text:
Radiation Oncology/Eye/Ocular melanoma

Ocular Melanoma

 * Subpage: Randomized evidence

Epidemiology

 * US incidence 1,350 cases/year (0.7 per 100,000)
 * Most common primary intraocular malignancy (75%) [#2 retinoblastoma (13%)]
 * Median age is 55 yr
 * More common in caucasians (8 to 1 caucasian to AA; 3 to 1 caucasian to asian)
 * Arise from uveal melanocytes which originate from neural crest cells

Risk Factors

 * Intensive UV light exposure - RR 4.0-7.0
 * Increasing age
 * Ocular and oculodermal melanocytosis (ie. nevus of Ota) - malignant transformation in 4.6%
 * Pigmented iris nevus
 * Familial - rarely occurs in dysplastic nevus syndrome
 * Family history of cutaneous or ocular melanoma
 * Light iris color
 * Light skin pigmentation & tendency to sunburn - RR 2.0

Clinical Presentation

 * Approximately 1/3 patients asymptomatic, as incidental finding
 * Visual symptoms are variable, depending on location
 * Diagnosis is typically not based on histopathology due to high risk of obtaining tissue and the risk of tumor dissemination, combined with high diagnostic accuracy of ultrasound
 * Clinical diagnostic accuracy rate in oncology centers is ~99%
 * Unpredictable clinical course, with late (46 years) fulminant failures possible
 * Metastatic spread on presentation is rare (~1%) and is typically to liver (60-90%), subcutaneous nodules, lung
 * Work-up should include chest x-ray and liver LFTs and CT scan

Anatomy

 * Melanomas develop in the uveal tract:
 * Vascular support layer located between the sclera and the retina
 * Divided into iris, ciliary body, pars plana and choroid
 * Melanoma location:
 * 80% choroid
 * 10-15% ciliary body
 * <10% iris
 * Size:
 * Precise size should be obtained by ultrasound
 * Size can be estimated in average optic disc diameters (1 dd = 1.5 mm)
 * Height can be estimated in diopters (3 diopters = 1mm)
 * Can bulge into the retina, giving rise to pathognomonic "collar button" deformity

Pathology

 * Spindle Cell (30%):
 * Type A - Best prognosis, 5-yr OS rate = 95%
 * Type B - Intermediate prognosis, 5-yr OS rate = 85%
 * Mixed Cell (65%):
 * Contains spindle and epithelioid cells, 5-yr OS rate = 83%
 * Epithelioid Cell (5%):
 * Worse prognosis, 5-yr OS rate = 60%

Treatment Overview

 * Survival after development of metastatic disease is poor (median 7 months), so main goal of treatment is cure while disease is confined to the eye
 * Historically, enucleation was the standard of care; however, as many as 20% cases were clinically misdiagnosed
 * Review of data published in 1978 suggested that enucleation may increase risk of metastasis, and subsequent death. Subsequent analyses challenged this observation, but search for alternative treatments was on
 * Retrospective studies in 1980's suggested similar outcomes between radiation therapy (protons or cobalt plaque) and enucleation
 * A randomized trial comparing Helium ions and I-125 plaque brachytherapy showed that 70 Gy delivered at the I-125 dose rate is insufficient for control
 * The Collaborative Ocular Melanoma Study (COMS) is a set of clinical trials that was carried out in 1980's - 1990's to evaluate the role of radiation therapy in management of ocular melanoma:
 * Small tumors (height 1 - 3 mm, diameter >5 mm) were prospectively observed
 * Medium tumors (height 2.5 - 10.0mm and diameter <=16 mm) were randomized to I-125 plaque brachytherapy (85 Gy) compared with enucleation
 * Large tumors (height >=10 mm or diameter >=16 mm) were randomized to pre-enucleation EBRT 20/5 vs. enucleation only
 * The COMS "Small" study showed that with prospective follow-up, overall survival is comparable to general population
 * The COMS "Medium" randomized trial showed that the overall survival and risk of death from metastatic disease were comparable between enucleation and plaque brachytherapy, establishing plaque brachytherapy as a reasonable primary treatment
 * The COMS "Large" randomized trial revealed that pre-enucleation RT does not provide any additional benefit.
 * While there have been efforts at non-enucleation treatment approaches for large lesions, none have sufficiently long follow up. Also, the benefit of greater useful vision preservation appears unlikely
 * to be continued ...

Natural History

 * COMS Declined Treatment; 2003 PMID 12834669 -- "Mortality after deferral of treatment or no treatment for choroidal melanoma." (Straatsma BR, Am J Ophthalmol. 2003 Jul;136(1):47-54.)
 * Prospective. Patients eligible for COMS who deferred treatment. 77 patients deferred, 45 enrolled in this study, 42 medium melanoma. Median F/U 5.3 years
 * Outcome: 52% had subsequent melanoma treatment. 5-year medium melanoma OS 70% compared with enrolled COMS patients 82% (NS). Risk of death 1.54X (0.93-2.56). Metastatic disease in 42% deaths
 * Conclusion: Greater mortality and higher risk of death if initially observed, trending toward significant

 * COMS Small Tumors (1986-1989)
 * Prospective. 204 patients, small choroidal melanoms (height 1.0 - 3.0 mm, diameter >= 5.0 mm) not eligible for COMS. Treatment: 8% treated at enrollment, further 33% treated during follow-up. Median F/U 7.7 years
 * Outcome; 1997 PMID 9230829 -- "Mortality in patients with small choroidal melanoma. COMS report no. 4. The Collaborative Ocular Melanoma Study Group." ([No authors listed], Arch Ophthalmol. 1997 Jul;115(7):886-93.)
 * Outcome: 5-year OS 94% (compared with expected general population mortality of 12%; however, patients with serious diseases excluded from COMS), 8-year OS 85%; 22% deaths due to metastatic melanoma and 67% occurred >5 years
 * Conclusion: Low risk of dying from small melanoma
 * Predictors; 1997 PMID 9400787 -- "Factors predictive of growth and treatment of small choroidal melanoma: COMS Report No. 5. The Collaborative Ocular Melanoma Study Group." ([No authors listed], Arch Ophthalmol. 1997 Dec;115(12):1537-44.)
 * Outcome: growth to be eligible for entry to COMS 2-years 21%, 5-years 31%
 * Negative factors: height and diameter, orange pigment, absence of drusen, absence of retinal pigment adjacent to tumor
 * Conclusion: ~30% will grow by 5 years

Surgery

 * Historically the only treatment modality
 * Review of data published in 1978 suggested that enucleation may increase risk of metastasis, and subsequent death. Subsequent analyses challenged this observation, but search for alternative treatments was on. Randomized data from COMS Medium show no difference in rate of mets between enucleation and brachytherapy (12-years 17% vs. 21%)
 * Treatment approaches:
 * Eyewall (trans-scleral or lamellar) tumor resection - May be used in highly selected patients, typically together with adjuvant RT
 * Enucleation - Historically gold standard. Indications today include patient request, failure of alternative therapy, tumor >40% intraocular volume, tumor in a blind or painful eye, marked neovascularization. Should not be offered with metastatic disease, unless the eye is painful
 * Exenteration - Indication if diffuse extraocular extension, without metastases

 * Meta-Analysis; 1992 (1966-1988) PMID 1531290 -- "A review of mortality from choroidal melanoma. II. A meta-analysis of 5-year mortality rates following enucleation, 1966 through 1988." (Diener-West M, Arch Ophthalmol. 1992 Feb;110(2):245-50.)
 * Pooled analysis. 8 studies that reported 5-year mortality by size
 * 5-year survival after enucleation:
 * Small tumors: 84%
 * Medium tumors: 68%
 * Large tumors: 47%

 * Review; 1978 PMID 352389 -- "Does enucleation of the eye containing a malignant melanoma prevent or accelerate the dissemination of tumour cells." (Zimmerman LE, Br J Ophthalmol. 1978 Jun;62(6):420-5.)
 * Review of survival data suggesting that 1) mortality prior to enucleation is ~1% per year, 2) mortality rises abruptly after enucleation to ~8% during second year, 3) ~2/3 of deaths can be attributed to dissemination of tumor emboli at the time of surgery

Enucleation vs. RT
Randomized
 * COMS Medium (1987-1998)
 * Randomized. 1317 patients. Choroidal melanoma, height 2.5 - 10.0 mm, size <=16.0 mm. Ineligible if contiguous with optic disc. Arm 1) Enucleation vs. Arm 2) I-125 brachytherapy
 * Brachytherapy: episcleral plaque, 2-3 mm margin beyond base of tumor (i.e. 4-6 mm larger than maximum basal diameter). If near optic nerve, allowed notches. Dosimetry based on TG43. If tumor height 2.5-4.9 mm, prescription 5 mm from interior surface of sclera; if tumor height >=5 mm, prescription to apex. Dose 85 Gy (dose rate 0.42-1.05 Gy). Organs at risk sclera (1mm from surface of plaque), optic nerve (center of optic disc), macula (foveola), opposite retina (22 mm from scleral surface along diameter of globe)
 * 5-years; 2001 PMID 11448319 -- "The COMS randomized trial of iodine 125 brachytherapy for choroidal melanoma, III: initial mortality findings. COMS Report No. 18." (Diener-West M, Arch Ophthalmol. 2001 Jul;119(7):969-82.). Minimum F/U 2 years, 81% F/U 5+ years, 32% F/U 10+ years
 * Outcome: 5-year OS enucleation 81% vs. I-125 82% (NS); Risk of death from metastatic disease 11% vs. 9% (NS)
 * Predictors: age, height, diameter, distance to optic disc, smoking
 * Toxicity: I-125 5-year visual acuity <20/200 63%, <5/200 45%, enucleation 12%
 * Conclusion: No difference in mortality between enucleation and I-125 brachytherapy
 * Second cancers; 2005 PMID 15883277 -- "Second primary cancers after enrollment in the COMS trials for treatment of choroidal melanoma: COMS Report No. 25." (Diener-West M, Arch Ophthalmol. 2005 May;123(5):601-4.)
 * Subset analysis. 2320 patients, routinely followed on protocol
 * Outcome: 8% developed second primary (prostate 23%, breast 17%); 51% died (33% with metastatic melanoma)
 * RT: No increased risk
 * Conclusion: Routine medical surveillance is important
 * QOL; 2006 PMID 16476893 -- "Quality of life after iodine 125 brachytherapy vs enucleation for choroidal melanoma: 5-year results from the Collaborative Ocular Melanoma Study: COMS QOLS Report No. 3." (Melia M, Arch Ophthalmol. 2006 Feb;124(2):226-38.)
 * Subset analysis. 209 patients; telephone interview
 * Outcome: both groups significantly worse difficulty with vision-oriented activities and bodily/ocular pain. Small differences between arms; brachytherapy better for driving and peripheral vision at 2 years, no difference by 3-5 years after treatment
 * Side effect: Brachytherapy worse for anxiety scores
 * Conclusion: Brachytherapy better visual function during first 2 years, then no difference, but worse anxiety
 * 12-years; 2006 PMID 17159027 -- "The COMS randomized trial of iodine 125 brachytherapy for choroidal melanoma: V. Twelve-year mortality rates and prognostic factors: COMS report No. 28." (COMS, Arch Ophthalmol. 2006 Dec;124(12):1684-93.). Minimum F/U 5 years, 39% F/U 12+ years
 * Outcome: 12-year OS enucleation 59% vs. I-125 57% (NS); Risk of death from metastatic disease 17% vs. 21%
 * Predictors: age, diameter
 * Conclusion: No survival difference between enucleation and I-125 brachytherapy

