Setting up Apple Logic Pro X (116)3.6.2Integration with Ableton Live (117)3.6.3Integration with Apple Logic Pro X (119)3.7Preferences (120)3.7.1Preferences – General Page (121)3.7.2Preferences – Audio Page (126)3.7.3Preferences – MIDI Page (130)3.7.4Preferences – Default Page (133)3.7.5Preferences – Library Page (137)3.7.6Preferences – Plug-ins Page (145)3.7.7Preferences – Hardware Page (150)3.7.8Preferences – Colors Page (154)3.8Integrating MASCHINE into a MIDI Setup (156)3.8.1Connecting External MIDI Equipment (156)3.8.2Sync to External MIDI Clock (157)3.8.3Send MIDI Clock (158)3.9Syncing MASCHINE using Ableton Link (159)3.9.1Connecting to a Network (159)3.9.2Joining and Leaving a Link Session (159)3.10Using a Pedal with the MASCHINE Controller (160)3.11File Management on the MASCHINE Controller (161)4Browser (163)4.1Browser Basics (163)4.1.1The MASCHINE Library (163)4.1.2Browsing the Library vs. Browsing Your Hard Disks (164)4.2Searching and Loading Files from the Library (165)4.2.1Overview of the Library Pane (165)4.2.2Selecting or Loading a Product and Selecting a Bank from the Browser (170)4.2.2.1[MK3] Browsing by Product Category Using the Controller (174)4.2.2.2[MK3] Browsing by Product Vendor Using the Controller (174)4.2.3Selecting a Product Category, a Product, a Bank, and a Sub-Bank (175)4.2.3.1Selecting a Product Category, a Product, a Bank, and a Sub-Bank on theController (179)4.2.4Selecting a File Type (180)4.2.5Choosing Between Factory and User Content (181)4.2.6Selecting Type and Character Tags (182)4.2.7List and Tag Overlays in the Browser (186)4.2.8Performing a Text Search (188)4.2.9Loading a File from the Result List (188)4.3Additional Browsing Tools (193)4.3.1Loading the Selected Files Automatically (193)4.3.2Auditioning Instrument Presets (195)4.3.3Auditioning Samples (196)4.3.4Loading Groups with Patterns (197)4.3.5Loading Groups with Routing (198)4.3.6Displaying File Information (198)4.4Using Favorites in the Browser (199)4.5Editing the Files’ Tags and Properties (203)4.5.1Attribute Editor Basics (203)4.5.2The Bank Page (205)4.5.3The Types and Characters Pages (205)4.5.4The Properties Page (208)4.6Loading and Importing Files from Your File System (209)4.6.1Overview of the FILES Pane (209)4.6.2Using Favorites (211)4.6.3Using the Location Bar (212)4.6.4Navigating to Recent Locations (213)4.6.5Using the Result List (214)4.6.6Importing Files to the MASCHINE Library (217)4.7Locating Missing Samples (219)4.8Using Quick Browse (221)5Managing Sounds, Groups, and Your Project (225)5.1Overview of the Sounds, Groups, and Master (225)5.1.1The Sound, Group, and Master Channels (226)5.1.2Similarities and Differences in Handling Sounds and Groups (227)5.1.3Selecting Multiple Sounds or Groups (228)5.2Managing Sounds (233)5.2.1Loading Sounds (235)5.2.2Pre-listening to Sounds (236)5.2.3Renaming Sound Slots (237)5.2.4Changing the Sound’s Color (237)5.2.5Saving Sounds (239)5.2.6Copying and Pasting Sounds (241)5.2.7Moving Sounds (244)5.2.8Resetting Sound Slots (245)5.3Managing Groups (247)5.3.1Creating Groups (248)5.3.2Loading Groups (249)5.3.3Renaming Groups (251)5.3.4Changing the Group’s Color (251)5.3.5Saving Groups (253)5.3.6Copying and Pasting Groups (255)5.3.7Reordering Groups (258)5.3.8Deleting Groups (259)5.4Exporting MASCHINE Objects and Audio (260)5.4.1Saving a Group with its Samples (261)5.4.2Saving a Project with its Samples (262)5.4.3Exporting Audio (264)5.5Importing Third-Party File Formats (270)5.5.1Loading REX Files into Sound Slots (270)5.5.2Importing MPC Programs to Groups (271)6Playing on the Controller (275)6.1Adjusting the Pads (275)6.1.1The Pad View in the Software (275)6.1.2Choosing a Pad Input Mode (277)6.1.3Adjusting the Base Key (280)6.1.4Using Choke Groups (282)6.1.5Using Link Groups (284)6.2Adjusting the Key, Choke, and Link Parameters for Multiple Sounds (286)6.3Playing Tools (287)6.3.1Mute and Solo (288)6.3.2Choke All Notes (292)6.3.3Groove (293)6.3.4Level, Tempo, Tune, and Groove Shortcuts on Your Controller (295)6.3.5Tap Tempo (299)6.4Performance Features (300)6.4.1Overview of the Perform Features (300)6.4.2Selecting a Scale and Creating Chords (303)6.4.3Scale and Chord Parameters (303)6.4.4Creating Arpeggios and Repeated Notes (316)6.4.5Swing on Note Repeat / Arp Output (321)6.5Using Lock Snapshots (322)6.5.1Creating a Lock Snapshot (322)6.5.2Using Extended Lock (323)6.5.3Updating a Lock Snapshot (323)6.5.4Recalling a Lock Snapshot (324)6.5.5Morphing Between Lock Snapshots (324)6.5.6Deleting a Lock Snapshot (325)6.5.7Triggering Lock Snapshots via MIDI (326)6.6Using the Smart Strip (327)6.6.1Pitch Mode (328)6.6.2Modulation Mode (328)6.6.3Perform Mode (328)6.6.4Notes Mode (329)7Working with Plug-ins (330)7.1Plug-in Overview (330)7.1.1Plug-in Basics (330)7.1.2First Plug-in Slot of Sounds: Choosing the Sound’s Role (334)7.1.3Loading, Removing, and Replacing a Plug-in (335)7.1.3.1Browser Plug-in Slot Selection (341)7.1.4Adjusting the Plug-in Parameters (344)7.1.5Bypassing Plug-in Slots (344)7.1.6Using Side-Chain (346)7.1.7Moving Plug-ins (346)7.1.8Alternative: the Plug-in Strip (348)7.1.9Saving and Recalling Plug-in Presets (348)7.1.9.1Saving Plug-in Presets (349)7.1.9.2Recalling Plug-in Presets (350)7.1.9.3Removing a Default Plug-in Preset (351)7.2The Sampler Plug-in (352)7.2.1Page 1: Voice Settings / Engine (354)7.2.2Page 2: Pitch / Envelope (356)7.2.3Page 3: FX / Filter (359)7.2.4Page 4: Modulation (361)7.2.5Page 5: LFO (363)7.2.6Page 6: Velocity / Modwheel (365)7.3Using Native Instruments and External Plug-ins (367)7.3.1Opening/Closing Plug-in Windows (367)7.3.2Using the VST/AU Plug-in Parameters (370)7.3.3Setting Up Your Own Parameter Pages (371)7.3.4Using VST/AU Plug-in Presets (376)7.3.5Multiple-Output Plug-ins and Multitimbral Plug-ins (378)8Using the Audio Plug-in (380)8.1Loading a Loop into the Audio Plug-in (384)8.2Editing Audio in the Audio Plug-in (385)8.3Using Loop Mode (386)8.4Using Gate Mode (388)9Using the Drumsynths (390)9.1Drumsynths – General Handling (391)9.1.1Engines: Many Different Drums per Drumsynth (391)9.1.2Common Parameter Organization (391)9.1.3Shared Parameters (394)9.1.4Various Velocity Responses (394)9.1.5Pitch Range, Tuning, and MIDI Notes (394)9.2The Kicks (395)9.2.1Kick – Sub (397)9.2.2Kick – Tronic (399)9.2.3Kick – Dusty (402)9.2.4Kick – Grit (403)9.2.5Kick – Rasper (406)9.2.6Kick – Snappy (407)9.2.7Kick – Bold (409)9.2.8Kick – Maple (411)9.2.9Kick – Push (412)9.3The Snares (414)9.3.1Snare – Volt (416)9.3.2Snare – Bit (418)9.3.3Snare – Pow (420)9.3.4Snare – Sharp (421)9.3.5Snare – Airy (423)9.3.6Snare – Vintage (425)9.3.7Snare – Chrome (427)9.3.8Snare – Iron (429)9.3.9Snare – Clap (431)9.3.10Snare – Breaker (433)9.4The Hi-hats (435)9.4.1Hi-hat – Silver (436)9.4.2Hi-hat – Circuit (438)9.4.3Hi-hat – Memory (440)9.4.4Hi-hat – Hybrid (442)9.4.5Creating a Pattern with Closed and Open Hi-hats (444)9.5The Toms (445)9.5.1Tom – Tronic (447)9.5.2Tom – Fractal (449)9.5.3Tom – Floor (453)9.5.4Tom – High (455)9.6The Percussions (456)9.6.1Percussion – Fractal (458)9.6.2Percussion – Kettle (461)9.6.3Percussion – Shaker (463)9.7The Cymbals (467)9.7.1Cymbal – Crash (469)9.7.2Cymbal – Ride (471)10Using the Bass Synth (474)10.1Bass Synth – General Handling (475)10.1.1Parameter Organization (475)10.1.2Bass Synth Parameters (477)11Working with Patterns (479)11.1Pattern Basics (479)11.1.1Pattern Editor Overview (480)11.1.2Navigating the Event Area (486)11.1.3Following the Playback Position in the Pattern (488)11.1.4Jumping to Another Playback Position in the Pattern (489)11.1.5Group View and Keyboard View (491)11.1.6Adjusting the Arrange Grid and the Pattern Length (493)11.1.7Adjusting the Step Grid and the Nudge Grid (497)11.2Recording Patterns in Real Time (501)11.2.1Recording Your Patterns Live (501)11.2.2The Record Prepare Mode (504)11.2.3Using the Metronome (505)11.2.4Recording with Count-in (506)11.2.5Quantizing while Recording (508)11.3Recording Patterns with the Step Sequencer (508)11.3.1Step Mode Basics (508)11.3.2Editing Events in Step Mode (511)11.3.3Recording Modulation in Step Mode (513)11.4Editing Events (514)11.4.1Editing Events with the Mouse: an Overview (514)11.4.2Creating Events/Notes (517)11.4.3Selecting Events/Notes (518)11.4.4Editing Selected Events/Notes (526)11.4.5Deleting Events/Notes (532)11.4.6Cut, Copy, and Paste Events/Notes (535)11.4.7Quantizing Events/Notes (538)11.4.8Quantization While Playing (540)11.4.9Doubling a Pattern (541)11.4.10Adding Variation to Patterns (541)11.5Recording and Editing Modulation (546)11.5.1Which Parameters Are Modulatable? (547)11.5.2Recording Modulation (548)11.5.3Creating and Editing Modulation in the Control Lane (550)11.6Creating MIDI Tracks from Scratch in MASCHINE (555)11.7Managing Patterns (557)11.7.1The Pattern Manager and Pattern Mode (558)11.7.2Selecting Patterns and Pattern Banks (560)11.7.3Creating Patterns (563)11.7.4Deleting Patterns (565)11.7.5Creating and Deleting Pattern Banks (566)11.7.6Naming Patterns (568)11.7.7Changing the Pattern’s Color (570)11.7.8Duplicating, Copying, and Pasting Patterns (571)11.7.9Moving Patterns (574)11.7.10Adjusting Pattern Length in Fine Increments (575)11.8Importing/Exporting Audio and MIDI to/from Patterns (576)11.8.1Exporting Audio from Patterns (576)11.8.2Exporting MIDI from Patterns (577)11.8.3Importing MIDI to Patterns (580)12Audio Routing, Remote Control, and Macro Controls (589)12.1Audio Routing in MASCHINE (590)12.1.1Sending External Audio to Sounds (591)12.1.2Configuring the Main Output of