Retrospective
 * MGH; 1990 (1965-1984) PMID 2374681 -- "Relative survival rates after alternative therapies for uveal melanoma." (Seddon JM, Ophthalmology. 1990 Jun;97(6):769-77.)
 * Retrospective. 1051 patients with uveal melanoma: 556 treated with proton beam (median F/U 5.3 years), compared with 238 patients treated with enucleation (median F/U 8.8 years, same time period), compared with 257 patient enucleated previously (median F/U 17.0 years)
 * Outcome: RR for all-cause mortality earlier decade surgery 1.6, current decade surgery 1.2 compared with proton beam; SS at 2 years, no difference after 6 years
 * Conclusion: No difference in survival between enucleation and proton beam

 * Manhattan Eye & Ear; 1988 PMID 3415941 -- "Cobalt plaque versus enucleation for uveal melanoma: comparison of survival rates." (Adams KS, Br J Ophthalmol. 1988 Jul;72(7):494-7.)
 * Retrospective. 639 patients with uveal melanoma; 223 treated with cobalt plaque (median F/U 4.3 years), compared with 416 patients treated with enucleation
 * Outcome: No difference in survival
 * Predictors: location of tumor, largest tumor dimension
 * Conclusion: No difference in survival between enucleation and cobalt plaque

Enucleation +/- neoadjuvant RT

 * COMS Large (1986-1994)
 * Randomized. 1003 patients. Choroidal melanoma, height >2 mm and diameter >=16 mm, or height >=10 mm regardless of diameter, or height >=8 mm and close (<2mm) to optic disc. Ineligible if >=2 mm extrascleral extension. Arm 1) enucleation alone vs. Arm 2) EBRT 20/5 followed by enucleation on last day of treatment. Target choroidal melanoma, posterior half of globe, 1cm margin
 * 5-years; 1998 PMID 9645716 -- "The Collaborative Ocular Melanoma Study (COMS) randomized trial of pre-enucleation radiation of large choroidal melanoma II: initial mortality findings. COMS report no. 10.) ([No authors listed], Am J Ophthalmol. 1998 Jun;125(6):779-96.)
 * 5-year outcome: OS enucleation alone 57% vs. RT + enucleation 62% (NS); death from melanoma 28% vs. 26% (NS)
 * Prognostic factors: age and diameter
 * Conclusion: No survival benefit to neoadjuvant RT using 20/5
 * Complications; 1998 PMID 9744369 -- "The Collaborative Ocular Melanoma Study (COMS) randomized trial of pre-enucleation radiation of large choroidal melanoma III: local complications and observations following enucleation COMS report no. 11." ([No authors listed], Am J Ophthalmol. 1998 Sep;126(3):362-72.)
 * Complications: Acute complications more with RT (8% vs. 4%), but all minor. 5-year complications: poor prosthetic mobility control 16% vs. RT 19%
 * Conclusion: Complications infrequent, minor, and comparable
 * 10-years; 2004 PMID 15629284 -- "The Collaborative Ocular Melanoma Study (COMS) randomized trial of pre-enucleation radiation of large choroidal melanoma: IV. Ten-year mortality findings and prognostic factors. COMS report number 24." (Hawkins BS, Am J Ophthalmol. 2004 Dec;138(6):936-51.). Minimum F/U 5 years
 * 10-year outcome: OS 39% both arms (NS); death with melanoma mets RT+surgery 45% vs. surgery alone 40%
 * Predictors of death: age >60, diameter >=18 mm. If both, 10-year OS 20%; if neither, OS 58%
 * Conclusion: No survival advantage to pre-enucleation RT

Transscleral tumor resection (TTR) vs. brachytherapy
Retrospective
 * Germany; 2002 PMID 12359606 -- "Iodine 125 plaque brachytherapy versus transscleral tumor resection in the treatment of large uveal melanomas." (Bechrakis NE, Ophthalmology. 2002 Oct;109(10):1855-61.)
 * Retrospective. 152 patients with large uveal melanoma. Treated with transsclear tumor resection or I-125 brachytherapy. Mean height 9.4 mm, mean diameter 14.5 mm, mean distance to optic disc 9.9 mm. Mean F/U 2.3 years
 * Outcome: Visual acuity >20/200 TTR 61% vs. I-125 brachytherapy 6% (SS). No difference in eye retention or mortality
 * Toxicity: Secondary glaucoma 6% vs. 33% (SS)
 * Conclusion: TTR better visual function and less glaucoma than I-125 brachytherapy

Plaque brachytherapy

 * ABS recommendations; 2003 - PMID 12738332 — "The American Brachytherapy Society recommendations for brachytherapy of uveal melanomas." Nag S et al. Int J Radiat Oncol Biol Phys. 2003 Jun 1;56(2):544-55.
 * Patient selection: Small melanoma (<2.5 mm height, <10 mm diameter): observe for growth. Medium melanoma (2.5 - 10 mm height, <16 mm diameter): episcleral plaque, tissue sample not required. Large melanoma (>10 mm height or >16 mm diameter): some patients may be plaque candidates. Not suitable for brachytherapy: gross extrascleral extension, ring melanoma, >50% ciliary body involvement
 * Dose: minimum I-125 dose 85 Gy to apex, dose rate 0.6-1.05 Gy/h using TG-43 (assumes point source approximation, no anisotropy corrections, no side attenuation or backscatter from shield, and Silastic insert)
 * Guidelines specified for patient selection, dose, isotope selection, prescription, plaque design and fabrication, and complication

Isotope considerations
 * I-125: standard, low-energy, was mandated in COMS trials
 * Pd-103: lower energy than I-125, with faster dose fall-off. Seeds equivalent size as I-125
 * Ru-106: even more rapid dose fall-off, which allows to spare more normal ocular structures. Minimal scleral radiation dose of 300–400 Gy and a minimal apex dose of 80–100 Gy to the tumor apex is reasonable for cure. Parameters can be met if tumor apex <= 5 mm, good choice for small melanomas. Bertil Damato;2005 PMID 15913907 — "Local tumor control after Ru-106 brachytherapy of choroidal melanoms" Damato B. Int. J. Radiation Oncology Biol. Phys., Vol. 63, No. 2, pp. 385–391, 2005.
 * Co-60: high-energy gamma, which may result large dose to unaffected ocular structures, and health care providers
 * Ir-192: same as Co-60

Visual complications
 * Thomas Jefferson; 2000 PMID 10980767 — "Plaque radiotherapy for uveal melanoma: long-term visual outcome in 1106 consecutive patients." Shields CL. Arch Ophthalmol. 2000 Sep;118(9):1219-28.
 * 1106 pts w/ upfront visual acuity better than 20/100 tracked for change in vision. Loss of visual acuity (<20/200) seen in 34% at 5 yrs and 68% at 10 yrs.
 * Factors predicting poor visual acuity included increasing tumor thickness, proximity to foveola <5 mm, patients > 60 y.o, recurrence, and cobalt.
 * Conclusions: Visual acuity best preserved for small tumors >5 mm from foveola/optic disk, and w/ I-125.

Macular Edema
 * May be seen as early as 4 months after plaque RT, with peak incidence 12-18 months
 * Associated with significant vision loss
 * Randomized trial from Thomas Jefferson shows significant benefit for periocular triamcinolone

 * Thomas Jefferson (2005-2005) -- Plaque RT +/- periocular triamcinolone
 * Randomized. 163 patients, new diagnosed uveal melanoma, I-125 plaque brachytherapy. Arm 1) control vs. Arm 2) periocular injection of triamcinolone acetonide (40 mg in 1 ml) at time of plaque insertion, 4 months, and 8 months later. Optical coherence tomography
 * 2009 PMID 19481812 -- "Periocular Triamcinolone for Prevention of Macular Edema after Plaque Radiotherapy of Uveal Melanoma A Randomized Controlled Trial." (Horgan N, Ophthalmology. 2009 May 28.) Mean F/U >1.5 years
 * Outcome: Macular edema control 58% vs. triamcinolone 36% (SS). NNT 4.5 patients. Moderate vision loss 48% vs. 31% (SS), severe vision loss 15% vs. 5% (SS)
 * Toxicity: elevated IOP (NS), cataract progression (NS)
 * Periocular triamcinolone beneficial in reducing risk of macular edema, and moderate/severe vision loss

Gamma Knife

 * Tufts; 2009 (2000-2007) PMID 19286331 -- "Dose de-escalation with gamma knife radiosurgery in the treatment of choroidal melanoma." (Schirmer CM, Int J Radiat Oncol Biol Phys. 2009 Sep 1;75(1):170-6. Epub 2009 Mar 13.)
 * Retrospective. 14 patients, treated with SRS. Mean marginal dose 22 Gy (20-25). Mean tumor volume 1.1 cc
 * Outcome: Local control 93%. Intraocular and DM spread in 1 patient
 * Toxicity: Visual preservation in 36%
 * Conclusion: Choroidal melanoma can be safely treated with marginal dose <25 Gy

Proton Therapy

 * Nice Hospital; 2010 (1991-2007) PMID 19910136 -- "Proton beam radiotherapy for uveal melanomas at nice teaching hospital: 16 years' experience." (Caujolle JP, Int J Radiat Oncol Biol Phys. 2010 Sep 1;78(1):98-103. Epub 2009 Nov 10.)
 * Retrospective. 886 patients, uveal melanoma T1 4%, T2 47%, T3 46%, T4 2%. Median F/U 5.3 years
 * Outcome: Local control 5-years 94%, 10-years 92%. 5-year OS T1 92%, T2 89%, T3 67%, T4 62%; 10-year OS 86%, 78%, 43%, 41%. Ocular preservation 5-years 91%, 10-year 87%. Predictors for death: higher age, higher thickness, larger basal diameter, higher volume, and higher volume/eyeball ratio
 * Conclusion: Outcomes reported

 * Harvard (1989-1998) -- Protons 70 CGE vs Protons 50 CGE
 * Randomized. 188 patients with small/medium choroidal melanoma (<15mm diameter, <5mm height), within 4 disc diameters of optic disc or macula. Arm 1) 50 CGE vs. Arm 2) 70 CGE
 * 2000 PMID 10865313 -- "A randomized controlled trial of varying radiation doses in the treatment of choroidal melanoma." (Gragoudas ES, Arch Ophthalmol. 2000 Jun;118(6):773-8.)
 * 5-year outcome: visual acuity >20/200 similar at 55%; tumor regrowth similar at ~3%; mets similar at ~8%
 * Toxicity: 50 CGE significantly less visual loss; no difference in radiation papillopathy or maculopathy
 * Conclusion: Lower dose resulted in similar outcome, similar visual acuity loss, but improved visual field loss

Heavy Ions

 * UCSF; 1993 PMID 8414414 -- "Helium ions versus iodine 125 brachytherapy in the management of uveal melanoma. A prospective, randomized, dynamically balanced trial." (Char DH, Ophthalmology. 1993 Oct;100(10):1547-54.)
 * Randomized. 184 patients, diameter <15mm, thickness <10 mm. Arm 1) helium ion with vs. Arm 2) I-125 plaque brachytherapy. Dose 70 Gy in both arms, but significantly different in delivery: Helium ion given 70/5 over 2 minutes each vs. I-125 continuous LDR 0.7-0.75 Gy /hr
 * Outcome: local failure He 0% vs. 13%; enucleation 2x more common after plaque. No difference in survival
 * Toxicity: More anterior segment complications after He.
 * Conclusion: RT can be used to manage uveal melanoma, with eye retention. Better control with He ion
 * Comment: Results led to increase in dose and dose-rate of plaque treatments

Treatment Toxicity

 * Thomas Jefferson; 1999 PMID 10037576 -- "Early-onset scleral necrosis after iodine I 125 plaque radiotherapy for ciliochoroidal melanoma." (Correa ZM, Arch Ophthalmol. 1999 Feb;117(2):259-61.)
 * Case report. 62 M with ciliochoroidal melanoma, treated with I-125 plaque
 * Outcome: scleral necrosis with tumor extrusion within 1 month of treatment

Proton Therapy

 * Harvard; 2010 (1961-2000) PMID 20472356 -- "Uveal Melanoma Recurrence After Fractionated Proton Beam Therapy: Comparison of Survival in Patients Treated With Reirradiation or With Enucleation." (Marucci L, Int J Radiat Oncol Biol Phys. 2010 May 14. [Epub ahead of print])
 * Retrospective. 73 patients with recurrence after proton beam, treated with PT (42%) or enucleation (58%). Enucleation for larger tumors, no difference in location or ciliary body involvement. Median F/U 5 years
 * Outcome: Median OS PT 7.5 years vs enucleation 3.5 years, 5-year OS 63% vs 36% (SS), DM 34% vs 69% (SS)
 * Conclusion: Survival in patients with recurrence not compromised by second course of PT

title: Radiation Oncology/Eye/Ocular melanoma


text:
Acoustics/Print version

Acoustics is the science that studies sound, in particular its production, transmission, and effects. Sound can often be

considered as something pleasant; music is an example. In that case a main application is room acoustics, since the purpose

of room acoustical design and optimisation is to make a room sound as good as possible. But some noises can also be

unpleasant and make people feel uncomfortable. In fact, noise reduction is actually a main challenge, in particular in the

industry of transportations, since people are becoming increasingly demanding. Furthermore, ultrasounds also have applications

in detection, such as sonar systems or non-destructive material testing. The articles in this wikibook describe the

fundamentals of acoustics and some of the major applications.

=Table of contents=

Fundamentals

 * 1) Fundamentals of Acoustics
 * 2) Fundamentals of Room Acoustics
 * 3) Fundamentals of Psychoacoustics
 * 4) Sound Speed
 * 5) Filter Design and Implementation
 * 6) Flow-induced oscillations of a Helmholtz resonator
 * 7) Active Control

Applications in Room Acoustics

 * 1) Anechoic and reverberation rooms
 * 2) Basic Room Acoustic Treatments

Applications in Psychoacoustics

 * 1) Human Vocal Fold
 * 2) Threshold of Hearing/Pain

Musical Acoustics Applications

 * 1) Microphone Technique
 * 2) Microphone Design and Operation
 * 3) Acoustic Loudspeaker
 * 4) Sealed Box Subwoofer Design

Miscellaneous Applications

 * 1) Bass-Reflex Enclosure Design
 * 2) Polymer-Film Acoustic Filters
 * 3) Noise in Hydraulic Systems
 * 4) Noise from Cooling Fans
 * 5) Piezoelectric Transducers

= Fundamentals of Acoustics =

=Fundamentals of Room Acoustics=

=Fundamentals of Psychoacoustics=

=Sound Speed=

=Filter Design and Implementation=

=Flow-induced oscillations of a Helmholtz resonator=

=Active Control=

=Anechoic and reverberation rooms=

=Basic Room Acoustic Treatments=

=Human Vocal Fold=

=Threshold of Hearing/Pain=

= Musical Acoustics Applications =

=Microphone Technique=

=Microphone Design and Operation=

=Acoustic Loudspeaker=

=Sealed Box Subwoofer Design=

= Miscellaneous Applications =

=Bass-Reflex Enclosure Design=

=Polymer-Film Acoustic Filters=

=Noise in Hydraulic Systems=

=Noise from Cooling Fans=

=Piezoelectric Transducers=

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Acoustics/Print version


text:
Java Programming/Client Server

In 1990s, the trend was moving away from Mainframe computing to Client/Server as the price of Unix servers dropped. The database access and some business logic were centralized on the back-end server, collecting data from the user program was installed on the front-end users' "client" computers. In the Java world there are three main ways the front-end and the back-end can communicate.
 * The client application uses JDBC (Java DataBase Connectivity API) to connect to the data base server, (Limited business logic on the back-end, unless using Stored procedures).
 * The client application uses RMI (Remote Method Invocation) to communicate with the back-end.
 * The client application uses a socket connection to communicate with the back-end.

Socket Connection Example

This page shows an example of a socket connection.

Create a Server
The Java language was developed having network computing in mind. For this reason it is very easy to create a server program. A server is a piece of code that runs all the time listening on a particular port on the computer for incoming requests. When a request arrives, it starts a new thread to service the request. See the following example:

Listening on a port

 * ComServer : class is for listening on a port for a client.

 * ServerSocket( iPortNumber ) : Creates a server socket, bound to the specified port.
 * serverSocket.accept : Listens for a connection to be made to this socket and accepts it. The method blocks until a connection is made. It returns a new Socket.

Service One Client

 * ComServerThread : This class extended from a Thread is responsible to service one client. The Socket connection will be open between the client and server. A simple protocol has to be defined between the client and server, the server has to understand what the client wants from the server. The client will send a terminate command, for which the server will terminate the socket connection. The ComServerThread class is responsible to handle all client requests, until the client sends a terminate command.

 * COM_DATA tDataFromClient : This variable will contain the data object from the client.
 * COM_DATA tDataToClient : This variable will contain the data object to be sent to the client.
 * sendDataToClient : This method sends the data object to the client.
 * getDataFromClient : This method gets the data object from the client.
 * processInput( tDataFromClient ) : This method of the class  interprets the client commands and returns the data object that will be sent back to the client.

Handling the request; implements the communication protocol

 * ComProtocol : This class implements, and encapsulates the communication logic (protocol). The protocol is the following:
 * The client initiate the connection.
 * The server accepts it and sends an acknowledgment notifying that it's ready
 * The client sends a request
 * The server response based on the request
 * The client sends a  request
 * The server acknowledge the  request and disconnects the socket connection
 * The client gets the acknowledgment to the
 * The client sends a  request
 * The server acknowledge the  request and disconnects and also stops listening of other clients.
 * The client gets the acknowledgment to the
 * The server acknowledge the  request and disconnects and also stops listening of other clients.
 * The client gets the acknowledgment to the

The Data object that goes through the network

 * COM_DATA : is data structure class that is transmitted through the network. The class contains only data.

Create the Client
A client code for a server/service is usually an API that a user application uses to interface to the server. With the help of a client API the user application does not have to know how to connect to the server to get services. The following is the client class for the above server:
 * ComClient : This class is the client API. The application is using this class to communicate with the server.

 * getServerData( COM_DATA tServData ) : This method reads the data from the server and copies the values to  object.
 * sendDataToServer( COM_DATA tServData ) : This method sends the  object through the network to the server.
 * oIn.readObject : This method returns the data object sent by the server.
 * oOut.writeObject( tServData ) : This method sends the data object to the server.

title: Java Programming/Client Server


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User:Minun~enwikibooks/Userspace

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title: User:Minun~enwikibooks/Userspace


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User:Minun~enwikibooks

About Me
Hello, my name is Ryan, but I always prefer to go with my username "Minun". I was once a Wikipedia editor but, due to a problem (trust me, you do not want to hear it) I have moved to Wikibooks. My interests are video games, however, Jimbo Wales doesn't like the video game guides, so I have moved them all the my own wiki at http://wikidream.elwiki.com

title: User:Minun~enwikibooks


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User:Minun~enwikibooks/monobook.css

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title: User:Minun~enwikibooks/monobook.css


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Talk:Russian/Grammar/Verbs

Untitled
Second conjugation: how can we to make first prson form of "держать"?, If we have not an ending "-у"? My English is poor, so I have a question, if Someboidy works on this article? Во втором спряжении окончания могут быть и немного другие, у меня не очень хороший английский, потому вопрос - кто-нибудь над этим разделом сейчас работает? И не надо говорить, что "держать" - первого спряжения - молю!

"Держать"
"Держать" is an exception, it ends to -ать, but belongs to the first type. The right variant is держу. Сейчас здесь работаю я. Собираюсь добавить несколько неочвидных исключений.

N.B.: лучше говорить не "молю", а "умоляю". Глагол "молить" больше характерен для XIX века, в современном русском в том же значении употребляется "умолять"

Nonsensical sentence
I do not speak Russian and thus cannot correct this. However, the latter part of the following sentence should be fixed:

If you want to know the right way to conjugate a verb in indicative, you must know it's three basic forms: muscle formof past tens, prent form to pronoun "I" and to pronoun "HE/SHE/IT".

--Joti (talk) 21:35, 1 May 2009 (UTC)

title: Talk:Russian/Grammar/Verbs


text:
Training Best Practices/PowerPoint for E-Learning/Drawbacks

Limitations of PowerPoint for E-Learning

There are none.