Sounds and Groups (596)12.1.3Setting Up Auxiliary Outputs for Sounds and Groups (601)12.1.4Configuring the Master and Cue Outputs of MASCHINE (605)12.1.5Mono Audio Inputs (610)12.1.5.1Configuring External Inputs for Sounds in Mix View (611)12.2Using MIDI Control and Host Automation (614)12.2.1Triggering Sounds via MIDI Notes (615)12.2.2Triggering Scenes via MIDI (622)12.2.3Controlling Parameters via MIDI and Host Automation (623)12.2.4Selecting VST/AU Plug-in Presets via MIDI Program Change (631)12.2.5Sending MIDI from Sounds (632)12.3Creating Custom Sets of Parameters with the Macro Controls (636)12.3.1Macro Control Overview (637)12.3.2Assigning Macro Controls Using the Software (638)12.3.3Assigning Macro Controls Using the Controller (644)13Controlling Your Mix (646)13.1Mix View Basics (646)13.1.1Switching between Arrange View and Mix View (646)13.1.2Mix View Elements (647)13.2The Mixer (649)13.2.1Displaying Groups vs. Displaying Sounds (650)13.2.2Adjusting the Mixer Layout (652)13.2.3Selecting Channel Strips (653)13.2.4Managing Your Channels in the Mixer (654)13.2.5Adjusting Settings in the Channel Strips (656)13.2.6Using the Cue Bus (660)13.3The Plug-in Chain (662)13.4The Plug-in Strip (663)13.4.1The Plug-in Header (665)13.4.2Panels for Drumsynths and Internal Effects (667)13.4.3Panel for the Sampler (668)13.4.4Custom Panels for Native Instruments Plug-ins (671)13.4.5Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) (675)13.5Controlling Your Mix from the Controller (677)13.5.1Navigating Your Channels in Mix Mode (678)13.5.2Adjusting the Level and Pan in Mix Mode (679)13.5.3Mute and Solo in Mix Mode (680)13.5.4Plug-in Icons in Mix Mode (680)14Using Effects (681)14.1Applying Effects to a Sound, a Group or the Master (681)14.1.1Adding an Effect (681)14.1.2Other Operations on Effects (690)14.1.3Using the Side-Chain Input (692)14.2Applying Effects to External Audio (695)14.2.1Step 1: Configure MASCHINE Audio Inputs (695)14.2.2Step 2: Set up a Sound to Receive the External Input (698)14.2.3Step 3: Load an Effect to Process an Input (700)14.3Creating a Send Effect (701)14.3.1Step 1: Set Up a Sound or Group as Send Effect (702)14.3.2Step 2: Route Audio to the Send Effect (706)14.3.3 A Few Notes on Send Effects (708)14.4Creating Multi-Effects (709)15Effect Reference (712)15.1Dynamics (713)15.1.1Compressor (713)15.1.2Gate (717)15.1.3Transient Master (721)15.1.4Limiter (723)15.1.5Maximizer (727)15.2Filtering Effects (730)15.2.1EQ (730)15.2.2Filter (733)15.2.3Cabinet (737)15.3Modulation Effects (738)15.3.1Chorus (738)15.3.2Flanger (740)15.3.3FM (742)15.3.4Freq Shifter (743)15.3.5Phaser (745)15.4Spatial and Reverb Effects (747)15.4.1Ice (747)15.4.2Metaverb (749)15.4.3Reflex (750)15.4.4Reverb (Legacy) (752)15.4.5Reverb (754)15.4.5.1Reverb Room (754)15.4.5.2Reverb Hall (757)15.4.5.3Plate Reverb (760)15.5Delays (762)15.5.1Beat Delay (762)15.5.2Grain Delay (765)15.5.3Grain Stretch (767)15.5.4Resochord (769)15.6Distortion Effects (771)15.6.1Distortion (771)15.6.2Lofi (774)15.6.3Saturator (775)15.7Perform FX (779)15.7.1Filter (780)15.7.2Flanger (782)15.7.3Burst Echo (785)15.7.4Reso Echo (787)15.7.5Ring (790)15.7.6Stutter (792)15.7.7Tremolo (795)15.7.8Scratcher (798)16Working with the Arranger (801)16.1Arranger Basics (801)16.1.1Navigating Song View (804)16.1.2Following the Playback Position in Your Project (806)16.1.3Performing with Scenes and Sections using the Pads (807)16.2Using Ideas View (811)16.2.1Scene Overview (811)16.2.2Creating Scenes (813)16.2.3Assigning and Removing Patterns (813)16.2.4Selecting Scenes (817)16.2.5Deleting Scenes (818)16.2.6Creating and Deleting Scene Banks (820)16.2.7Clearing Scenes (820)16.2.8Duplicating Scenes (821)16.2.9Reordering Scenes (822)16.2.10Making Scenes Unique (824)16.2.11Appending Scenes to Arrangement (825)16.2.12Naming Scenes (826)16.2.13Changing the Color of a Scene (827)16.3Using Song View (828)16.3.1Section Management Overview (828)16.3.2Creating Sections (833)16.3.3Assigning a Scene to a Section (834)16.3.4Selecting Sections and Section Banks (835)16.3.5Reorganizing Sections (839)16.3.6Adjusting the Length of a Section (840)16.3.6.1Adjusting the Length of a Section Using the Software (841)16.3.6.2Adjusting the Length of a Section Using the Controller (843)16.3.7Clearing a Pattern in Song View (843)16.3.8Duplicating Sections (844)16.3.8.1Making Sections Unique (845)16.3.9Removing Sections (846)16.3.10Renaming Scenes (848)16.3.11Clearing Sections (849)16.3.12Creating and Deleting Section Banks (850)16.3.13Working with Patterns in Song view (850)16.3.13.1Creating a Pattern in Song View (850)16.3.13.2Selecting a Pattern in Song View (850)16.3.13.3Clearing a Pattern in Song View (851)16.3.13.4Renaming a Pattern in Song View (851)16.3.13.5Coloring a Pattern in Song View (851)16.3.13.6Removing a Pattern in Song View (852)16.3.13.7Duplicating a Pattern in Song View (852)16.3.14Enabling Auto Length (852)16.3.15Looping (853)16.3.15.1Setting the Loop Range in the Software (854)16.4Playing with Sections (855)16.4.1Jumping to another Playback Position in Your Project (855)16.5Triggering Sections or Scenes via MIDI (856)16.6The Arrange Grid (858)16.7Quick Grid (860)17Sampling and Sample Mapping (862)17.1Opening the Sample Editor (862)17.2Recording Audio (863)17.2.1Opening the Record Page (863)17.2.2Selecting the Source and the Recording Mode (865)17.2.3Arming, Starting, and Stopping the Recording (868)17.2.5Using the Footswitch for Recording Audio (871)17.2.6Checking Your Recordings (872)17.2.7Location and Name of Your Recorded Samples (876)17.3Editing a Sample (876)17.3.1Using the Edit Page (877)17.3.2Audio Editing Functions (882)17.4Slicing a Sample (890)17.4.1Opening the Slice Page (891)17.4.2Adjusting the Slicing Settings (893)17.4.3Live Slicing (898)17.4.3.1Live Slicing Using the Controller (898)17.4.3.2Delete All Slices (899)17.4.4Manually Adjusting Your Slices (899)17.4.5Applying the Slicing (906)17.5Mapping Samples to Zones (912)17.5.1Opening the Zone Page (912)17.5.2Zone Page Overview (913)17.5.3Selecting and Managing Zones in the Zone List (915)17.5.4Selecting and Editing Zones in the Map View (920)17.5.5Editing Zones in the Sample View (924)17.5.6Adjusting the Zone Settings (927)17.5.7Adding Samples to the Sample Map (934)18Appendix: Tips for Playing Live (937)18.1Preparations (937)18.1.1Focus on the Hardware (937)18.1.2Customize the Pads of the Hardware (937)18.1.3Check Your CPU Power Before Playing (937)18.1.4Name and Color Your Groups, Patterns, Sounds and Scenes (938)18.1.5Consider Using a Limiter on Your Master (938)18.1.6Hook Up Your Other Gear and Sync It with MIDI Clock (938)18.1.7Improvise (938)18.2Basic Techniques (938)18.2.1Use Mute and Solo (938)18.2.2Use Scene Mode and Tweak the Loop Range (939)18.2.3Create Variations of Your Drum Patterns in the Step Sequencer (939)18.2.4Use Note Repeat (939)18.2.5Set Up Your Own Multi-effect Groups and Automate Them (939)18.3Special Tricks (940)18.3.1Changing Pattern Length for Variation (940)18.3.2Using Loops to Cycle Through Samples (940)18.3.3Using Loops to Cycle Through Samples (940)18.3.4Load Long Audio Files and Play with the Start Point (940)19Troubleshooting (941)19.1Knowledge Base (941)19.2Technical Support (941)19.3Registration Support (942)19.4User Forum (942)20Glossary (943)Index (951)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 Getting Started: This document provides a practical approach to MASCHINE viaa set of tutorials covering easy and more advanced tasks in order to help you familiarizeyourself with MASCHINE.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:▪Controller Editor Manual: Besides using your MASCHINE hardware controller together withits dedicated MASCHINE software, you can also use it as a powerful and highly versatileMIDI controller to pilot any other MIDI-capable application or device. This is made possibleby the Controller Editor software, an application that allows you to precisely define all MIDIassignments for your MASCHINE controller. The Controller Editor was installed during theMASCHINE installation procedure. For more information on this, please refer to the Con-troller Editor Manual available as a PDF file via the Help menu of Controller Editor.▪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.1.2Document 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 can be expected:Furthermore, the following formatting is used:▪Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software and paths 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 the software is printed in blue. Whenever you see this formatting applied, you will find the same text appearing somewhere on the screen.▪Text appearing on the displays of the controller is printed in light grey. Whenever you see this 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 see this 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.Unlabeled Buttons on the ControllerThe buttons and knobs above and below the displays on your MASCHINE controller do not have labels.。
DIN EN 15085-5
Diese Europäische Norm wurde vom CEN am 26. August 2007 angenommen.
Die CEN-Mitglieder sind gehalten, die CEN/CENELEC-Geschäftsordnung zu erfüllen, in der die Bedingungen festgelegt sind, unter denen dieser Europäischen Norm ohne jede Änderung der Status einer nationalen Norm zu geben ist. Auf dem letzten Stand befindliche Listen dieser nationalen Normen mit ihren bibliographischen Angaben sind beim Management-Zentrum des CEN oder bei jedem CEN-Mitglied auf Anfrage erhältlich.
DIN EN 15085-5
Januar 2008
D
Ersatzvermerk siehe unten
Bahnanwendungen – Schweißen von Schienenfahrzeugen und -fahrzeugteilen – Teil 5: Prüfung und Dokumentation; Deutsche Fassung EN 15085-5:2007
EUROPÄISCHE NORM EUROPEAN STANDARD NORME EUROPÉENNE
迹部景吾详细资料
迹部景吾百科名片迹部景吾网球王子里的拉风人物。
私立冰帝学园的学生会会长兼网球部部长兼大财团的少爷。
为人非常有贵族风范。
目录人物简介基本资料从各个方向看迹部景吾声优简介迹部书包里的东西解读迹部景吾的26个字母华丽的帝王迹部出场集数人物简介基本资料从各个方向看迹部景吾声优简介迹部书包里的东西解读迹部景吾的26个字母华丽的帝王迹部出场集数•角色歌•迹部景吾的战绩•迹部的精神•迹部景吾实力评价•网舞中的迹部•贴吧相册展开编辑本段人物简介迹部景吾[Atobe Keigo]迹部身为冰帝学园学生会会长,网球部部长,真可谓是嚣张到自恋。
问题是他有足够的理由和资本这么做——迹部,人称帝王!帝王是什么概念?家臣何止三千,家产何止三千亿!许斐刚在接受采访时,当记者问及迹部的缺点,他坚定的答道:“NO!”是的,迹部景吾就是这么一个不可理喻的生物。
在这个世界上,能够掌握住200人人心的人究竟有多少?迹部正是拥有此一魅力的极稀有存在。
任谁都不得不肯定的实力,再加上天生的高贵气质,方能造就出如此特别的他。
对于迹部而言——玫瑰花瓣是用来下雨的,修长手指是用来打响指的,校服外套是用来抛上天的,眼角泪痣是用来迷人的!迹部的一举手一投足都是200名社员瞩目的焦点。
而他也从未让社员们失望。
迹部景吾的动画版人物形象(12张)日本,中国的网王饭们,大多数都喜欢他。
多金,护短的迹部,其自信、自强,以及坚忍的责任感,是大多数少女心中的真正的白马王子。
诹访部顺一出演『网球王子』中的迹部景吾一角拥有极高人气。
在2005年3月30日,以迹部景吾名义发售的单曲『理由/E気持』在同年4月11日的ORICON周榜上初上榜排名第9位。
另外,2006年10月4日发售的专辑『THE ULTIMATE HARD WORKER』,即使在动画放映已经结束的情况下,在同年10月16日在ORICON上初上榜排名第21位。
这是当时男性动画角色CD最高销售纪录。
编辑本段基本资料迹部景吾(あとべけいご)(Atobe Keigo)所属:冰帝学园中等部三年A组1番年龄:15生日:10月4日(天秤座)声优:诹访部顺一身高:175CM体重:62KG血型:A脚底尺寸:26.5cm视力:左右均2.0性格:张狂,华丽,自信,决绝绰号:猴子山大王(越前专用)、帝王.称呼:少爷,女王,A少,景少,大爷,小景(忍足专用),AHOBE (ATOBE≈AHOBE。
老友记中出现的歌曲
101 - ross和rach 各自在窗边看雨时的插曲【Sky Blue and Black】歌手Jackson Browne 专辑I'm Alive.104 - 男生们去看冰球比赛的插曲【Charge】是一首很老的歌经常在美国棒球和冰球比赛中播放107 - 停电时菲菲joey 和mon一起唱的歌(此时ross和rach在窗外和猫搏斗)【Top of the World】歌手The Carpenters.109 - joey的VD广告到处贴的背景音乐【Don't Stand So Close To Me】歌手The Police (菲比是他们的fan哈哈)ross对着carol的肚子唱的歌【Hey, Hey, We're the Monkeys】歌手The Monkeys110 - party刚开始时的背景音乐【Shiny Happy People】by R.E.M., from the album Out of Time.- 菲菲和david告别【Into Your Arms】by Lemonheads.111 - mon和菲菲照顾昏迷男【My Guy 】by Mary Wells.112 - 六个人一起哼的歌【The Odd Couple】- ross继续哼另外5个人不哼了的歌【I Dream of Jeannie.】115 - ross邀请bug lady(喜欢dirty talk的妞)去他家约会被猴子抓头发时的背景音乐【Girl, You'll Be a Woman Soon】by Neil Diamond.117 - 菲菲到达party之前的背景音乐【What's the Frequency, Kenneth?】by R.E.M.- ross和marcel在医院【New York Minute】by Don Henley of The Eagles118&212 - marcel的最爱歌曲【The lion sleeps tonight】又名Mbube, by Soloman Linda.119 - louisa用麻醉枪打marcel是电视剧"Shaft.的主题曲121 - marcel被带走【You're a Big Boy Now】by John Sebastian.124 - rach在机场等待ross【Take a Bow】by Madonna, from her album, Bedtime Stories.【第二季】201 --ross和rach在阳台上聊天背景音乐是老友主题曲i'll be there 4 u 的乐器变种版204 --ross和julie上床的第二天早上ross在街上手舞足蹈【Singing in the Rain,】by Gene Kelly. 是同名电影的主题曲205 --monchanross三人去看演唱会的开场曲【 I Go Blind.】206 --Stephanie 在酒吧唱的歌(菲比在街上捣乱)【 Angel of the Morning,】 by The Pretenders客串stephanie的Chrissie Hynde就是这个乐队的成员207 --mon强迫chan和她一起锻炼【 Macho Man】by The Village People.--ross和rach第一次kiss本来制作人打算在这里用208的u2 song with or without you 但是来不及买版权了囧。
the laws of migration
The Laws of MigrationAuthor(s): E. G. RavensteinSource: Journal of the Statistical Society of London, Vol. 48, No. 2 (Jun., 1885), pp. 167-235 Published by: Blackwell Publishing for the Royal Statistical SocietyStable URL: /stable/2979181Accessed: 26/10/2010 21:55Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use.Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at/action/showPublisher?publisherCode=black.Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@.Royal Statistical Society and Blackwell Publishing are collaborating with JSTOR to digitize, preserve andextend access to Journal of the Statistical Society of London.。
光亮 周深 英文版
光亮周深英文版In the vast musical landscape, Zhou Shen's "Bright" stands out as a captivating and enchanting composition, evoking a sense of both light and shadow. Its English version, a translation that preserves the essence of the original while introducing a new cultural dimension, offers a unique perspective on the song's themes and emotions."Bright" is not just a song; it's a journey through the complexities of human existence. The lyrics, both in Chinese and English, explore themes of hope, perseverance, and the pursuit of dreams in the face of adversity. The melody, carried by Zhou Shen's soaring vocals, is both haunting and uplifting, reflecting the duality of life's challenges and triumphs.The English version of "Bright" maintains the emotional depth and narrative arc of the original. The translator has done a remarkable job of capturing the essence of thelyrics while adapting them to a different linguistic and cultural context. The result is a song that feels both familiar and fresh, resonating with a new audience while remaining true to its original intent.One of the most striking aspects of the English version is how it handles the symbolism of light and shadow. In the original Chinese lyrics, these elements are used to represent the fluctuations of life's emotional landscape, with light symbolizing hope and positivity, and shadow representing challenges and doubt. The English translation retains this symbolism, but it also introduces a new layerof interpretation, allowing listeners to draw parallels between their own lives and the themes explored in the song. Another noteworthy aspect of the English version isZhou Shen's vocals. His voice, which is already renownedfor its emotional range and technical proficiency, shines even brighter in this new rendition. His ability to convey the song's emotional depth and narrative arc through his vocals is truly remarkable, making the English version of "Bright" a standout among his discography.Beyond the lyrics and vocals, the production of the English version is also noteworthy. The instrumentation and arrangement complement the emotional tone of the song perfectly, creating a sonic landscape that is bothimmersive and engaging. The result is a song that is notjust enjoyable to listen to, but also thought-provoking and emotionally charged.In conclusion, the English version of Zhou Shen's "Bright" is a triumph of translation and reinterpretation. It preserves the essence of the original while introducing new layers of meaning and interpretation. Through its lyrics, vocals, and production, it explores themes of hope, perseverance, and the pursuit of dreams in a way that is both accessible and profound. For fans of Zhou Shen and lovers of music in general, this English version offers a new and exciting way to experience one of his most beloved compositions.**光亮周深英文版**在广阔的音乐天地中,周深的《光亮》以其迷人的魅力脱颖而出,展现了光与影的交织。
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.。
法国短信缩写对应表
Koi ............ Quoi - 什么
Koi29 ............ Quoi de neuf? - 有啥新鲜事
Lckc ............ Elle s'est cassée - 她离开了
L's tomB ............ Laisse tomber - 没事,算了
dzolé..............................................désolé
entouK..............................................en tout cas
fet..............................................fête
OQP ............ Occupé - 忙着
Oué ............ Ouais - 哦;唷
parske ............ parce que - 因为
p-è ou pitit............ Peut-ètre - 可能
PTDR ............ Pété de rire - 笑爆了!
TOK..............................................t'es OK?
TOQP..............................................t'es occupé?
Vlo..............................................v............................jamais
The Beatles
2010年,美国《Billboard》杂志公布了2000年至2009年最佳单曲排行榜,乐队发行的精选专辑《1》以 11,499,000的销量成为2000年至2009年在美国最畅销的唱片 。2012年,在英国官方排行榜公司公布的“英国最 畅销乐队排行榜”上,The Beatles以2210万次的单曲销售量名列榜首 。
The Beatles是一支颇具传奇性的乐队 。从成立到解散,他们仅仅存在了十年的时间,但是作为一个音乐 文化的革命者,其文化影响力早已超过了其艺术的本身。他们的歌声影响了一代人的艺术趣味、服装发式、生活 方式和人生态度 。他们以其反上流社会、反正统艺术的风格,锋利且敢于接触社会敏感问题的歌曲内涵以及在 舞台上与世俗挑战的举止征服了各国青年 。他们以创新精神丰富和发展了摇滚乐,把摇滚乐带到了另一个历史 阶段,从此摇滚乐不再只是一种单纯的娱乐音乐,它有了更多让人思考的东西 。(《南方都市报》、新浪、易 评)
The Beatles
英国摇滚乐队
01 早年经历
03 人物评价
目录
02 演艺经历
The Beatles,英国摇滚乐队,1960年成立于英格兰利物浦市,由约翰·列侬、林戈·斯塔尔、保罗·麦卡 特尼和乔治·哈里森四名成员组成。
1962年发行首支单曲《Love Me Do》。1963年发行首张专辑《Please Please Me》,创下连续30周位居英 国流行音乐专辑榜榜首的纪录。1964年4月4日,创下包揽公告牌Hot 100单曲榜前5名的纪录 ;同年凭借歌曲 《A Hard Day's Night》获得第7届格莱美最佳乐队奖。1965年推出的歌曲《Yesterday》成为乐队具有代表性 的作品之一。1966年发行迷幻摇滚风格的专辑《Revolver》。1967年发行的专辑《Sgt. Pepper's Lonely Hearts Club Band》获得第10届格莱美年度最佳专辑奖。1968年发行的单曲《Hey Jude》连续9周位居美国公告 牌榜首。1969年进行最后一次公开演出 ;同年发行专辑《Abbey Road》。1970年乐队解散。
撕卡布罗集市歌曲英文版
撕卡布罗集市歌曲英文版
《撕卡布罗集市》是一首非常受欢迎的拉丁音乐,源自巴西。
这首歌曲的英文版本通常被称为 "Tear the Market" 或 "Tear Cardboard Market",但是并没有一个官方的英文翻译版本。
因此,
目前没有一个官方的英文版歌词。
然而,一些歌迷和音乐爱好者可能会尝试自行翻译歌曲的歌词,但这些翻译版本可能会有所不同。
由于歌曲的文化背景和特定的表
达方式,将其准确地翻译成英文可能会有一定的挑战。
因此,如果
你在网上搜索 "Tear the Market" 或 "Tear Cardboard Market"
的英文翻译版本,你可能会找到一些非官方的翻译尝试。
总的来说,目前没有一个官方的英文版《撕卡布罗集市》歌曲,但你可以尝试搜索非官方的翻译版本或者尝试自行翻译这首歌曲。
希望这个回答能够满足你的需求。
出自动漫的英文歌
出自动漫的英文歌1. 《My Heart Will Go On》- 泰坦尼克号这首歌曲是电影《泰坦尼克号》的主题曲,也是最著名的英文歌之一。
它由詹姆斯·霍纳和威尔·詹宁斯共同创作,发行于1997年。
歌曲的旋律优美动人,歌词深情动人,表达了对于失去爱情的痛苦和无奈。
2. 《Let It Be》- 魔卡少女樱这首歌曲是动画片《魔卡少女樱》的插曲,也是知名的英文歌之一。
它由松本隆和坂本真一共同创作,发行于1998年。
歌曲的旋律轻快欢快,歌词简单易懂,表达了对于未来的希望和信心。
3. 《Seasons in the Sun》- 柯南这首歌曲是动画片《名侦探柯南》的片尾曲,也是经典的英文歌之一。
它由西城男孩演唱,发行于1997年。
歌曲的旋律优美动人,歌词充满诗意,表达了对于逝去的时光的感慨和对未来的希望。
4. 《Butter-Fly》- 数码宝贝这首歌曲是动画片《数码宝贝》的主题曲,发行于1999年。
歌曲的旋律激昂动人,歌词充满力量,表达了对于未来的勇气和决心。
5. 《Shape of My Heart》- 攻壳机动队这首歌曲是动画片《攻壳机动队》的插曲,发行于1995年。
歌曲的旋律优美动人,歌词充满哲学意味,表达了对于人类灵魂的思考和探索。
6. 《God Rest Ye Merry Gentlemen》- 钢之炼金术师这首歌曲是动画片《钢之炼金术师》的插曲,发行于2004年。
歌曲的旋律充满神秘感,歌词充满诗意,表达了对于生命的敬畏和对于未来的期待。
7. 《For You》- NANA这首歌曲是动画片《NANA》的插曲,发行于2006年。
歌曲的旋律优美动人,歌词充满情感,表达了对于重要的人的思念和祝福。
8. 《Don't Dream It's Over》- 头文字D这首歌曲是动画片《头文字D》的插曲,发行于2001年。
歌曲的旋律悠扬动人,歌词充满力量,表达了对于梦想的坚持和不放弃。
Blank Space空白格中英字幕
Blank Space - Taylor Swift Nice to meet you你好,很高兴见到你Where you've been?最近不错吧?I can show you incredible things给你讲讲许多不可思议的事情Magic, madness, heaven, sins魔法、疯狂、罪恶、天堂Saw you there and I thought oh my god你站着,我想着:天啦撸Look at that face, you look like my next mistake 看你那张完美的脸,像是我的下一次心碎Love's a game, wanna play爱的游戏,想注册吗?New money, suit and tie崭新的RMB,帅帅的西装配领带I can read you like a magazine你像一本杂志让人赏心悦目Ain't it funny rumors fly是不是很有趣?我的绯闻已满天飞And I know you've heard about me你也听说过我的事情So hey, let's be friends那么,我们做朋友吧And I'm dying to see how this one ends看看这次的结果是什么Grab your passport and my hand抓紧你的机票,我的手I can make the bad guys good for a weekend 我能让你霸气的性格一周内臣服于我So it's gonna be forever爱可以天长地久Or it's gonna go down in flames也可以化为灰烬You can tell me when it's over当爱走到尽头,你直说If the high was worth the pain只要我们这次的爱胜过痛Got a long list of ex-lovers伦家的前任名单落落长They'll tell you I'm insane他们会告诉你我是一个疯纸Cause you know I love the players因为你知道我爱这个爱情的玩家And you love the game可你却爱上了这场爱情Cause we're young and we're reckless 只因为我们年少,不计后果We'll take this way too far我们走到了岔路上It'll leave you breathless我的问题使你快要窒息Or with a nasty scar也留下了爱情的伤疤Got a long list of ex-lovers前任名单落落长They'll tell you I'm insane人们说我疯掉了But I got a blank space baby但名单上还有一个为你留的空白格And I'll write your name把你也写进去吧Cherry lips樱桃般的嘴唇Crystal skies湛蓝湛蓝的天空I can show you incredible things许许多多惊奇的事情,我已等不及开口诉说stolen kisses, pretty lies笨拙的吻,完美的谎言You're the king baby I'm your queen你是我的国王,我是你的王后Find out what you want摸索出你心中的完美女孩Be that girl for a month照这样子做一个月,专为你漂亮But the worst is yet to come但是不幸的事情又发生了Oh no哦,不Screaming, crying, perfect storms尖叫,哭泣,完美风暴I can make all the tables turn桌子被我掀翻了无数次Rose garden filled with thorns玫瑰下面长满了刺Keep you second guessing like后知后觉的样子,我已厌烦oh my god哦,天啦撸Who is she? I get drunk on jealousy这个女人是谁?我因嫉妒而喝的酩酊大醉But you'll come back each time you leave但是你每次离开后都会回来Cause darling I'm a nightmare dressed like a daydream 北鼻,我就是披着白日梦的噩梦So it's gonna be forever爱有可能天长地久Or it's gonna go down in flames也有可能化为灰烬You can tell me when it's over当分手势不可挡时,你直说If the high was worth the pain只要爱值得痛Got a long list of ex-lovers我有着长长的前任名单They'll tell you I'm insane他们告诉你我是你个疯子Cause you know I love the players因为我只爱爱爱情游戏的玩家And you love the game你却爱的是这场游戏Cause we're young and we're reckless 因为我们年少,不计后果We'll take this way too far在岔路上,走了太远It'll leave you breathless你会觉得快要窒息了Or with a nasty scar还会留下爱情的伤疤Got a long list of ex-lovers我有一个长长的前任名单They'll tell you I'm insane我就像是一个疯子在做疯子做的事情But I got a blank space baby但名单上还有个空位And I'll write your name你已难逃一写Boys only want love北鼻,爱是唯一的If it's torture哪怕它是一场折磨Don't say I didn't say I didn't warn you 别说在游戏前我没有警告过你Boys only want love北鼻,爱是唯一的If it's torture就算它会伤到你Don't say I didn't say I didn't warn you 在开始前我已经警告过你了So it's gonna be forever这是一场天长地久的爱情Or it's gonna go down in flames也有可能瞬间化为灰烬You can tell me when it's over当感觉不在时,你不必拐弯抹角If the high was worth the pain只要我们的爱值得彼此的伤痛Got a long list of ex-lovers我有一串串前任的名单They'll tell you I'm insane这些纸上的人他会说我是疯子Cause you know I love the players你知道我看中的是这个爱情的玩家And you love the game而你看中的是这场爱情Cause we're young and we're reckless我们年轻,有些事不计后果We'll take this way too far有些事情我们做的太过火It'll leave you breathless它会逼得你几乎窒息Or with a nasty scar还可能会留下深深的伤疤Got a long list of ex-lovers前任名单读都读不完They'll tell you I'm insane他们说我像个疯子般But I got a blank space baby前任名单上还有一个空位And I'll write your name你已难逃一写(注:此翻译为作者纯手打出来的,要转载请注明)。
2021-2022学年-有答案-江苏省徐州市某校初三上考前模拟英语试卷