A number of vendors of more complex, more expensive authoring tools would have you believe that quality, interactive, e-learning is beyond the capabilities of PowerPoint. The advent of motion path and trigger animations (post-2002 versions)has made PowerPoint an attractive alternative to higher-end, longer-learning-curve authoring tools. Thoughtful instructional design, use of meaningful art and graphics, and carefully planned hyperlinking can provide excellent interactive simulations (especially instructionally sound as they allow learners to see the consequences of their decisions and actions), engaging games and other interactions.

Plenty of bad e-learning exists, much of it created with products costing many times more than the version of PowerPoint most training professionals already have. As Jane Bozarth (see "E-Learning on a Shoestring") says: "Good e-learning is about design, not software."

For those still not sure of the remarkable capabilities of PowerPoint, see the PowerPoint Heaven site:.


text:
Muggles' Guide to Harry Potter/Magic/Paintings

Overview
Magical Paintings or portraits are normal paintings, except that the people portrayed in them move and interact within the painted scene, with other adjacent paintings, and with the outside world.

Extended Description
Characters in the paintings can move from one frame to another adjacent one; at several points, a character is seen flitting from painting to painting to spread news, and in Harry Potter and the Prisoner of Azkaban, one character, Sir Cadogan, travels from painting to painting to show Harry and Ron the way to class.

The characters in several paintings are mentioned by name and are characters in their own right: The Fat Lady who guards the Gryffindor common room, Phineas Nigellus, and Sir Cadogan, are the most prominent among them.

It is also apparently possible for the subject of a painting to move to any other painting in which he or she is portrayed. While it is certain that the portraits that hang in the Headmasters' study at Hogwarts have this ability, we never learn whether other portraits are able to do this. In some cases, notably that of Phineas Nigellus, there is one inhabitant for, in this case, two pictures. This means that there is always one 'empty' painting. While it might seem odd to Muggles to have a painting without an inhabitant, this is apparently fairly common in the Wizarding world; Ron remarks, when Harry comments about his Famous Wizards card being blank, "Well, you can't expect him to hang about all day."

The two paintings can be at any distance apart, but the inhabitants will still be able to switch. In several cases, people depicted in paintings in Professor Dumbledore's office travel instantaneously to their images in London. This switching can be useful to carry messages between the locations of the different pictures, or report on what is going on in one of the other places.

Apparently, the inhabitants can travel from portrait to portrait within a given Wizard building; we see this both at Hogwarts and at St. Mungo's. Note that the portraits in the Headmaster's office cannot travel from frame to frame once they have left Hogwarts; in Harry Potter and the Deathly Hallows, the portrait of Phineas Nigellus does say that the portrait of Dumbledore cannot travel to the canvas that Phineas is using to visit them. We are led to believe that the portrait of Phineas Nigellus can travel from portrait to portrait within his erstwhile home at Grimmauld Place, but we never actually see him do so.

Analysis
The limitation on where portraits can travel is clearly necessary, as without these limits, any subject of any painting could visit any other painting. This would provide, in this story, something of a deus ex machina, as Harry would be able to summon and interrogate a portrait of Dumbledore no matter where he was. Dumbledore's absence is vital for Harry's maturation.

One must wonder about the case of a subject who has been painted multiple times, such as, we presume, Albus Dumbledore. If there are twenty portraits of him scattered about the Wizarding world, does he appear in each of them in turn? Or are there multiple Dumbledores spread out among the portraits? And would it be possible for them to collide, such that you would have, perhaps, two or three different-aged Dumbledores appear in your portrait occasionally?


text:
Muggles' Guide to Harry Potter/Magic/Photograph

Overview
Magical photographs are similar to Muggle photographs, except that the people portrayed in them are animate, moving, waving, and apparently dropping out of the picture occasionally to attend to other business. They act in many ways as their originator would in similar situation: a photograph of a girl develops spots on her nose at one point and starts trying to hide her face under the picture frame, for instance.

Extended Description
While very similar to magical Paintings, photographs seem to be lesser variants of the breed; while the characters are animate, they do not seem to interact with occupants of other photos, and they do not seem to interact much with the people outside the photograph (in fact, they don't seem to be able to speak at all) – although in Harry Potter and the Order of the Phoenix, Alastor Moody does instruct the characters in a photograph to "move aside", and they apparently do so. Printed images behave similarly to photographs; the pictures in The Daily Prophet, for instance, move but don't speak either.


text:
Cookbook:Chicken Bog

Chicken Bog is a southern United States delicacy made of chicken, rice and sausage from the Pee Dee area of South Carolina. On the third weekend in October, Loris, South Carolina, is host to the annual Loris Bog-off Festival held in Downtown Loris.

title: Cookbook:Chicken Bog


text:
Cookbook talk:Chicken Bog

Chicken Bog authors and history

 * 2006-09-28T15:59:47  contribs)|  (nomination for deletion)

 * 2006-09-28T15:58:33  contribs)|  (not a speedy candidate)

 * 2006-09-28T08:07:48  contribs)|  (tagging as uncategorized  using AWB)

 * 2006-09-25T16:05:57  contribs)|  (→Chicken Bog 1)

 * 2006-09-25T15:24:41  contribs)|

 * 2006-09-25T15:19:49  contribs)|

 * 2006-09-25T15:09:09  contribs)|

 * 2006-09-25T09:42:09  contribs)|

 * 2006-09-24T22:50:47  contribs)|  m   (moved Chicken bog to Chicken Bog: Misspelt)

 * 2006-09-24T22:46:15  contribs)|

= From Wikipedia:Talk:Chicken Bog =

title: Cookbook talk:Chicken Bog


text:
User talk:Abode002

ECI 301/Chapter 12 Written by: Anna Bodenhamer

There is no one answer to the school/community disconnect. There are many disconnecting pieces to the puzzle. The three major pieces are the family structure, the schools, and the communities we live in. Each piece plays a major role in a child’s life. So if you plan on teaching for a profession prepare for an exciting, unpredictable, rewarding and many times very stressful career.

Today the family structure has many components. They are culturally diverse, single parents, blended families and low-income families that are very unstable. Instability is the worst and the hardest on kids especially when they are constantly on the move from school to school. Social workers call the moves, “stealth moves” to stay ahead of landlords looking for overdue rent (Education vital signs, 2006). Overall, mobility rates are highest in large, predominantly minority urban school districts (American school board journal). Mobility rates keep climbing. According to the Chicago Public Schools twenty-three percent of students who entered first grade in 1999 had changed schools by the end of the year. Four years after entering first grade, more than fifty percent had changed schools (Education vital signs, 2006). The negative effects of high mobility are well documented; but how can schools address students’ needs amid the pressure of accountability (Susan Black, 2003)? Schools are under tremendous pressure to meet accreditation and are held accountable for their SOL scores. So we all know what that means, “teachers are under the microscope” in hopes their students achieve passing scores on the SOL tests. This is not an easy achievement with students moving in and out and than back in again. It is not surprising that many highly mobile students suffer academically (American school board journal).

Schools are a major piece of the puzzle in shaping our future. Teaching is becoming a very stressful occupation. The No Child Left Behind Act, signed into law January 2002, aims to make sure that all children achieve academic proficiency and gain the educational skills necessary to succeed later in life (Child trends data bank, 2003). In theory this is a wonderful idea but in reality it is not easy to accomplish. In one classroom you may have as many as twenty-five to thirty-two students with half being two to three years below grade level. Then there is the SOL pacing guide you must follow and complete by the end of the year. So your students take the SOL test and you hold your breath, in hopes that their scores are passing or at least not embarrassingly low! Then the so call specialist scrutinizes your class scores without giving concrete advice or guidance in how to achieve higher scores. They tell you what you need to accomplish but not how. It is very frustrating! There are just too many specialists that have never stepped into a classroom to experience the teacher’s reality of teaching students of “today”.

Students are a product of their environment. Classrooms are full of cultural diversity and socio-economic levels. Many homes and communities often accept and encourage behaviors that are incompatible with the behaviors in the school setting (Bos and Vaughn, 2006). For instance, aggressive and highly emotionally charged behavior may be expected of African American males at home and in their community but are unacceptable in the class setting. Hispanic students are viewed as dependent and passive (Bos and Vaughn). This is very confusing to the student when they receive a reprimand and told the behavior is unacceptable at school. The lack of respect and opposition to authority is increasing every year. They reason by saying, “My momma says it’s OK!” Social skills are definitely lacking in society. When parents are called in for a conference, the teachers immediately realize, “The apple does not fall far from the tree.” These days it is falling on the schools to teach the social skills our parents, a generation ago, taught us at home. Teaching students to solve interpersonal problems has been very successful with a wide range of populations (Platt and Spivack, 1972). The goal of interpersonal problem-solving training is to teach students how to employ a wide range of strategies that allow them to develop and maintain positive relationships with others, cope effectively with others, solve their own problems, and resolve conflict with others.

FAST is a strategy that is taught to students with learning disabilities who have been identified as having social skills problems (Vaughn and Lancelotta, 1990; Vaughn, Lancelotta, and Minnis, 1988; Vaughn, McIntosh, and Spencer-Rowe, 1991). This is a wonderful strategy for all students. The idea is to get students to consider: FREEZE and think! What is the problem? ALTERNATIVE? What are my possible solutions? SOLUTION evaluation choose the best solutions: Safe? Fair? TRY It! Slowly and carefully does it work? Soulutions that is effective in the long run. SLAM is another strategy used to assist students in accepting and assimilating negative feedback and comments from other people (McIntosh, Vaughn, and Bennerson, 1995). It stands for:

STOP—Stop whatever you are doing. LOOK—Look the person in the eye. ASK—Ask the person a question to clarify what he/she means. MAKE—Make an appropriate response to the person.

When students master these strategies they will have learned a very valuable lesson. They realize there are laws to abide by and rules to follow in society and to learn to do so will enable them to live a safer, peaceful, and successful life.

So as you can see “schools” are a major piece of the puzzle. Teachers educate, nurture, and become surrogate parents to all their students. The disconnection between schools and communities is wide and the responsibilities on schools seem to grow every year. A person who becomes a teacher is unselfish, dedicated, and caring. We all know the profession will not create wealth in our lives but we will enjoy many rewards. Especially the few students that come back to say, “Thanks for everything you taught me”.

Reference: American school board journal. September 2003, from http://www.asbj.com/current/research.html

Black, Susan. from Educational vital signs,U.S. school's facts and figures, 2006. from http://www.asbj.com/current/research.html

Bos, Candace S. and Sharon Vaughn. Strategies for teaching students and learning and behavior problems Sixth edition (2006), Pg. 381.