2021-2022年江苏省徐州市某校初三上考前模拟英语试卷一、单选题1. In 1985, Spud became ______ NBA player and in 1986, he came ______ first in the Slam Dunk Contest.A.an; theB.a; theC.an; /D.a; /2. Amy is ______ careful that she made ______ mistakes in her last exam.A.so; so fewB.such; so littleC.so; such fewD.such; such little3. Hepburn's achievements went ______ the film industry, and she was presented ______ many awards.A.beyond; forB.from; forC.from; withD.beyond; with4. —This history book is of great value.—Exactly. ______ can be enjoyed from it ______ you have a deep understanding of it, however.A.Nothing; unlessB.Few; tillC.Something; untilD.Little; since5. —Could you tell me when Mr. Li ______ in Hainan?—Sure. I'll call you as soon as he ______.A.arrives; will arriveB.will arrive; arrivesC.arrives; arrivesD.will arrive; will arrive6. —Do you know ______ the meeting will last?—______ the agreement is reached.A.how long; Not untilB.when; Not untilC.how long; UntilD.when; Until7. Some of my friends are interested in science, but none of them can tell ______.A.when UFOs appeared next timeB.that horses know the way or notC.where was this kind of plant found8. —Do you think if I am suitable for this IT job?—You can't get the job ______ you have experience in the computer industry.A.ifB.unlessC.becauseD.since9. —It's time for the weather report. Could I turn on the TV?—______. I also want to know about the weather for tomorrow.A.Go ahead, pleaseB.With pleasureC.Don't mention itD.Certainly not10. —Would you like to go to ______ concert tonight?—Of course. What kind of ______ concert is it?A.the; aB.a; aC.a; /D.the; the11. —Have the police found any clues ______ the murder case?—No, they have offered a reward ______ ¥50,000 for any information about it.A.to; ofB.to; forC.for; forD.with; of12. The police are still working at the scene of the crime to find out ______ the victim was killed ______ he was found.A.how; whenB.why; howC.where; ifD.whether; where13. —How greatly your home town has changed!—Yes. It was the 20th century that ______ its great changes.A.sawB.caughtC.appearedD.caused14. —I'm afraid Jim knows little English.—______. I failed the English exam again.A.So am IB.So do IC.Neither am ID.Neither do I15. —All of Audrey Hepburn's films are wonderful.—______. Especially Rome Holiday.A.I can't agree moreB.That's not the caseC.That's not the pointD.Don't mention it二、完形填空Chinese Gamers now have to use their real(1)______ before playing Tencent's Honor of Kings. Honor of Kings is the most popular computer game of all time in China. There are more than 200 million people(2)______ the game every month. Usually two teams of fiveOn September 15, 2018, Tencent introduced a registration(注册)system for Honor of kings. Game users had to register their real names(4)______ playing the game. The policy (政策)started with(5)______ users. Users who had been playing the game could be (6)______ in the system gradually(逐步地). With the(7)______ of the system, Tencent would first know(8)______ the gamer is an adult. If he/she turned out to be underage, Tencent would control the(9)______ of hours the young gamer could play per day.With this real name registration(10)______, Tencent hopes to(11)______ children getting lost in online games. The company said that it would add(12)______ of its gaming products into the system. It also called on parents to monitor(监视)their children's gaming account activity.This move came following a new policy of the government. Earlier in September, the Ministry of Education(教育部)(13)______ that it would limit the number of online games, and the(14)______ that underage children could play online games.The government(15)______ that this measure will bring benefits in the future.(1)A.addressesB.personalitiessD.appearance(2)A.doingB.playingC.watchingD.seeing(3)A.againstB.aboutC.forD.to(4)A.afterB.whenC.beforeD.while(5)A.newB.oldC.youngD.small(6)A.developedB.includedC.enjoyedD.formed(7)A.giftB.workC.wayD.help(8)A.thatB.whyC.whetherD.how(9)(10)puterB.systemC.protectD.job(11)A.keepB.protectC.stopD.provide(12)A.moreB.lessC.fewerD.many(13)A.hopedB.announcedC.foundD.discovered(14)A.timeB.reasonC.placeD.person(15)A.wondersB.doubtsC.believesD.hopes三、阅读理解Make your own rainbowLearn how to make a rainbow with this fun science experiment for kids. This will help bring the exciting world of science to life.What you'll need● A glass of water (about three quarters full)● White paper● A sunny dayInstructions1. Take the glasses of water and paper to a part of the room with sunlight (better near a window).2. Hold the glass of water above the paper and watch as sunlight passes through the glass of water. The sunlight is refracted and forms a rainbow of colors on your paper.3. Try holding the glass of water at different heights and angles (角度) to see what may happen. Rainbows form in the sky when sunlight is refracted as it passes through raindrops; it acts in the same way when it passes through your glass of water. The sunlight refracts, separating it into the colors red, orange, yellow, green, blue, indigo and violet.(1)What's the experiment about?A.Physics.B.Chemistry.C.History.D.The environment.(2)To make rainbows by ourselves, we should have ______ conditions?A.twoB.threeC.fourD.five(3)What should we do to make a rainbow?A.Start the experiment at late night.B.Hold the glass of water at the same height.C.Put the paper above the glass of water.D.Put the paper under the glass of water.Love mysteries but can't find the ones that suit you well? Don't worry! Here are some that young readers around the world highly recommend. There must be one that will win your heart!(1)What does Andy mean by saying "I had my nose in it"?A.The book was so interesting that he read it carefully.C.The book was very easy to understand.D.The book was very hard to understand.(2)In London Eye Mystery, ______.A.twelve kids try to escape from a new libraryB.two children try to escape from a new libraryC.two children try to find their missing cousinD.twelve kids try to find their missing cousin(3)Nancy decides to buy The London Eye Mystery and The Name of This Book Is Secret for her daughter as Christmas present. How much money can she save if she buys e-books instead of hardcovers?A.106.2 yuan.B.88.2 yuan.C.188.1 yuan.D.99.9 yuan.Journey to the West, one of the Four Great Classical Novels, is a long mythological novel full of romanticism(浪漫主义)with totally one hundred chapters.It is a story about Sun Wukong, Zhu Bajie and Sha Monk who protect Tang Seng to learn from the Western Heaven. Although the story takes the sutra(佛经)from the West as its main purpose, the main character is not Tang Sanzang, but Monkey King. The whole book is full of extraordinary spirit from the birth of the stone monkey. "Two golden lights were shining at the Dou House" and the Jade Emperor was shocked(吃惊的). After Sun Wukong's birth, he went through learning the ability about 72 changes and other extraordinary skills, making a great disturbance(扰乱)in the palace, and later protecting Tang Sanzang from the Western Heavens. On the way to the Western Heavens, the three apprentices(徒弟)showed their abilities, and tried their best to protect their master Tang monk. After the eighty-one disasters, he finally achieved thirty-five sutras that could persuade(奉劝)people to do good things and achieved good results.(1)Who is the writer of Journey to the West?A.Luo Guanzhong.B.Shi Nai'an.C.Cao Xueqin.D.Wu Cheng'en.(2)Who is the leading character in Journey to the West?A.Tang monk.B.Sun Wukong.C.Zhu Bajie.D.Sha monk.(3)How many disaters have they experienced in their travels to the West?A.Ninety-nine.B.Eighty-one.C.Thirty-five.D.One hundred.(4)What does the underlined word "extraordinary" means in Chinese?A.普通的B.奇幻的C.超凡的D.新颖的When talking about the Chinese Women's Volleyball Team, we will think of one person, Lang Ping. She uses her strong will and professional skill to help the team go to the world stage. For us, she is a hero.Lang Ping was born on December 10th, 1960 in Tianjin, China. She showed great interest in volleyball at a young age. Lang Ping started practicing volleyball in April 1973 and trained hard. In 1978, she started to play for the Chinese national team. She won many world competitions, including the World Championship crown in 1982 and a gold medal at the 1984 Summer Olympics.People in China like to call Lang Ping "Tie Lang Tou". She was so strong and did a very good job in playing volleyball. Nobody could beat her. What's more, no matter what she did, she never gave up.After retiring(退役)from the national team, Lang Ping moved to the US to study. There, she lived a quiet life and gave birth to a baby girl. In 1995, Lang Ping became the head coach of the Chinese national team. She led the team to some world competitions. Later, Lang Ping left the national team because of health problems.Lang Ping has become the coach of the Chinese Women's Volleyball Team since 2013. It is not easy for her to make the women volleyball players be trained better than before. However, she never gave up. Finally, all her efforts paid off. On August 21, 2016, the Chinese Women's Volleyball Team won the gold medal in the Rio Olympics. And on September 29, Lang led her team won the championship of 2019 FIVB Volleyball Women's World Cup.Lang Ping is a true hero. She always has a strong will to do everything. We can learn a lot from her.(1)When did Lang Ping started practicing volleyball?A.In 1960.B.In 1973.C.In 1982.D.In 1995.(2)Why did Lang Ping leave the Chinese national team as a coach?A.Because she wanted to live a busy life.B.Because she had some health problems.C.Because she had to give birth to a baby.D.Because she wanted to teach another team.(3)How old was Lang Ping when the Rio Olympics took place?A.18 years old.B.35 years old.C.53 years old.D.56 years old.(4)What is the right order for the following events?a. Lang Ping moved to the US.b. Lang Ping started practicing volleyball.c. Lang Ping became a coach.d. Lang Ping retired from the national team.A.bdacB.bacdC.cdbaD.cabd(5)What can we learn from Lang Ping?A.We should always have a strong will and never give up.B.We should learn how to become popular and famous.C.We should keep playing volleyball to become healthy.D.We should ask other people to call us "Tie Lang Tou".四、选词填空从下面方框中选择适当的词语填空,其中有一个选项是多余的。
当四叶草碰上剑尖时主题曲英文版
当四叶草碰上剑尖时主题曲英文版Title: When a Four-Leaf Clover Meets the Tip of a Sword: Theme Song in EnglishIntroduction:The combination of a four-leaf clover and the tip of a sword may seem unlikely, but it can be a metaphorical representation of the strength and resilience found in unexpected places. In this article, we will explore the significance of the theme song in the English version of "When a Four-Leaf Clover Meets the Tip of a Sword." The article will be structured into an introduction, main content, and conclusion. The main content will consist of five major points, each with 3-5 sub-points, providing a detailed and professional analysis without the use of code.Main Content:1. The Symbolism of a Four-Leaf Clover:1.1 Four-leaf clovers as a symbol of luck and fortune1.2 The rarity and significance of finding a four-leaf clover1.3 The connection between a four-leaf clover and unexpected encounters1.4 The emotional impact of a four-leaf clover meeting the tip of a sword1.5 The juxtaposition of luck and danger in the context of the theme song2. The Significance of a Sword's Tip:2.1 The symbolic representation of a sword's tip as a focal point2.2 The power and precision associated with the tip of a sword2.3 The duality of a sword's tip as a weapon and a protector2.4 The vulnerability and strength portrayed through the tip of a sword2.5 The emotional resonance of a four-leaf clover meeting the tip of a sword3. The Theme Song's Emotional Impact:3.1 The melody and lyrics as a reflection of the four-leaf clover's journey3.2 The use of metaphors and imagery in the song's lyrics3.3 The incorporation of emotions such as hope, resilience, and determination3.4 The musical arrangement and instrumentation enhancing the emotional impact3.5 The connection between the theme song and the overall narrative of the story4. Cultural Context and Language Choice:4.1 The decision to create an English version of the theme song4.2 The importance of language in conveying the intended emotions and messages 4.3 The cultural nuances and references embedded in the English lyrics4.4 The global appeal and accessibility of an English theme song4.5 The impact of the English version on the audience's perception and engagement5. The Overall Impact and Reception:5.1 The influence of the theme song on the audience's emotional connection5.2 The role of the theme song in promoting the story and attracting viewers5.3 The praise and recognition received by the English version of the theme song 5.4 The impact of the theme song on the popularity and success of the series5.5 The lasting impression and legacy of the theme song in the minds of the audience Conclusion:The theme song in the English version of "When a Four-Leaf Clover Meets the Tip of a Sword" holds significant symbolism and emotional impact. Through the exploration of the four-leaf clover, the sword's tip, the song's emotional resonance, cultural context, and overall impact, we can appreciate the depth and complexity of this theme song. Its ability to evoke emotions, resonate with the audience, and contribute to the success of the series showcases the power of music in storytelling.。
goodbye,mrhollywood(书虫,别了,好莱坞先生)