Educational vital signs, U.S. schools in facts and figures (2006). http://www.asbj.com/current/research.html

McIntosh, Vaughn, and Bennerson. (1995), from Strategies for for teaching...2006. pg. 401              “No child left behind:  A parent’s guide”. http://www.ed.gov/parents/academic/involve/nclbguide/parents guide.pdf

Platt and Spivack (1972). From Strategies for teaching...''sixth edition, 2006. pg. 398

Five Multiple Choice Questions:

1.  Social workers refer to families on the move as “stealth moves,” why? A) Families that enjoyed traveling                                B) Mobile families                                                 C) Families that stayed ahead of overdue rent                      D) Families on the move

2. Students who come from highly mobile families suffer? A)Depression                                                        B)Academically                                                      C)Personality disorder                                              D)Diabetes

3.Name the law signed in January of 2002. A) “No Child Left Behind Act”                               B) “Individuals with Disabilities Education Act (IDEA)” C) “Handicapped Children’s Protection Act”                 D) “Section 504 of the Rehabilitation Act”

4.“FAST” and “SLAM” are strategies to teach students to? A) Solve interpersonal problems                                   B) Solve academic conflicts                                         C)Solve international problems                                      D) Solve theories

5.Over all family mobility rates are highest in what districts? A) Predominantly rural                                            B) Predominantly high socio-economical                             C) Predominantly minority urban                                     D) Predominantly minority rural area ANSWERS: 1)C   2)B   3)A   4)A   5)C

ESSAY QUESTION:

Why is it important to teach students strategies to solve interpersonal problems?

Answer: The goal of interpersonal problem-solving training is to teach students how to employ a wide range of strategies to allow them to develop and maintain positive relationships with others, cope effectively with others, solve their own problems, and resolve conflicts with others.

title: User talk:Abode002


text:
Futurology/Free Will

There is less predestination than we expect. We can change our destinies in many ways - big and small. Starting with flipping a coin and ending with choosing a wife. Having or not having a kid or kids could start a lot of causual chains.

Important part - not to go crazy. And not to become too ridgid. Predestination could be fixed patern of reactions in given circumstances.

title: Futurology/Free Will


text:
CAT-Tools/DéjàVu X/SQL

SQL in DVX DVX is based on Transact-SQL, Microsoft's and Sybase's interpretation of a structured language used for querying databases. By using SQL you can either select (view or export) or process (update or remove) database segments satisfying certain criteria. The former is called SQL Select; the latter is called SQL Execute. The different editions of DVX offer the following support for SQL:

DVX Editor - none.

DVX Standard - SQL Select (see the DVX Standard manual).

DVX Professional - SQL Select and SQL Execute (see the DVX Professional manual).

DVX Workgroup - SQL Select and SQL Execute (see the DVX Workgroup manual).

By using SQL you can for example remove all database segments that were made by user John between January 2, 2004 and January 10, 2004 13:07, provided said strings do not contain the word 'dog'. Or if certain database segments have been linked to a certain client A, you can change the name of client A into client B after client B decides to take over client A. The examples can be made as complex as you want.

Using SQL in DVX is a very advanced topic, about which a lot has been written. The above manuals are very good sources about the usage of SQL in DVX. Another very good source is A Tinkerer's Guide to SQL in DVX, by Michael Farrell.

Examples of SQL usage in DVX memory databases Note that SQL Select statements are entered via SQL Select on the mid left of the screen, while SQL Execute statements are entered via Database > Execute SQL. The underlined parts need to be filled in by yourself.

Change usernick A into usernick B

UPDATE Sentences SET UserNick = ' newnick ' WHERE UserNick = ' oldnick '

Change client A into client B

UPDATE Translations SET Client = ' newclient ' WHERE Client LIKE '* partofoldclientsname *'

Update client names based on actual project names or part of them (and not PrjID)

UPDATE Translations SET Client=' newclient ' WHERE ID IN (SELECT ID FROM Translations WHERE PrjID in (SELECT Projects.Prjid FROM Projects WHERE ((Projects.PrjTitle) LIKE "* partOfProjectName *")))

Update client names based on datestamps

UPDATE Translations SET Client=' newclient ' WHERE ID IN (SELECT ID FROM Sentences WHERE DateStamp >= # mm/dd/yyyy hh:mm # AND DateStamp < # mm/dd/yyyy hh:mm #)

You have to specify a date range, as the datestamp also includes information about the time. You can leave out the time part (hh:mm) if needed.

Remove numbers and the following tab in the beginning of sentences

Also, it is possible to include functions in SQL statements that add even more flexibility. The statement below could be useful for records that have been added to the database with alignment, in which case some weird patterns may occur. For example, it is possible that some records start with a number, followed by a tab (which appears as a long space in the database).

UPDATE Sentences SET Sentence=RIGHT(Sentence,LEN(Sentence)-instr(Sentence,chr(9))) WHERE ID IN (SELECT ID from Sentences WHERE Sentence LIKE '[0-9]*'+chr(9)+'*')

The above instructions can be converted to SQL Select statements (just for viewing or exporting) by omitting everything up to and including the first instance of WHERE. It is highly recommended to first test the SQL by making selections, before actually executing said statements.

Examples of SQL usage in DVX projects The following SQL queries are used for checking target segments in a project where English is the source language and Dutch is the target language. For other languages codes, please check the DVX manual or on-line Help.

Checking punctuation Open the Row Selector, select SQL Statement, paste the query listed below, and select Apply. target_1043 like '* .*' OR target_1043 like '* ,*' OR target_1043 like '* ;*' OR target_1043 like '* :*' OR target_1043 like '* [?]*' OR target_1043 like '* [!]*' This will select all segments where a ".", ",", ";", ":", "?", "!" is preceded by a space.

Checking spaces in front of closing brackets and after opening brackets Open the Row Selector, select SQL Statement, paste the query listed below, and select Apply. target_1043 like '* )*' OR target_1043 like '* *' OR target_1043 like '* >*' OR target_1043 like '*( *' OR target_1043 like '* *' OR target_1043 like '*< *' This will select all segments where a ")", "]", ">" is preceded by a space or "(", "[", "<" is followed by a space.

Source includes period while target does not source like "*.*" and target_1043 not like "*.*"

Target includes opening bracket but no closing bracket target_1043 like "*(*" and target_1043 not like "*)*"

Source includes opening bracket while target does not source like "*(*" and target_1043 not like "*(*"

Source includes closing bracket while target does not source like "*)*" and target_1043 not like "*)*"

Target segment is longer than source LEN(target_1043) > len(source)

Target segment is longer than a specific value (useful for e.g. subtitles or software strings) LEN(target_1043) > 38

Space on position 4 of target InStr(1,target_1043," ",1)=4

Source starts with Upper case while target starts with lower case (asc(left(source,1)) between 96 and 122) AND (asc(left(Target_1043,1)) between 65 and 90) (One statement!)

title: CAT-Tools/DéjàVu X/SQL


text:
User talk:Werdan7/1

Welcoming new users
It's nice you welcome new users but general practise on Wikimedia projects is to welcome only those users, who made any edit. --Derbeth talk 21:32, 21 September 2006 (UTC)

title: User talk:Werdan7/1


text:
Guide to Unix/Explanations/awk

The name 'awk' is derived from the names of the three people who originally developed it - Aho, Weinberger and Kernighan. It is a programming language which uses a pattern-action expression that transforms the input to the output. It processes the input (usually a file of data), searching each line for the given pattern. Any line that matches the given pattern has the action applied to it and this constitutes the output. A line that does not match is ignored.

Each input line is divided into fields by a separator character (default is space) and patterns can be matched to these fields as they are referenced in the usual Unix style - $1 being field 1, $2 being field 2 etc. $0 means the entire input line.

If no pattern is specified then all input lines are selected. If no action is specified, the default action is to print the entire line. Therefore if you just want to print a subset of the input, you just need to supply a pattern that will produce the desired results, Awk will print the input as found.

However, you can also specify which fields are to be output in the same way e.g. print $1.

A simple example:

awk '$1 ~ /A/ { print $2 " " $3 }' /etc/passwd

Program Structure
awk programs consist of a sequence of one or more pattern-action statements: pattern  { action } pattern  { action } : :

awk scans input lines of data and performs actions on those lines that match any of the specified patterns.

Running AWK
Here we call awk from a shell script awk1.sh:

 * 1) !/bin/bash

awk ' { print } ' $1
 * 1) awk1.sh

There is no pattern, so every line fed into awk is matched and the action is invoked. Which results in every line of the file being printed on the screen. Thus awk1.sh behaves similar to cat.

To demonstrate, create the file numeric.dat with the contents:

1 one  i 2 two   ii 3 three iii 4 four iv 5 five  v 6 six   vi 7 seven vii 8 eight viii 9 nine ix 10 ten  x

Run awk1.sh on numeric.dat (don't forget to make the script executable):

./awk1.sh numeric.dat 1 one  i 2 two   ii 3 three iii 4 four iv 5 five  v 6 six   vi 7 seven vii 8 eight viii 9 nine ix 10 ten  x

(Notice how   ./    is being used to execute a script.)

Expressions
If the first field is equal to one then print the entire line awk ' $1 == 1 { print $0 } ' $1
 * 1) !/bin/sh
 * 2) awk1.sh

Results in: 1 one i

If the second field is equal to "two" then print the entire line: $2 == "two" { print $0 }

Results in: 2 two ii If the first field is greater than 5 then print the third field $1 > 5 { print $3 } Results in vi vii viii ix x

Regular Expressions
Print the input line if the pattern "ix" is matched in any field /ix/ { print $0 }

Results in:

6 six  vi 9 nine  ix

Print the input line if the pattern "ix" is matched in the third field:

$3 ~ /ix/ { print $0 } Results in: 9 nine ix Print the input lines that do not contain the pattern "x" $0 !~ /x/ { print } Results in: 1 one  i 2 two   ii 3 three iii 4 four iv 5 five  v 7 seven vii 8 eight viii

Compound expressions
Print lines where the third field matches the pattern "x" OR the first field is less than or equal to 3. $3 ~ /x/ || $1 <= 3  { print $0 } Results in: 1 one  i 2 two   ii 3 three iii 9 nine ix 10 ten  x

Print lines where the third field matches the pattern "vi" AND the second field begins with the letter "s". $3 ~ /vi/ && $2 ~ "^s" { print $0 } Results in: 6 six  vi 7 seven vii

Ranges
Print lines where the second field equals "three" and where the third field equals "vii" and all subsequent lines in between: $2 == "three", $3 == "vii" { print $0 } Results in: 3 three iii 4 four iv 5 five  v 6 six   vi 7 seven vii

BEGIN and END
BEGIN is a special pattern which matches before the first input line. Similarly END matches after the last input line. BEGIN { print "start at 3..." } $2 == "three", $2 ~ /^e/ { print $1 } END { print "...and end at eight" }

Results in start at 3... 3 4 5 6 7 8 ...and end at eight

title: Guide to Unix/Explanations/awk


text:
User:Harriska2~enwikibooks/Kathy's Sandbox

Kathy's Sandbox

Reading

Open book to page 100. [ensure all books are open]

Please tell me the name of the boy in the picture [Joey]

Yes, Joey

Lesson 1

Session 1

Part 1

--

--

| Alkanes >>

--

 * View US History Edition 1.0 as a single PDF document, for speed right click on the link "PDF File 1.0" and "save target as" or click directly on PDF File 1.0

 * Print version ( [ edit] ) [[Image:Exquisite-print printer.png|22px]] - view the whole book as a continuous file.

Contents

 * Preface This is a wiki textbook -- feel free to edit it, update it, correct it, and otherwise increase its teaching potential.  To find out more about wikis, see the Wikipedia main page.

= Colonial America =
 * Introduction
 * Brief overview of European history
 * Pre-Columbian America (before 1492)
 * Early Colonial Period (1492 - 1607)
 * The English Colonies (1607 - 1754)
 * Road to Revolution (1754 - 1774)

---

Contents | Previous Chapter | Next Chapter

Read more at Ancient History

The Roman Empire to the Holy Roman Empire
--

 * Welcome page
 * /Foreword/

 * 1) /Foundational concepts of organic chemistry/
 * 2) /Alkanes and cycloalkanes/
 * 3) /Stereochemistry/
 * 4) /Haloalkanes/
 * 5) /Alcohols/
 * 6) /Amine/
 * 7) /Alkenes/
 * 8) /Alkynes/
 * 9) /Dienes/
 * 10) /Aromatics/
 * 11) /Ketones and aldehydes/
 * 12) /Carboxylic acids/
 * 13) /Carboxylic acid derivatives/
 * 14) /Analytical techniques/

Appendix A: Introduction to reactions Appendix B: Index of reactions Appendix C: Introduction to functional groups

 * Glossary
 * Periodic table
 * Short periodic table
 * Other online resources
 * Page element templates
 * /Acetone peroxide synthesis/

Help organize the book structure.

Compare this book to these college OChem textbooks: Solomons and Fryhle, $155, Wade, $160, Carey, $153, or McMurry, $166.

Book Distribution

 * Authors - If you want to be included as an author of this Wikibook, please add your name here.
 * /Licensing/

Chimica organica


text:
User:Niklo~enwikibooks

NIKLO
Accomplishments -Beach Conflict Sept 28,06 AIr cadet guide (near completion)

Clubs/Groups
This user is a member of the Counter Vandalism Unit.

title: User:Niklo~enwikibooks


text:
User:Micawbersmu

These are notes I’ve collected over time from various sources: the Yahoo earlyflute email list where possible, I’ve tried to acknowledge posters in the reference section), things that caught my attention in standard (and not so standard) reference works, notes from lessons, and other jottings. You may notice that some of it is somewhat or even completely contradictory. I’ve made no attempt to harmonize these differences of opinion. Instead, they are represented as best I can, using verbatim quotes from authors where possible, and leaving it to the reader to decide (though I have interjected a few personal comments in the form of footnotes).

Table of Contents

 * 1) Traverso_Title/Introduction
 * 2) Traverso/Care
 * 3) Traverso/Practicing
 * 4) Traverso/Technique
 * 5) Traverso/Exercises
 * 6) Traverso/References

title: User:Micawbersmu


text:
Baroque Flute Handbook

The Baroque flute was popular from the 1670s up until the 1900s. Its main use was from the 1670s until the late 18th to early 19th centuries, when more keys started being added. Even though multi-keyed flutes gradually supplanted the Baroque flute at the end of the 18th Century, these multi-keyed flutes were more widely in use by professionals than amateurs, who continued to use one-keyed flutes even up until the 1900s (although multi-keyed flutes, and eventually Boehm flutes, grew in popularity among amateurs as well).

It is known by several names: Traverso is the name preferred by many for historical reasons. This book will also use Baroque flute because it accurately names the instrument for modern readers.
 * Traverso
 * German flute
 * One-keyed (or single-keyed) flute

In general, the Baroque flute has the following characteristics: The Baroque flute returned to popularity in the 20th Century as part of the HIP (historically informed performance) movement, where interest grew in music, instruments, and performance practices of earlier times. While it is easier to find information about the Baroque flute now than in previous decades, that information tends to be scattered across a variety of sources, much of it in the form of an "oral tradition" passed among the community of makers and players. Much of the information on the traverso itself and musical style comes from treatises of the time, (eg. Quantz, Hotteterre, CPE Bach, Leopold Mozart, etc). Even among experts, opinions on some matters vary widely. For the newcomer, this can be at times confusing and frustrating. The purpose of this handbook is to collect some of this material in one place, hoping it will be useful for beginners as well as more advanced players.
 * It is made of wood, of which the most commonly used are boxwood, ebony, and grenadilla.
 * It has a conical bore that is wide at the end with the embouchure hole and tapers to become significantly more narrow at the bottom.
 * It has relatively small embouchure and finger holes. Earlier flutes have embouchure holes that are almost exactly circular, and later flutes have more oval embouchure holes.
 * It has 6 finger holes plus a 7th hole on the far end that is closed unless opened by a single key.
 * Its body is divided into 3 or 4 joints: a headjoint that contains the embouchure hole, 1 or 2 middle joints with 6 finger holes divided among them, and a footjoint having a 7th hole and key.

Table of Contents

 * 1) /Know your instrument/
 * 2) /Care/
 * 3) /Practicing/
 * 4) /Technique/
 * 5) /Exercises/
 * 6) /References/

Flauto barocco

title: Baroque Flute Handbook


text:
Cookbook:Roast Lamb

Roast leg of lamb
Identifying good lamb

The secret of buying lamb is quite simple: not too much fat on the outside of the joint, as few white pieces of sinew as possible, and then, the absolute lamb buying mantra.... Pink... Pink...Pink ! The meat should be pink, not red and the joint should be firm to the touch.

Buying lamb

If you're planning your Lamb for a Sunday lunch, please remember to buy the joint by Thursday lunchtime. Most butchers sell out fast thereafter; to efficient housewives on a Friday, to us less efficient mortals on a Saturday morning!!

The quality of a Lamb joint generally is, it seems to me, more uniform than, say, Beef, but of course it is best to buy your Lamb joint from a source when the lambs have been allowed to frisk about joyfully, are fed good grasses and, as in France, fresh herbs. The latter is a relatively new phenomenon and adds significantly to the flavour of the meat.

Contrary to my recipe for Roast Beef, where I suggest the larger the better is terms of joint size, with roast lamb I suggest (and many will disagree) that a very large leg of lamb will have significantly less flavour than a small one. I also suggest that cold Roast Lamb, and almost anything made from it - apart from possibly lamb and mint sandwiches - is not nice. So, buy according to the number of people you are expecting.

When you get your lamb joint home, place it in the fridge, if possible wrapped in silver foil. Add a few tablespoons of Olive oil, some Rosemary, some Thyme, and even some fresh Lavender inside to foil and fold the edges together. If you like garlic, stab the skin of the joint with a small, sharp knife in at least 8 places, and insert a peeled garlic clove into the hole. This process will add a delicious flavour. Try and remember to turn the joint occasionally so the herbs infuse into all parts of the joint.

Roasting

Preheat the oven to about 180 - 200 C. If possible, use a roasting tin with a lid and before putting in the joint place as many herbs (see above) as you can on the bottom of the dish. Pour over some Olive oil and leave for a few minutes.

Season the joint well, not being too restrained with the salt, and place in the roasting tin on its bed of herbs. I personally do not "seal" lamb before roasting it.

At this point add slightly less than 1/2 pint (say 400cc's) of cold water to the joint, and a similar amount of white wine. The purpose of this is to keep the meat moist as it roasts, otherwise there can be the tendency for the meat to dry out during cooking. Don't worry, the liquid will evaporate.

Basting is not as important as with other meats, as the garlic and the herbs already in the meat will contribute their own flavours, and the water/wine will keep the meat moist, but it is worth checking the joint every now and then, and slopping some of the liquids over the meat.

Cooking times vary a little with lamb. Lamb which is cooked rare is predominately the way the French do it, with blood oozing all over the place and turning their roast potatoes red.

I have always had my doubts as to whether people who eat rare lamb, actually enjoy it or rather feel it contributes to their air of gallic sophistication, but if you like your lamb rare, give it about 17 minutes per pound (450 grams).

In my humble opinion lamb should be pink in the middle, with the meat cooked to a nutty brown colour around the outside. To achieve this, give the meat about 20 minutes per pound (450 Grams) with an extra 15 minutes for luck.

An alternative way to roast lamb: slow roasting

I tried this out today and have to say the results were wonderful. If you are aiming for lunch at say 1pm, haul yourself out of bed at 7am and turn on the oven to about 70C (160F) and place the lamb, wrapped up in foil, into the oven. Leave for 3 hours, and then turn up the oven a little to about 140C for another couple of hours, and then finally turn up again to 180C and at this point open the foil package to expose the meat. Leave for the final hour and then remove from the oven, recover in foil and let rest (see below) - the meat will be so wonderfully tender and moist. It is a wonderful alternative ! Enjoy

Letting the meat rest

Once the cooking has completed, take the joint out of the roasting dish and place it on its own separate dish, cover it loosely with tin-foil and leave it to “rest” for about 15 minutes in a warm part of the kitchen. This is absolutely essential as the juices, which has been drawn towards the surface of the joint will “relax” and diffuse back into the joint. The resting time also gives you time to make a delicious gravy.

Gravy for lamb
Gravy for lamb is not quite the same gravy as the one for Roast Beef. Place the roasting dish on the stove (if need be light 2 rings onto a very low heat, one for either end) and allow the juice to heat up a little.

Add a cup of a dry white or red wine (white wine makes the gravy more subtle, red wine more potent) to the roasting tin, and thoroughly deglaze it on a high heat. This will also evaporate the alcohol from the wine.

Add a little water (if you are cooking vegetables, add a little of their water!) and, if to hand, some Worcester Sauce or Maggi, and a flat teaspoon of store bought mint sauce, and once again bring to a low simmer.

Now add 1 generous teaspoon of orange marmalade, or sweet jelly, a small teaspoon of mustard, and a generous scrape of Nutmeg, and stir in. If you are really feeling naughty, you can add some crème fraiche!