1Mystery girlIt all began on a beautiful spring morning in a village called Whistler, in Canada -- a pretty little village in the mountains of British Columbia.There was a caf?in the village, with tables outside, and at one of these tables sat a young man. He finished his breakfast, drank his coffee, looked up into the blue sky, and felt the warm sun on his face. Nick Lortz was a happy man.The waiter came up to his table. 'More coffee?' he asked.'Yeah. Great,' said Nick. He gave the waiter his coffee cup.The waiter looked at the camera on the table. 'On vacation?' he said. 'Where are you from?''San Francisco,' Nick said. He laughed. 'But I'm not on vacation -- I'm working. I'm a travel writer, and I'm doing a book on mountains in North America. I've got some great pictures of your mountain.'The two men looked up at Whistler Mountain behind the village. It looked very beautiful in the morning sun.'Do you travel a lot, then?' asked the waiter.'All the time,' Nick said. 'I write books, and I write for travel magazines. I write about everything - different countries, towns, villages, rivers, mountains, people...'The waiter looked over Nick's head. 'There's a girl across the street,' he said. 'Do you know her?'Nick turned his head and looked. 'No, I don't.''Well, she knows you, I think,' the waiter said. 'She's watching you very carefully.' He gave Nick a smile. 'Have a nice day!' He went away, back into the caf?Nick looked at the girl across the street. She was about twenty-five, and she was very pretty. 'She is watching me,' Nick thought. Then the girl turned and looked in one of the shop windows. After a second or two, she looked back at Nick again.Nick watched her. 'She looks worried,' he thought. 'What's she doing? Is she waiting for somebody?'Suddenly, the girl smiled. Then she walked across the street, came up to Nick's table, and sat down. She put her bag down on the table. The bag was half-open.'Hi, I'm Jan,' she said. 'Do you remember me? We met at a party in Toronto.' 'Hi, Jan,' said Nick. He smiled. I'm Nick. But we didn't meet at a party in Toronto. I don't go to parties very often, and never in Toronto.''Oh,' the girl said. But she didn't get up or move away.'Have some coffee,' said Nick. The story about the party in Toronto wasn't true, but it was a beautiful morning, and she was a pretty girl. 'Maybe it was a party in Montr閍l. Or New York.'The girl laughed. 'OK. Maybe it was. And yes, I'd love some coffee.'When she had her coffee, Nick asked, 'What are you doing in Whistler? Or do you live here?''Oh no,' she said. 'I'm just, er, just travelling through. And what are you doing here?'"I'm a travel writer,' Nick said, 'and I'm writing a book about famous mountains.''That's interesting,' she said. But her face was worried, not interested, and she looked across the road again.A man with very short, white hair walked across the road. He was about sixty years old, and he was tall and thin. The girl watched him.'Are you waiting for someone?' asked Nick.'No,' she said quickly. Then she asked, 'Where are you going next, Nick?' 'To Vancouver, for three or four days,' he said.'When are you going?' she asked.'Later this morning,' he said. There was a letter in the top of the girl'shalf-open bag. Nick could see some of the writing, and he read it because he saw the word 'Vancouver' - ... and we can meet at the Empress Hotel, Victoria, Vancouver Island, on Friday afternoon...'So she's going to Vancouver too,' he thought.Suddenly the girl said, 'Do you like movies?''Movies? Yes, I love movies,' he said. 'Why?''I know a man, and he -- he loves movies, and going to the cinema,' she said slowly. 'People call him "Mr Hollywood".' She smiled at Nick. 'Can I call you "Mr Hollywood" too?'Nick laughed. 'OK', he said. 'And what can I call you?'She smiled again. 'Call me Mystery Girl,' she said.' 'That's a good name for you,' said Nick.Just then, the man with white hair came into the caf? He did not look at Nick or the girl, but he sat at a table near them. He asked the waiter for some breakfast, then he began to read a magazine.The girl looked at the man, then quickly looked away again.'Do you know him?' Nick asked her.'No,' she said. She finished her coffee quickly and got up. 'I must go now,' she said.Nick stood up, too. 'Nice to -' he began.But the girl suddenly took his face between her hands, and kissed him on the mouth. 'Drive carefully, Mr Hollywood. Goodbye' she said, with a big, beautiful smile. Then she turned and walked quickly away.Nick sat down again and watched her. She walked down the road and into abig hotel.'Now what,' thought Nick, 'was that all about?'The man with white hair watched Nick and waited. After four of five minutes, Nick finished his coffee, took his books and his camera, and left the caf? His car was just outside the girl's hotel, and he walked slowly along the street to it.The man with white hair waited a second, then quickly followed Nick.From a window high up in the hotel, the girl looked down into the road. She saw Nick, and the man with white hair about fifty yards behind him. Nick got into his car, and the man with white hair walked quickly to a red car across the street. Five seconds later Nick drove away in his blue car, and the red car began to follow him.When the girl saw this, she smiled, then went to put some things in her travel bag.2A hand in the backThat evening, in his hotel room in Vancouver, Nick could not stop thinking about the girl in the Whistler caf? Why did she come and sit with him? She didn't know him, and that story about a party in Toronto wasn't true. And she was worried about something. But what?And that kiss! It was nice, of course, but why did she do it? 'Maybe she liked my face,' Nick thought. 'Or my brown eyes. But I'm not going to see her again, so it doesn't matter. Forget it.'He put some money in his pocket and went downstairs to the hotel restaurant. But there were no free tables, so he walked down to Gastown and found a restaurant there.After dinner, he went for a walk. Vancouver was a friendly city, and Nick liked walking through Gastown and Chinatown, looking in the shops and watching the people. It was nearly dark now, and it was a busy time of the evening. There were a lot of cars, and a lot of people.After a time, Nick began to walk back to his hotel. He came to a busy street, and waited, with a small crowd of people, to go across. A tall woman in a blue dress stood next to him She turned and smiled at him.'It's the first warm evening of spring,' she said. 'It's nice to be out, after the long cold winter.''Yeah,' said Nick. 'It's great. It's-'Suddenly, there was a hand in his back - and the hand pushed Nick into the road. Nick fell on his face, in front of a big green car.People screamed.But the green car stopped, only inches from Nick's head. The woman in the blue dress ran into the road and pulled Nick to his feet.'Are you OK? What happened?' she said.The driver of the green car shouted angrily at Nick, but Nick did not hear him.'Somebody pushed me,' he said to the woman. 'I didn't fall - somebody pushed me!''Pushed you?' said the woman. "Who?' I didn't see anybody.'Nick looked at the faces of the people near him, but he didn't know them.Then he saw a man's back. The man was tall and thin, and had very short white hair. he walked quickly away down the street, and did not look back.'Hey, you!' Nick shouted. 'Wait!'But the man did not stop, and he was soon lost in the crowds.'Did he push you?' asked the woman in the blue dress.'I... I don't know,' Nick said.'Do you know him?' she asked."I don't know his name, Nick said. 'But I know that short white hair. Now where did I see it before?'The woman began to move away. 'I must get home, ' she said. 'Are you OK now?''Yeah, I'm OK.' Nick said. 'And thanks. Thanks for your help.''That's OK.' The woman smiled. 'Be careful now!'Back in his hotel, Nick sat on his bed and thought. 'It was an accident. Nobody pushed me, it was an accident. Nobody wants to kill me. And there are hundreds of men in Vancouver with white hair.'It was one o'clock in the morning, but Nick couldn't sleep. He listened to the cars in the road, and he looked at the night sky through his hotel room window.Then he sat at the table and tried to write some more of his book about mountains, but he couldn't think about his work. He got back into bed.There were four of five magazines in the hotel room. They were not very interesting, but Nick sat in bed and opened one... and saw a photo of 'Mystery Girl'!He looked at the picture very carefully. But, yes, it was her! Jan, the girl from the Whistler caf?She was next to a man of about fifty or fifty-five, and they were in the garden of a big, expensive house. They smiled at the camera, and they looked very happy.Canadian millionaire, Howard Hutson, and his daughter, Meg, it said under the picture, at their home in Toronto. Meg Hutson! Not Jan. Not Mystery Girl. Meg Hutson, the daughter of a millionaire! Nick read it again.Why did she come and sit with me in the caf?at Whistler?' he thought.'Millionaires' daughters don't sit with strangers in caf閟, and then give them a big kiss when they leave! Why did she do it? What did she want?'---He thought back to the caf?in Whistler, and the girl next to him at the table. Then he remembered something. He remembered a man at a table near them in the caf? A tall thin man, about sixty years old. A man with very short white hair. Nick didn't sleep much that night.3A walk in the parkThe next day was Thursday. Nick stayed in his hotel room and wrote about mountains all morning. then he drove to Stanley Park in the afternoon. He sat and read a book for an hour, then he went for a walk under the tall trees.There was nobody here. It was quiet, and he could walk and think. He thought about Meg Hutson, and about the man with white hair. Did he know Meg Hutson? Did she know him? He remembered Meg Hutson's last words. Drive carefully, Mr Hollywood.Why did she say that? Why did she call him Mr Hollywood? He didn't understand any of it.Suddenly, he heard a noise.He stopped. 'That was a gun!' he thought. 'There's somebody in the trees with a gun! There it is again!'Then something hit the tree over his head.'Somebody's shooting me!' Nick thought. He turned and ran.And somebody began to run after him.Nick ran through the trees. There was no sun in here, and it was half-dark. And there were no people. Nobody to help him.'I must get to my car,' Nick thought. 'Find some people... the police...' He ran on.He could still hear the gunman behind him, so he ran faster. After three or four minutes, he stopped and listened.Nothing. It was all quiet.Nick was afraid. 'What's happening?' he thought. 'Why is somebody shooting at me? First a hand pushes me in front of a car, and now somebody's shooting at me!'He waited another second or two, then walked quickly back to his car. He was very careful. He looked and listened all the time. But nobody came out of the trees, and nobody shot at him. Then he saw people - women with young children, some boys with a football, two men with a dog. He began to feel better. 'Nobody can shoot me now,' he thought. 'Not with all these peoplehere.'Ten minutes later, he was back at his car.There was a letter on the window. Nick read it. It said:I'm going to kill you, Mr Hollywood.Nick drove to the nearest police station. He waited for half an hour, then a tired young policeman took him into a small room. Nick told his story, and the policeman wrote it all down.'So what are you going to do?' asked Nick.'Nothing,' said the policeman.'Nothing!' said Nick. 'But somebody shot at me, and-''Mr Lords,' the policeman said tiredly. 'How many people are there in this town with guns?''I don't know,' said Nick. 'But...''You didn't see the gunman. Was it a man, a boy, a woman? Colour of eyes? Long hair, short hair? You don't know, because you didn't see anybody. Maybe it was an old girlfriend. Maybe somebody doesn't like travel books, Mr Lortz.' 'But what about the man with white hair in Whistler?' said Nick. 'The girl, Meg Hutson called me Mr Hollywood in the caf? and this man heard her. And now I get a letter to Mr Hollywood on my car. Who is this Mr Hollywood?' 'We all want answers to our questions, Mr Lortz,' the policeman said, 'but we don't always get them.'Questions. But no answers.Nick walked out of the police station and drove to his hotel. He was angry, and afraid.'How did the man with white hair find me in Vancouver?' he thought. 'Did he follow me from Whistler? Is he following me now? Maybe he's staying at my hotel, too. In the next room. With his gun.'4The man with white hairNick stopped his car in front of the hotel. He looked carefully before he got out, but there was nobody with white hair near the hotel.He half-ran through the hotel doors and went to the desk inside.'I'm looking for a man with very short white hair, he said to the woman behind the desk. 'He's staying here, I think. He's about sixty years old, and he's tall and thin.'The woman did not look very interested. 'There are a lot of visitors in the hotel,' she said. 'Do you know his name?''No, I don't,' Nick said. 'He's, er, a friend of a friend, you see. He arrived in Vancouver yesterday, and I must find him. It's very important. Please help me!'The woman looked at him. 'There are three hundred and fifty rooms in this hotel,' she said, 'and maybe thirty or forty men with white hair. How can I remember all their names?' She turned away to answer a telephone call.Nick walked away from the desk.'A drink,' he thought. 'I need a drink.' He went into the hotel bar, got a drink and sat down at a table.'So what do I do now?' he thought.And then he remembered something. A letter in the girl's half-open bag in the Whistler caf?...and we can meet at the Empress Hotel, Victoria, Vancouver Island, on Friday afternoon...And tomorrow was Friday.'I'm going to Victoria, on Vancouver Island!' he thought. 'To the Empress Hotel!'Nick had dinner in the hotel that evening. He finished eating and got up from his table... and saw the man with white hair.Nick moved quickly. The man was at the hotel desk. Nick could see the white head above the other heads near the desk.'Excuse me!' said Nick. He pushed past the people in the hotel restaurant. A small boy ran in front of him and Nick ran into him. The boy and Nick fell down on the floor. The boy began to cry.'Hey!' said a woman behind Nick.'I'm very sorry!' said Nick. He got up and helped the boy to his feet. 'Are you OK?' he asked the boy.'Be more careful next time,' said the woman.Nick moved away quickly, but when he looked back at the hotel desk, he couldn't see the man with white hair. He pushed through the crowd of people.'That man!' he shouted at the woman behind the desk. 'That man with short white hair. Where did he go?'The woman looked at Nick. 'Mr Vickers?' she said. 'I don't know.''Vickers? Is that his name?' said Nick. 'What's his room number?''I'm sorry, I can't tell you that,' the woman said.'But I need to-' began Nick.The woman turned away to answer the telephone.After a second or two, Nick went upstairs to his room.'Vickers,' he thought. 'Does Meg Hutson know Mr Vickers? I need some answers, and I need them quickly!'5Vancouver IslandTsawwassen was about twenty-three miles south of Vancouver. Nick drove there in his car the next morning for the one o'clock ferry to Vancouver Island. Every five minutes, he looked behind him. The road was busy - black cars, white cars, red cars, green cars. Maybe Vickers was in one of them.At Tsawwassen Nick drove his car on to the ferry. There were a lot of cars and crowds of people. Nick got out of his car and walked up and down the ship. He looked for a man with white hair but he didn't see one.Soon the ferry began to move and Nick felt better. He found the ferry restaurant and got something to eat. More people came in. Nick looked at the faces of all the older men. Some had hats on. so he looked for somebody tall and thin, but there was nobody.'Maybe he's not on the ferry,' Nick thought. 'Maybe he's back in Vancouver.' Later, Nick walked around the ship again. Once, he thought he saw the man with white hair in the crowds, but he could not be sure.Ninety minutes after leaving Tsawwassen, the ferry arrived at Swartz Bay on Vancouver Island, and Nick went back down to his car.Swartz Bay was twenty miles north of Victoria. Nick drove quickly, and again, looked behind him every four or five minutes. Once, he saw a red car about two hundred yards behind him.'Did I see that car on the road from Vancouver to Tsawwassen?' he thought.He drove more slowly, but the red car still stayed two hundred yards behind him, and Nick couldn't see the driver's face or hair.Soon he was in the busy streets of Victoria, and Nick didn't see the red car behind him again.Victoria was a city of gardens and beautiful old buildings. Nick liked Victoria very much, but today he wasn't interested in gardens or buildings.He found the Empress Hotel, went inside and walked across to the desk.'Can I help you? a young man asked Nick.'I'm meeting a friend here this afternoon,' said Nick. 'Miss Hutson.''Hutson?' said the young man. 'Wait a minute.' He went away and came back. 'Sorry, but there's no Miss Hutson staying here.'Nick took something from his pocket. It was the photograph of Meg and her father, from the magazine. 'This is her,' he said.The young man looked at the picture. 'Oh, right. You mean Howard Hutson's daughter,' he said. 'She's not staying here, but I saw her ten or fifteen minutes ago. She was with somebody - a man. He asked me about the tea room.' 'The tea room?' said Nick. 'Where's that?'The man with short white hair was tired. He couldn't sleep and he couldn't eat. He thought about only one thing, all the time. He drove and he watched, and he waited and he followed.When he drove into Victoria, the streets were busy, and suddenly he lost the blue car in front of him. Angrily, he drove around the city, past all the big hotels. 'I must find him,' he said. 'I must do it. Today.'Then he saw the Empress Hotel, and in the street outside it, a blue car.He drove past the hotel, left his car, and ran back down the street. He went across the road and walked paste the downstairs windows. There was a big room with tables and chairs, and a lot of people. He looked carefully at all the faces.'There she is!' he said suddenly.There were two men with the girl. He couldn't see their faces, only the backs of their heads, but one of the men was in a green shirt.'Mr Hollywood,' the man said, and smiled. 'Goodbye, Mr Hollywood.' People in the street turned to look at him, but the man did not see them.He walked up to the doors of the hotel and put a hand into his pocket. Inside, the gun was cold and hard.6A tea partyNick looked through the doors of the tea room in the Empress Hotel.Meg Hutson sat a table with a man. The man was about thirty, or maybe a year or two younger. He was tall, and brown from the sun. He wore a white shirt, white trousers, and white shoes. He said something to Meg, and she laughed. She looked very happy.A waiter came up to Nick. 'Can I get you some tea?' he asked.'No, thanks', said Nick. "I'm with the two people over there.' And he walked across to Meg's table.'Hello, Mystery Girl,' said Nick. 'Remember me? We met at Whistler. Your name was Jan then. But maybe today it's Meg Hutson.'Meg Hutson looked up at him. 'Oh,' she said, and her face went red.'Who is this, Meg?' asked the man.'This is Nick,' said Meg. 'He's a writer. Nick, this is Craig Winters.''Sometimes called Mr Hollywood? said Nick.'Maybe. But how did you know that?' asked Craig Winters.'I guessed', said Nick. 'And I think I'm beginning to understand. Can I ask you a question, Mr Winters? Does somebody want to kill you?' Craig Winters' face went white. 'Kill me?''What are you talking about?' asked Meg.Before I tell you, answer this question, please,' said Nick. 'You called me Mr Hollywood in Whistler. And you wanted the man at the next table, the man with white hair, to hear you. Is that right?'Meg Hutson did not answer at first. Then she said quietly, 'Yes'.'Why?' asked Nick.'I wanted him to follow you, and not me.''Why?' Nick asked again.'I think he's a detective,' said Meg. 'And I think he's working for my father. I saw him soon after I left Toronto. He followed me.' Meg put her hand on Craig Winters' arm.'My father doesn't like Craig. A month ago, he told me not to see Craig again. I'm not happy, and he knows that. I think he guessed that I'm meeting Craig. And now he wants to find Craig and stop him seeing me.''Stop him?' said Nick. 'Or kill him?'No!' Meg Hutson said. 'Daddy doesn't --''The man with white hair pushed me in front of a car in Vancouver,' Nick told her. 'And he shot at me in Stanly Park.'What!' said Meg.'Tell -- tell me about this man with white hair,' Winters said suddenly.Nick looked at him. 'He's about sixty, and he's tall and thin,' he said.'Do you know his name?' asked Winters.'Vickers,' said Nick.Craig Winters suddenly looked ill. 'Did he -- did he follow you to Victoria? Did he follow you here?''I don't know,' said Nick. He watched Winters. 'You're afraid of him. Why? Why does this man Vickers want to kill you, Winters?'Before Craig Winters could answer, Meg's face went white. 'Oh, no!' she said. 'Look! Look over there, by the door!'Nick and Craig Winters turned to look. At the door of the tea room stood the man with white hair. He looked up and down the room, and then he saw them, and began to walk across to their table. His hand was in his pocket.For a second or two the three people at the table did not move. Then Craig Winters jumped to his feet. 'That's Mr Hollywood!' he screamed. 'That man there!' And he pointed at Nick.The man's hand came out of his pocket - with a gun. 'This is for Anna!' he shouted.Nick moved very fast. The tea table went over, and Nick was down on the floor in a second. The shot went over his head, and Meg screamed. At the same time Craig Winters shouted out and put a hand on his arm. There was blood on his white shirt. Then more people began to scream, and two waiters pulled the man with white hair down on to the floor.'Get the police!' somebody shouted.7At the police stationIt was 7.30 p.m. Nick and Meg were in a room at the police station. The mancalled Vickers was in a different room, with three detectives. There was a doctor with him too. Craig Winters was at the hospital.The door opened and a detective came in with two cups of coffee. He put them down on the table, and turned to go out again.'Detective Edmonds,' Meg said, 'did the hospital call? Is Craig going to be all right?''Winters?' Detective Edmonds said. 'Yes, he's going to be OK.''Can I call the hospital now?' asked Meg.'I'd like you to wait,' said Edmonds. 'Detective Keat is going to be here in a minute. He's just coming from the airport and --' He looked through the open door. 'Ah, here he is now.'A second detective came into the room, and behind him was a tall man with dark hair.Meg stood up quickly. 'Daddy!' she cried. 'What are you doing here?''The police called me,' said Howard Hutson, 'and I flew here at once. Detective Keat met me at the airport. Now, sit down, Meg. I want you to listen to me.' He did not look at Nick.Meg sat down and her father took her hands. 'Meg, last week Johnnie Vickers came to my house. He wanted to talk about his daughter. You remember Anna, Meg? Three months ago she jumped off a bridge in Boston and died. She was young, beautiful, rich -- and she didn't want to live. Why? Because she loved a man, and the man took her money, ran away and left her. And the man was called --''No!' said Meg. 'NO!''Yes, Meg, yes. He was called Mr Hollywood.''No!' shouted Meg. She began to cry.'That's right, Miss Hutson,' said detective Keat quietly. 'To you, he gave the name Craig Winters. When Anna Vickers knew him, he was Carl Windser. But he liked all his... er... girlfriends to call him Mr Hollywood. He took nearly 50,00 dollars from Anna Vickers. And there was a girl before that...''No, it's not true!' Meg shouted.It is true, Meg,' said her father. 'Winters -- Windser -- gets all his money from rich men's daughters. Johnnie Vickers loved his daughter. He went to her house in Boston after she died. He read her letters, and learned about the money and the name Mr Hollywood. And when he came to my house, I told him about you, Meg. I said, "My daughter's got a new boyfriend, and she calls him Mr Hollywood. I don't like him, but I can't stop her. She's going away to meet him next week, I think. What can I do?' Johnnie put his hand on my arm, and he said, "Don't be afraid for your daughter. I'm going to find that man -- and stop him!"Meg said nothing. Her face was very white. For a minute or two nobody spoke, then detective Edmonds said:'Vickers told us all about it, Miss Hutson. He followed you to Whistler, and saw you with --'。
钢琴谱 Nobody but You-第62届格莱美颁奖典礼现场表演 双手简谱_共5张(全)
I don't wanna love nobody but you You I don't wanna love nobody but you You I don't wanna love nobody but you
Nobody but You双手简谱和五线谱完全对应。
Nobody but You是Blake Shelton与Gwen Stefani一同合作的单曲。收录在专辑Fully Loaded: God's Country中。 且此曲在第62届格莱美颁奖典礼现场演唱过。Blake Shelton,著名乡村音乐人,9张录音室专辑,3张 EP,2张精选集。26支单曲,其中19支为乡村榜冠军单曲。
歌词下方是Nobody but You钢琴谱,大家可以学习。
Nobody but Байду номын сангаасou歌词:
Don't have to leave this town to see the world 'Cause it's something that I gotta do I don't wanna look back in 30 years And wonder who you're married to Wanna say it now wanna make it clear For only you and God to hear When you love someone they say you set 'em free But that ain't gonna work for me I don't wanna live without you I don't wanna even breathe I don't wanna dream about you Wanna wake up with you next to me I don't wanna go down any other road now I don't wanna love nobody but you Lookin' in your eyes now if I had to die now I don't wanna love nobody but you You All the wasted days all the wasted nights I blame it all on being young Got no regrets 'cause it got me here But I don't wanna waste another one I been thinkin' about what I want in my life It begins and ends the same If I had to choose what I couldn't lose There'd only be one thing I don't wanna live without you I don't wanna even breathe I don't wanna dream about you Wanna wake up with you next to me I don't wanna go down any other road now I don't wanna love nobody but you Lookin' in your eyes now if I had to die now I don't wanna love nobody but you You I don't wanna love nobody but you You Wanna say it now wanna make it clear For only you and God to hear I don't wanna live without you I don't wanna even breathe I don't wanna dream about you Wanna wake up with you next to me Next to me I don't wanna go down any other road now I don't wanna love nobody but you I don't wanna love nobody Lookin' in your eyes now if I had to die now