Continue to heat everything on the stove, adding small amounts of water (or cream or more wine, depending on taste) waiting til the gravy begins to thicken on its own (please don't add cornflour!) - Lamb gravy is actually more of a Jus - and then carefully sieve the lot, with the gravy reserved in a bowl (don't do what I once did and, without thinking, sieved the gravy over the kitchen sink).

Remember you need enough gravy for the number of people at the table, and they will take loads of gravy... it's that good.

Mint sauce

Well, I am an Englishman so for me, a few hand-torn mint-leaves, mixed with a little warm Greek honey and a good quality vinegar is a delightful addition to Roast Lamb, but... there are those that don't like the idea, and are very vociferous in their sneering opinions.

My suggestion is in the same vein as the instructions on the side of a packet of spot-remover. Try a little to see if it works for you !! If you don't like it, then... don't have it !

However where I draw the line is at those who proceed to slosh it all over the lamb, as I am afraid some of my fellow countrymen do. I prefer to delicately dip the lamb into a tiny dish by my plate containing mint-sauce en route to my mouth.

title: Cookbook:Roast Lamb


text:
Baroque Flute Handbook/Care

Breaking In a Flute
Baroque flutes are made of wood. When played, moisture condenses out of the breath to settle on the flute's inner bore. The wood inside the bore absorbs this moisture and expands. Wood on the exterior of the flute stays relatively dry and does not expand. That difference of expansion produces stress that (in the worst case) is relieved by cracks. Most at risk are new instruments and instruments that have dried out because of infrequent playing. (It can take as little as a week or two between playing sessions for a flute to return to its original dried-out condition.)

To make a new or unplayed flute's transition from dry to damp as stress-free as possible, the player must follow a break-in routine that gradually increases the amount of moisture absorbed (and retained) by the flute. The key idea is to minimize moisture by playing the flute for only a small amount of time at first, and then gradually increase that time, and thus also the amount of moisture absorbed by the wood, until the instrument reaches a point of equilibrium at which it can be played for extended periods (within reason). There are various schedules recommended for this process, but all follow the same pattern: a gradual increase of moisture to which the instrument is exposed. The following sections outline several representative schedules.

Rod Cameron

 * Day 1: 10 min
 * Day 2: 20 min
 * Day 3: 30 min
 * Day 4: 40 min
 * Day 5: 50 min
 * Day 6: 60 min
 * Day 7: 80 min
 * Day 8: 120 min

Dockendorff-Boland

 * Day 1: 10 min
 * Day 2: 15 min
 * Day 3: 20 min
 * Day 4: 25 min
 * Day 5: 30 min
 * Day 6: 35 min
 * Day 7: 40 min
 * Day 8: 45 min
 * Day 9: 50 min
 * Day 10+: 60 min

Folkers & Powell

 * Week 1–2: 10 min twice a day
 * Week 3–4: 30 min/day
 * Week 5 and after: 60 min/day

Oiling
The inner bore of a flute must be oiled periodically. The thin layer of oil acts as a buffer. It allows some moisture to pass from the breath into the wood, but not too much or too quickly. Some authorities claim that oil alters the sound and playability of the flute for the better, but they provide few specifics as to either the mechanisms or the effects. Oil could make the interior more smooth by filling in between ridges left during the boring process. That could, plausibly, alter sound and playability. In the absence of solid, quantified research, suffice it to say that oil does provide a measure of protection for the instrument and it may even improve sound and playability. Even if the improvements were to be found largely placebo effects, they would be  improvements nonetheless. In the final analysis, you should oil your flute. Certainly for the protection. Perhaps for sound and playability. And last, but not least, because it is a regular checkup that turns up unnoticed issues and shines your instruments back to their peak.

What oil to use?
Two kinds of oils are used on wooden flutes: hardening and non-hardening.

 * Hardening oils (also known as drying oils) dry to a finish and leave a semi-permanent layer on the wood. Linseed oil is a hardening oil.
 * Non-hardening oils (also known as non-drying oils) do not dry.

Most vegetable oils (almond oil, olive oil, peanut oil, etc.) are said to be non-hardening, though in reality they simply are slower to harden. There are many reasons to select a particular oil, including whether or not the oil is prone to going rancid, or even preferences as to the taste of an oil.

When shopping for oils, it's important to know that they are not always sold under the same name commonly used in the traverso world. Linseed oil is often sold as flaxseed oil, while rapeseed oil has been renamed (for marketing reasons) canola oil.

Almond oil
Almond oil is popular, but some people have problems with it going rancid. Mixing vitamin E with the oil is sometimes advised as a way to prevent this. About one capsule of vitamin E per 8 to 10 oz. is a recommended mix. It's still a good idea to store almond oil in a cool place. Even with the use of vitamin E, some people have reported problems with the oil applied to an instrument later becoming sticky and rancid. One theory (not confirmed to this author's knowledge) is that there are two grades of almond oil, food and pharmaceutical, and that pharmaceutical grade  should be used to avoid problems.

Linseed oil
Linseed oil (raw, unboiled) is a hardening oil. It's also a controversial oil. Some swear by it. Others reject its use entirely. It's not entirely clear why this is so. Perhaps it's because some early authors, especially Tromlitz, discouraged its use, saying it left a crust inside the instrument that alters the bore. On the other hand, many players of that time believed almost superstitiously in the ability of oil to improve the playing characteristics of an instrument and were prone to use more than liberal quantities. Were linseed oil to be used in this way, it's not surprising that it might get a bad reputation. However, when used properly, it has much to recommend it because of its hardening qualities. One must simply not use it too often, in too large a quantity, or let the unabsorbed oil sit for too long unswabbed.

Non-vegetable oils
While not "historically authentic," some people do use non-vegetable oils containing petroleum distillates or other chemicals. These are the sorts of bore oils you are likely to find in music stores. Lacking evidence to the contrary, it seems the vegetable oils do just as good a job (and they won't make you sick or kill you if ingested).

Another opinion: vegetable oils all tend to rancidity (which is not good to consume even in very small doses) and become gummy (harden) and (as Tromlitz observed) build up on the surface of the wood after a time. The vegetable oils sold as tung oil and "boiled" linseed oil (which some flute makers do use) also often have additives that can be quite toxic. On the other hand, mineral oil which is intended to be taken internally as a laxative is sold in pharmacies: the small amounts one might ingest from playing a mineral-oiled flute are unlikely to have any effect at all on the ingestee. Mineral oil is chemically close to inert, and does not oxidize or harden, yet it soaks into the cells of wood and limits the amount of moisture that can be absorbed. In other words, mineral oil seems to provide all the benefits sought from oiling without the drawbacks of rancidity, hardening and surface buildup that are inherent with vegetable oils.

How often to oil?
Opionions on this topic seem to depend on whether a hardening or non-hardening oil is being advocated, though about once a month is the median point for both camps. For non-hardening oils on instruments played frequently, it may be necessary to oil more often. For hardening oils on instruments played infrequently, oiling less often may be a good idea to minimize any problems with accumulation in the bore.

How to oil?
qqq

Polishing
Carnauba wax mixed half-and-half with Vaseline makes a good polish for the outside of the flute. It is also found in car polishes, but they don't say in what proportions. Carnauba wax can be purchased in hard-flake, pure form from wood finishing suppliers. After melting it with Vaseline, rub it on the wood and polish with a soft cloth especially good around the mouth-hole.

A simpler approach: rub some of the bore oil on the outside of the instrument, allow to soak in, then polish with a soft cloth or chamois.

Reaming and Reboring
Reaming and reboring are the process of sending a flute back to its maker on occasion to have its inner profile restored what it was when it first left the shop and had not yet been altered through the ravages of moisture and playing. There are two schools of thought with regard to this process: most believe it is an essential part of wooden flute maintenance; a few find it to be a highly questionable practice.

this passage is not built on accurate information. it is exactly the opposite: most builders DO NOT suggest re-reaming flutes after playing in. I would like to see the clear evidence that the majority opinion is for re-reaming, since the top builders I know in the EU: Tutz, Tardino, Weemaels and Wenner are all against it - UNLESS there is an issue to be resolved. As far as I know, only Cameron and Folkers & Powell (who have stopped making flutes) are for re-reaming, and therefore the minority view.

Most flutemakers will not call it re-reaming, but, rather, bore polishing, which is a method of removing the micro-filaments of wood that have lifted inside the bore, end-grains, as it were.

Reaming and Reboring: The Majority Opinion
Most makers hold that the inner bore of a traverso may need to be reamed back to its original profile on occasion. Wood changes shape, especially when it goes through the wet and dry cycles of playing. The inner bore may distort a bit. This can change the pitch of the instrument and the octave spacing between some notes. The distortion may be slight, but it can still alter the instrument's performance. To the player, it can feel like a stiffness or inflexibility in the instrument, either it cannot be pushed to play louder, or it may feel "wooden," with a somewhat coarse tone is difficult to play softly. Because the traverso allows for playing with great variations in pitch, one may not notice the small pitch shifts that have made the instrument inherently out of tune, but will instead find it simply uncomfortable to play. This can be hard to notice since the changes are usually gradual.

Instrument makers all have their own procedures to deal with this. It's usually a matter of re-reaming the instrument once the instrument has been broken in and played regularly for 3 to 6 months. After the re-reaming, the instrument must be broken in again as if it were new. This usually works, though some instruments may need more work, just with the passing of time, or because the wood out of which it was made was not adequately dried in the first place, or because the wood itself is persnickety (boxwood being the most notorious in this regard).

Reaming and Reboring: The Minority Opinion
The minority opinion, as stated by flutemaker Simon Polak, makes a case against reboring that can't be dismissed out of hand. A full discussion may be found on his webpage. He observes that his flutes improve as they are played in and as their players "play in" on them. In his experience, instruments that return to his workshop after a year play very much better than when they were new: "more open, easier all over (not just the upper octave) and warmer." He reasons that if the instrument is getting better on its own, there's no reason to go around making unnecessary changes.

As for the practice of standard reboring of the new flute after some period of time, he provides an amusing thought experiment in which he imagines the reaction of a famous player of an equally famous original 18th century traverso to the suggestion that his instrument be rebored with reamers that can be proved to be the originals for that instrument. It seems more likely than not that the famous player, having found a comfortable place with the flute on his own, will emphatically reject the proposed surgery. While few players own rare instruments such as this, it does provide a perspective that other flute players might want to consider when they are faced with the decision to ream or not to ream.

Polak's bottom line seems to be that one should rebore only if it seems unequivocably necessary and not as part of standard maintenance and that it should be very much the exception for most flutes. In this he quotes Rachel Brown from The Early Flute: "Many makers understandably want to rebore the instrument ... Obviously this is a very personal matter ... It is my humble opinion that the bore changes according to the way the instrument is played, and if it is working well it is preferable not to tamper with it."