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1.But… if you really begin to cherish every moment,Then wouldn’t that make even the most precious moments merely ordinary?2.It could be that, the deeper they lie inside your heart,The harder it becomes to reach out to them3.Time and gravity are indeed quite similar.4.I’m pretty sure time speeds up little by little, the closer we get to reality.5.Dating a new person every day, and breaking up with a new person every day.Which one would be more difficult?6.I made a playlist out of my everyday lifeIt was full of the same songs7.The most important scene in a movie only exists inside the audience’s head8.Just because you don’t have to know itDoesn’t mean it’s okay not to know i9.I’ll stay close10.If the only thing you can’t tell me is good news,Then don’t tell me anyt hing11.“Why should the past matter? What’s important is the present!!”He said, wearing an 80’s outfit.12.The reason I can’t see my light is because you wouldn’t open your eyes13.I feel like there would be some people who live in Halloween costumes all year round14.If your body feels heavy, don’t drag it around.15.Things that give you headaches shouldn’t necessarily give you heartaches too!16.You’ve done a great job, PD Kang17.When I finish work late, I wish home would come to me.18.Like the last few syllables, it only comes to those with abilities19.The time spent thinking about how it’ll all be over soon, will also be over soon.20.Even if you wake up, your dream will still continue somewhere.21.We’ll make some trouble, like true 12 year olds22.Hearing23.Falling is also a part of flying.24.When you push away those who try to comfort you, they’ll grow tired, too…25.Seems like there would be less need for fights if people wore their BGM26.Thinking that someone’s worth depends on how long you’ve known themIs the same as thinking that your life’s worth depends on how long you’ve lived.27.I’m afraid that building experiences would be like building sandcastles…28.If you’re going to cry, at least cry in front of someone29.Every day is a test; it’s just that there are no answer sheets30.My heart is bankrupt, but they’re still telling me to cheer up…31.Dreams are tastier when you let it ripen for longer32. A door is still a door even if it only opens when you knock into it33.If memories are like houses,You should at least pay the rent34.I’ve gained more than I’ve lost,But I haven’t gained more than I’ve forgotten.35.The only way to win against someone who wants to beat me is not to play the game.36.Those who are selfish need to learn what it’s like to be lonely37.By the time you start to miss them,They’d already b e going after someone else.38.If you want to do something that no one else doesYou must do nothing39.Congrats.40.One who only knows how to own, and not to cherish, is far from being rich41.The things that we let go are still reaching out for us42.Stop sighingHey, I’ve gotta keep breathing one way or another43.The more requests I get that begin with “on your way here”,The more I feel like an adult.44.Live your life with the mindset that,Everything you’re doing now will be saved in a time capsule.45.The word ‘popular’ has now been replaced with 'human’.46.I don’t want to start disliking myselfJust to seem like a good person.47.Even wizards find magic in the things that mothers do48.Right now, my life is in its early autumn49.Date someone who makes you forget where you were going, when you’re walking together50.While wishing I had ten copies of myself,I’m wasting the one I have51.While wishing I had ten copies of myself,I’m wasting the one I have52.While wishing I had ten copies of myself,I’m wasting the one I have53.Love;It’s ha rd, whether or not you choose to love or notSo just do it54.Good songs and autumn feel shorter than they actually are55.Some types of love are achieved not by the heart nor the body, but by the passage of time56.Your heart is like a cloudOnly going back up after pouring down57.An abandoned word. “Rewind.”58.Twenties… They’re meant to be hard59.I overheard a conversation between ghosts.“Dude, their world is scarier.”60.Things that don’t go as planned turn into unexpected events61.There’s indeed a massive difference between ‘still’ and 'yet’.62.I want to leave for somewhere I don’t want to leave63.I held back my anger, because everyone told me I had toBut looking back, the fact that I held it back makes me angry64. A strange era where it’s possible to drift apart from strange rs, too65.There’s no one who tries to understand me, besides myself.66.Life is short, and autumn is shorter.Enjoy it as much as you want.67.Can’t say I ‘get up’ in the morningBecause even when I’m asleep, it feels as if I haven’t lied down…68.I’m okay with life being short, but I don’t like how it’s so narrow69.Among the countless things the two of us can share,Silence seems to be the most valuable.70.How about having some time on SundaysTo re-read the most popular Blonote of the week?71.You’re sorry that you look for me only when you’re having a hard time?Wish you have a hard time more often…72. A pointless past; would such a thing exist?73.Regardless of where you run towardsThe past shouldn’t be anything more than just a starting line74.Your parents are your ultimate fans75.If you use love as your excuse, who could say anything against that?76.Wish I could say “I’ll make time for it” and actually create a couple of hours that exceed 24 hours77.If you treat people as stairsYou’ll end up rolling down78.Away from home is where hardships await youAway from hardships is where home awaits you79.Events that can’t be explained are either miracles,Or I’m just bad at explaining them.80.Life can’t be understood.It passes by as you try to understand it.81.When I want to give you those that I value the mostYou ask me for those that I value the leastThat’s why you are my love.82.Having a peace of mind is also a skill.83.Breathing is the process of letting the sky into my body84.Why does it hurt so much not to hurt85.I need a friend who expects absolutely nothing from me86.Her: Will you love me in your next life too?Me: Don’t you dare go missing in my next life!87.In this day and ageWe listen to whatever we can hear rather looking for something to listen toWhether it be music or words88.I don’t want to hear a bad person telling me I’m a ‘good person’…89.The words “first” and “last”.What’s the word that describes what’s in between?90.If your dream is like a shark, then it’s a nightmare.Run away.91.Tears are the heart’s way of singing its heart out92.The reason why a whisper is heard more easily than a shoutIs because it makes you take a step forward, rather than backward.93.Dreams.Why is it that the further I move away from them, the sooner they approach me again?94.Hope this, too, shall not pass95.If love is so great,Wouldn’t it only make sense that you would also be great if you’re in love?96.If all the people in the world counted one, two, threeAnd turned off the phone in their handsThe next moment, they’d all be sitting in front of computers.97.They say time heals all woundsThen how many pills am I even supposed to take?98.Please be happy as much as I am sorry.99.If you feel that it’s lateIt’s not too late yet100.Even if you carried today’s worries with you tomorrowYou’d already be preoccupied by tomorrow’s worrie sSo, just leave them for today101.There’s one similarity between love and hatred.The more you share it, the more it builds up.102.Seems like forgetting is more of a pause rather than erasure103.To throw a festival, many people are carrying the stage on their shoulders.104.The barrel was spoilt in the first place, so rotten apples keep rolling in105.When I look back in the distant futureToday will be nothing but a small dot in history.But, it will be important whether that dot was the beginning of a rising curve or a falling curve. 106.A person who worries for me more than I worry for myself is greater than any worry possible 107.You deserve to have your birthday celebrated every single day108.When I hit rock bottomI should get some sleep then get back up109.If you want to see past the tip of the icebergThen dive in, even for just a little bit110.The further I fall, the deeper I fall111.I got a lot to doBut most of them are things that don’t need to be done112.Please save my life…113.The temperature of the heart does not know what season it is114.Countless people meet and break up over a cup of coffee…Coffee must know all about love115.An age where I look for lively people and a quiet place to be116.Before wishing someone would notice me,I wish I would notice myself117.Wouldn’t it be more likely to come true if you say “I hope so!” rather than “will it really?”118.While taking a photoI realised that one second is actually longer than I though119.The object thought:‘When they valued me and put me in the drawerI didn’t realise they put me there to throw me a way120.All my enemies turned out to be enemies of themselves, too121.Unimaginable events occur to enrich your imagination122.Hopefully the things that give me a headache don’t turn into things that give me a heartache…123.Dear my next step,Please take good care of me124.My past self is also vintageBut it doesn’t seem that cool125.Seems like hope only comes to those with a lot of curiosity before anything126.Some things can only be seen when you close your eyes and listen carefully127.What will the moon look like to those who have been on it?128.There’s nothing I’m more glad to see again, than the feeling of familiarity129.When I don’t love mysef - that’s what real one-sided love is…130.When I let go of my greedThat’s when I find something to be greedy about131.There’s barely any difference between a good person and an indifferent person132.Lovers are houses that move around133.I wish I had someone who could hurt me regardless of whether they’re with me or not But the problem is that there’s no such person134.Genuine feelings are genuine, regardless o f whether they’re recognised or not135.Should’ve loved them as much as I will regret it136.Even the people who are blocking my path may simply be wandering before me..137.Even if sleeping was a choiceMy pillow would still be essential138.Rather than becoming similar after falling in love,You probably fell in love because you were similar139.When things don’t go as planned, change the plan140.Don’t mistake aftereffect for regret141.I’m always sick when something important is about to come upProbably because I’ve yet to realis e what the most important thing is.142.Sometimes, upon missing the feeling of joy,I rejoice over the feeling of longing143.When your longing for me loses its life;That’s when I’ll grow old, right?144.The things that get a lot better once you start paying a little more attention: Skin, meals, and generosity145.The moment you begin to feel unsatisfied and regretful is when it’s no longer yours.146.If we had no eyes, ears or mouth,Would we still be able to read each other’s minds?Even after asking, listening and staring for ages,I still can’t figure out what you’re thinking147.If you’re going to smile without even leaving a lasting impression,You might as well not smile at all.148.If you work on your heart just as hard as you work on your skills,You’d collapse less easily.149.Probability of rainfall: 80%When you cry, it feels like the whole world is crying150.I want to be isolatedBecause everything’s so complicated, sometimes I wish I were just an island 151.The things I despise right nowAnd the things that will make me smile in 10 yearsPerhaps it’s family, perhaps it’s poverty, perhaps it’s anger.152.I need you.Not because I want something from you, but because you are my all.Though nothing good in the world is mine, since you’re here, I have everything. 153.Like how stars shine more brightly as the night grows darkerWhen your life gets more painful, I hope you encounter the light that shines on you 154.What do trees look like? They all look different.That’s what’s so wonderful about them.How can one live without change? Even rivers wind their way…If the river flows straight, all the fish would die out.That’s why life has so many different layers.155.Let’s listen carefully to othersAnd wait until the person’s finished talkingIf they make a mistake,Let’s say “is that so?” rather than “that’s not right”Instead of yelling and correcting them, let’s say:“You must be having a hard time”;“It’s tough, isn’t it?”;And “that’s alright, that could happen”156.Let’s not get caught up in rules and become cold-heartedRather than judging between right and wrongLet’s move along with warmth and well-beingThat’s the road to becoming great and honorable157.In this corrupt and shaky worldWhat should we base our lives on, and what should we set as our goal in life? 158.This time gives me a chance to communicate with so many people.I’m really grateful for it.159.If I have my life set to a good frequency,I’ll become a good DJ who attracts good listeners and stories160.It’s okay to be a little slow, or late161.If you hold on, another chance… will come.162.In fact, I already know the real answer163.It’s okay even if the passion from my youth has disappeared.Because that’s been replaced by an equal amount of peace of mind.Don’t lose against yourself.Let’s win.Against myself.164.You wouldn’t listen to anyone trying to console you right nowBut everything… really, everything… passes…165.The person that’s suddenly on my mind while I’m on a tripis apparently the person I love the most right now166.I’m telling you not to worry about it, not because it won’t happen, but because it shouldn’t 167.I’m more curious about the race between a hare and a slow hare,Rather than a race between a hare and a tortoise168.You do know that if you tell me not to cry, I’ll just cry even more, right?169.The fact that there are people who succeed without talentIs not the reason why there are also people who cannot succeed even with talent.. 170.When you’re looking for someone to listen,That someone’s also looking for someone to tell.171.Let at least one thing be mine172.The branch that stretched out from me has grown hugeAnd now I have become that branch.173.There are no vacancies inside my head but I’m the only guest174.Dividing into half in order to become one is the stupidest thing175.Dating is the process in whichThe things you want to do for themTurn into things you should’ve done for them176.Even unfulfilled love is still called loveSo why is an unfulfilled dream called a failure?177.In fact, perhaps it’s because I own nothing that I want so many things to be mine 178.After labouring as hard as a cow, I’m eating steak on my payday179.Though there are lots of songs I think of on rainy daysThere’s no one I’m reminded of.180.The things that disappear first when you begin to forget about someone;Were those insignificant?181.If it’s a line that can’t be crossed, why would you draw it right before my e yes?182.If you haven’t even released that many songs,Don’t criticise others for ‘selling their emotions’183.There’s no better nickname than the name itself184.Some people only try to pick up words that can’t be picked up.185.Sometimes I wonder if people fall in love to return to their childhood.186.They make you misunderstand them in case you get them wrong187.I don’t know what kind of greeting this is.188.They tell me to change,Then they tell me I’ve changed189.Since I’m slow, please stay close enough for me to walk to you190.Though your eyes are there for you to see,They’re also there for others to look at.191.They say there’s a time and place for everytingBut I have neither a watch, nor a map.192.You always hate those who pushed you off the cliffMore than you hate those who pushed you to the edge of the cliff193.It’s a relief to be able to feel the lack of drama194.If your dream holiday destination is a deserted island,Then you’re already living in one.195.Doing nothing is also quite a hard thing to do196.A giant is someone whose confidence has exceeded their height197.What if heaven is just a sum of everyone’s ideal heaven?198.Things that seem to aproach too slowly but pass by too fast: cars, balls, time199.You’re enough.I don’t need the universe.200.Those who turn something desirable into something undesirableHave discovered the opposite of attraction201.Dance is an act that turns the body into a brush202.There may be people who have never experienced love beforeBut there’s no one who has never experienced separation before.203.Those who say they want to be reborn as themselves are either very diligent, or very lazy. 204.Those who say they want to be reborn as themselves are either very diligent, or very lazy. 205.Reminiscing my memories doesn’t mean I want to stay in the pastIt means I want to build a future that will be remembered like this206.Thanks for at least saying “thanks for at least saying that”207.‘High and low’ only applies to those in between208.You keep saying “I’m lonely” even when I’m right in front of you…That’s how you become lonely209.“You only live once?”It’s p ossible to live two, or three, more lives210.In this day and age, having good memory makes you feel bad211.The things you’ve lost while chasing whatever you can seeAnd the things you’ve lost while chasing whatever you can’t seeWhat do you regret more?212.The only thing that can reverse a bad premonition is a good feelin213.Fortune, the weather forecastThings that, in fact, can be seen in the mirror and outside the window, too…214.Worries that do not change anything are pointlessBut worries that change myself are useful.215.The reason why people like to ‘travel’ is because they have a home to return to.216.What closes the gap between ‘who I want to be’ and 'who I will be’ is my passion217.The person who coined the phrase ‘just because’ would’ve been a timid person.218.Of course lov e will fool us…The world’s full of people wanting to be fooled..219.Instead of resting, I want to be busy having fun220.Thinking deeply about shallow things doesn’t turn them into deep thoughts. 221.Everything will be goodEverything will be goodEverything will be good222.Life is short and sighs are long.223.The phrase ‘pain of false hope’ really doesn’t make sense.If there really was hope, how can it be painful?224.The anniversary of our breakup reminds me that it’s been a year Today is our second breakup225.The kid who liked light blueBecame an adult who likes blackWith a kid who likes light blue.226.Some kingdoms last shorter than a sand castle227.Is there any other way for a worm to fly, other than to be caught by a bird? 228.Fridays are like your teenage yearsSaturdays are like your twentiesSundays are like your bliss229.“No matter what happens…”A promise only made possible because nothing has happened yet230.If other genres say “You can do it”Hip-hop says “Do it until you can”231.“No matter what happens…”A promise only made possible because nothing has happened yet232.If you envy those who were born with giftTag along with them233. My heart experiences all four seasons in one day234.Even those who are afraid of heights want to live on the top floor235.I wish life was like a playlist.So I could prepare a light-hearted song after a sad one236.Though they’re definitely wandering aroundThey seem to be flapping their wings237.Memories are more beautiful than recordsSince they’re as delicate as I am238.A person’s depth is measured only after you’ve falle n in and escaped 239.Two halves can’t make two240.Like how everyone’s age is differentSo is their eternity241.Though love means you try not to do things that you’d feel sorry about, Isn’t feeling sorry also what love is?242.Even if I could stay awake for one night each week and feel fine I’d still sleep243.Even if I could stay awake for one night each week and feel fine I’d still sleep244.The real waste of time is not even wasting any time.245.The dream itself may be its own interpretation246.When I find someone I want to have feelings for,I begin to look more at myself.247.Photos aren’t the only things left behind248.A random thought after sitting at my desk all day.Seems like just because I call it my position, doesn’t mean that’s where I’m meant to be 249.The sound I miss as much as the music back thenThe sound of winding a cassette tape250.You’re right, love is a task for the person who feels it.But can’t you help me still?251.My dream is to make you dream.Please make it come true252.A short season that becomes a thing of the past as soon as you greet it;Spring253.After taking down heaps of notes so I wouldn’t forgetI ended up losing themThat’s what it’s like between you and I…254.How could it be so easy to make someone laughWhen even I can’t make myself laugh?255.Even if you have nothing to give backStill accept love.256.The fact that even imagination is considered a skill is a little sad257.While gazing at the bridge over the riverI was reminded of two hands coming together258.Family;Though I say I suffer because of people that I didn’t even choose t o be withIt’s not like they chose me either.259.Your mind ageing while your body stays the sameOr your body ageing while your mind doesn’tWhich one would you choose?260.I need something in between consolation and support261.Among the many ways to make me shed tears,You chose to move my heart.Thank you so much…262.Love is like a footprint.Only clearly seen when it’s passed.263.Of the people who can’t act because they’re too busy thinkingI’ve never seen anyone who’s actually thinking264.Though I want to be unique, I don’t want to be someone else265.It’s not that our codes don’t matchIt’s more of the fact that you have a code and I don’t266.The collaboration that made me.Even though it’s full of dissonance,Still sounds beautiful to my ears.267.Funny that what separates human from beast turns a human into a beast.268.The place for memories is both built and demolished inside my head.269.Is life spring, summer, autumn and winter followed by spring againOr is it just spring, summer, autumn and winter?270.“I want to watch that movie”“I want to go to that concert”I think that’s about as much as they missed me271.A bit too less is better than a bit too much.272.Lyrics which make people feel like “someone really loved this song”, are good lyrics 273.Before the wind blewI couldn’t even remember what the air looked like274.My parents should be in The Avengers275.One thing we forget until we think about isThat we, too, are a part of the universe276.No matter how small and flickery the light isThere is no darkness that consumes it277.The person who used to give me painNow pains me through their absence278.It’s one of those daysWhere I want to take away the weight of my heart from my body weight.279.If you have to whisper itYou may as well not say it at all280.Judging by the expression “time flows”There must’ve been a lot of people who have spilt it281.Upon hearing me wishing for luck, my friend said:“Why, you think it can’t be achieved without something like that?”282.“Are you sure you want to delete it?”No matter how many times I click ‘yes’, some things are still saved.283.I must’ve reached the age where it hurts more to make my people worry, than to hurt myself 284.Upon wearing my dad’s favourite coat,I can feel how warm he actually was.285.Dear pillow,You’ve had a bad night’s sleep because of my head resting on you, right?286.I thought while throwing out the calendar“There are so many days I’ve wasted like this”287.If you had to re-live today,Would you wake up earlier or sleep in?!288.Being able to have regrets means you’re an imaginative person.289.I think the person I miss the most is myself.290.Despite bringing up a mother-to-beI still do not understand my own mother291.There’s a difference between “It’s my fault” and “I didn’t do well”.292.It’s called an ideal type, not a realistic typeSo who cares if it’s unrealistic?293.You have now used two of the fifty two Mondays available.294.Loved them from behindAnd broke up facing them295.You live today like it’s your last?Today is today’s last.296.Even the promises I made to myself are so hard to keep.297.One reason why love songs are better than love itselfYou can replay them298.You eat up all my thoughts.Feel full yet?299.Anxiety is when anticipation frowns300.If you have the energy to hold onto days gone byUse that to experience days that will be missed in the future301.Before I start loving you with all my heartI’ll try to love everything about you first302.Let’s take care of the memories right in front of our eyes too303.I’m now done with firey Fridays,Please allow be just Fridays304.If all four seasons were spring, that’d still be a little…305.For you, who worked hard today as usual,I want to lay down a red carpet on your way home306.Conclusions are the preparation time for the next step307.There are too many delayed miracles308.Gifts and awards are given to show thanks, not to make you thankful309.Even when you don’t want to know somet hingIf they say it’s something you shouldn’t knowThen you become curious for no reason310.Days after a special day are just like me311.The real gift is feeling like you’ve received a gift though you’ve given one away 312.Spend Christmas within the warmth of someone you feel thankful for, Though they may not be the person you love…313.There’s no need for gifts between the two of us!Our relationship is a gift in itself.314.I like to play quiet music loudly315.But I don’t want to love as if I’m chanting a monologue316.I should say more often to myself “see, it turned out okay” rather than “it’ll be okay”317.They say “A present? The best present is none other than you.”Will they think the same after unwrapping it?318.Gratitude is my gift to myself319.Seems like the important thing is to sleep in the first place, rather than to sleep wel 320.Loneliness is still loneliness even when together321.You only know if the door’s an exit or an entrance when you open it322.There are clothes that look better when they’re older, right?Some songs are like that, too.。