Adjusting the Cork
Between the embouchure-hole and the closed end of the traverso is a cork which may be moved to adjust an instrument's intonation. For those of an engineering bent, there are various rules for placing the cork based on parameters such as the diameter of the flute, for example, that the cork should be as far away from the There are several problems with rules such as these:

 * The variations of bore, embouchure dimension, and finger-hole dimensions vary so much from one traverso to another that it is, for all practical purposes, impossible to devise a "one size fits all" rule.

 * The bore of a traverso is conical, larger at the embouchure end than the open end, so there are a lot of diameters from which to choose. The rules never seem to state which is the correct choice.

 * It's actually easier just to place the cork where things "sound right" (which we'll get to shortly) than it is to use measurements and such.

The basic idea behind cork placement is that you want to get octaves on the traverso in tune with themselves.

Push the cork the same direction as the change in flute length. A longer section moves the end of the flute away from the head; the cork moves down the headjoint, towards the embouchure-hole. A shorter section moves the end of the flute toward the head; the cork moves up the headjoint, away from the embouchure-hole. The foot register moves in the same direction as the cork: big section, pull out; smaller section, push in.
 * A (sort-of) mnemonic for which way to adjust the cork when you change middle sections:

If they’re too close ( G 1 sharp and G 2 flat), push the cork towards the mouth-hole. If they’re too far apart ( G 1 flat and G 2 sharp), push the cork away from the mouth-hole. Do the same with A 1 and A 2. Another (sort-of) mnemonic visualization: The two notes come out the end the flute. If they’re too close, they need to be “expanded” by pushing the cork in towards the end, sort of like inflating a balloon. If they’re too far apart, they need to be “collapsed” by pulling the cork away from the end, sort of like sucking the air out of a balloon.
 * Fine tuning of the cork: Play G 1 and G 2.

Something, somewhere on the flute will be out of tune, the best thing to do is find the best compromise position with the least out of tune notes. Try and make sure at first with any instrument you are playing for the first time after a restoration or some repair, that the octave Gs, As, and Bs are somewhat in tune. The Ds are often unreliable, being frequently flat in the bottom end, the middle Ds being sharp, flat or in tune with the bottom one. Then try blowing with the mouth-hole covered or open to different degrees and with differing breath pressures to find where the instrument responds, tunes and sounds best. One rule of thumb that I had heard in the past was that the distance of the cork from the center of the embouchure-hole should be the same as the bore size. This does not seem to work on most of the flutes I encounter. Usually they need to be a good bit farther away than their head joint bore size.
 * Everyone seems to blow a little differently.

This makes the high register sharp and the low register flat. To compensate, they position the cork further out, which makes the high register speak less easily. They should push the cork in a bit more and cover more of the mouth-hole (or turn the headjoint in more to accomplish the same thing) in order to narrow the octaves and, at the same time, make the high register easier to play.
 * Most modern players don’t push the cork in far enough because they uncover the embouchure-hole more than 18th century players did.

Adjusting the Foot Register
Play the D 3 first fingered -23 456 - and then -23 --- K. If the first is higher than the second, pull the register out. If lower, push the register in.
 * First make sure the cork is properly adjusted.

If it's too high, pulling the register out will make the flute longer and pull the pitch for that fingering down. And vice versa.
 * Why it works: The first fingering uses the full length of the flute.

Adjusting the Bottom Joint
On some flutes, especially the 3-joint Hotteterre, it can be difficult to adjust the bottom joint so that the key can be reached easily while not at the same time interfering with hole 6. This can happen if the little finger on the right hand is lying on and moving the key while flat, or starting curved and then going flat. If this occurs, the bottom joint may need to be rotated upward for the finger to operate the key, thus getting in the way of the 6 th hole. The solution is to curve the little finger, pressing the key with the tip. It is then possible to roll the bottom joint down out of the way of hole 6. Further, if the little finger remains curved while pressing the key, with the only motion occurring as a pivot of the joint where the finger meets the hand, fingerings that use the key will have less movement and be quicker.

 * 1)  It's possible that one should be more conservative when breaking in a traverso made of a less dense wood. Boxwood, for example, while popular, can be more prone to warping than denser woods.

 * 1)  Janice Dockendorff-Boland. Method for the One-Keyed Flute: Baroque and Classical. University of California Press, Berkeley, CA, 1998.

 * 1)  Johann George Tromlitz (translated by Ardal Powell). The Virtuoso Flute-Player. Cambridge University Press, 1991.

 * 1)  Once a month, just enough to coat the inside of the instrument, left for 2 hours or so and then swabbed out are good guidelines for its use.

 * 1)  Intonation with itself, not with other instruments. Assuming the cork is placed correctly, you can pull the headjoint out a little to flatten a traverso that is sharp relative to other instruments in an ensemble. But you can't go too far because this alters the bore profile and the instrument will become increasingly difficult to play. If the instrument is flat, the only choices are to use the embouchure to play sharper, have everyone else tune themselves to you, or, if you're playing on a 4-joint traverso, replace the 2nd joint with one that is slightly shorter. The last is probably not as viable an option as it once was, since most traversos made today  offer only a few choices for the 2nd joint (typically one or more of the following: A440, A430, A415, A410 or thereabouts, and A392).

 * 1)  Or, as much as possible. Like the natural horn (or natural "French horn" if you prefer), the traverso is an instrument that requires careful attention and adjustments by the performer if it is to be to played in tune. Furthermore, just as with the natural horn, being "in tune" can be just a little different for some notes than it would be if you were following the modern system of equal temperament. And also, as with the natural horn, many notes, especially those which might be considered most "out of tune" by modern standards, have unique personalities of their own. These variations of quality from one note to another and one key to another were among the reasons why the traverso and natural horns maintained their advocates even "improved" forms were devised. These provided consistency of tone quality and intonation across keys and across the instrument's range. At the same time, much of the individuality of each note and key was lost.

title: Baroque Flute Handbook/Care


text:
User:Chaerani

Please see w:User:Chaerani

title: User:Chaerani


text:
Ruby Programming/Ruby editors

What is Ruby IDE ?
Integrated development environment or IDE is a software tool generally contains at least a debugger, a source code editor, and build automation tools.

There are a few of text editor/IDE that can be used for Ruby Programming language (arranged alphabetically) as shown below :

Although you can write Ruby programs with any plain text editor, some text editors have additional features to aid the Ruby programmer. The most common is syntax highlighting.

P.S 1: For the ease of readers, the book will be dealing with Notepad++ as the more popular Ruby IDE, ATOMS will be sun-setted by GitHub in 15 Dec 2022.

P.S 2: Pulsar is fork from ATOM IDE. Listed below for conveniences.

Arcadia

Price: (Free as in beer)

Website: https://www.arcadia-ide.org/

GNU Emacs
Price: (Free as in beer)

Website: https://www.gnu.org/software/emacs/

ICEcoder
Price: (Free as in beer)

Website: https://icecoder.net/

Komodo
Price: (Free as in beer)

Website: https://www.activestate.com/products/komodo-ide/

Notepad++
Price: (Free as in beer)

Website: https://notepad-plus-plus.org/

Pulsar
Price: (Free as in beer)

Recommended for Freeware

Website: https://pulsar-edit.dev/

Ruby Packages: https://web.pulsar-edit.dev/packages/search?q=ruby

RubyMine
Price:  (Annual subscription fee)

Recommended for Paidware

Website: https://www.jetbrains.com/ruby/whatsnew/

Sublime Text
Price: (One off payment and receives 3 years of continuous updates)

Website: https://www.sublimetext.com/

Vim
Price: (Free as in beer)

Website: https://www.vim.org/download.php#pc

title: Ruby Programming/Ruby editors


text:
Arithmetic/Reading Decimal Numerals

The word and is used only for the decimal point; And is also used to separate a whole number and a fraction. A comma is used at every third place, starting at the decimal point and moving left. Frequently a comma or space is used at every third place moving to the right of the decimal point.

Additionally, no comma is used before and. Also, all decimals end in ths except unitary decimals that end in th.

Alternatively, you may say the whole number, followed by a point and the digits of the decimals from leftmost to right. This is a much more natural and informal way of saying numbers.

title: Arithmetic/Reading Decimal Numerals


text:
Arithmetic/Reading Serial Numbers, Account Numbers, et cetera

Numbers such as serial numbers, account numbers, U.S. Social Security numbers, telephone numbers, ZIP codes, and other numbers that are non-sequential are read one digit at a time. Some people read two or three digits at a time.


text:
User:Patchouli

http://en.wikipedia.org/wiki/User:Patchouli

title: User:Patchouli


text:
Wikijunior talk:Kings and Queens of England

Kings and Queens of ENGLAND? Surely the monarchy of England was abolished in 1707 when England and Scotland formed the Kingdom of Great Britain. In 1801 Ireland was incorporated to form the United Kingdom of Great Britain and Ireland. Other Wikipedia sites confirm this. Please get this right.

Quite right !!!!!!!

Not appropriate for the site run by the commoners for the commoners as featured books
I presume this site is run by the people, for the people and the elites though out the history to this day did nothing good to the commoners but tried to plundered them and kept them ignorant as slaves.

I really doubt the whole initiative is managed by the common people.

A MICHAEL


text:
User talk:Minun~enwikibooks

I suppose it is time to delete that book. I will try to get around to it today. --Whiteknight (talk) (projects) 11:38, 29 September 2006 (UTC)

Email trouble
Read about your troubles emailing to foundation-l. Which email client do you use? If you send HTML email by default, you might want to disable that. --Swift 03:32, 2 October 2006 (UTC)

Doom redirect
I changed the link, but left it protected. I assume it was protected to prevent the reinvention of that particular wheel, but if it moves again, let us know. -- SB_Johnny | talk 14:43, 2 October 2006 (UTC)
 * The standard procedure for transwikied books is to protect the main page. This prevents vandalism and keeps a stable link to the new location. Sorry if it inconvenienced you. -within focus 15:54, 2 October 2006 (UTC)

IP Trouble
Recently a vandal was blocked that appears to be coming from an IP address that you have used. Please let me know if you have been inadvertantly blocked because of this. --Whiteknight (talk) (projects) 16:42, 26 December 2006 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Minun. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Minun~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:28, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:15, 19 April 2015 (UTC)

title: User talk:Minun~enwikibooks


text:
CAT-Tools/Tools to be used together with CAT-Tools

IntelliWebSearch can be used to launch terminology searches on the Internet from inside any Windows CAT tool or other Windows application. Simply highlight the term you want to search for and press the user defined shortcut key combination. See site for more details: www.intelliwebsearch.com

EditPad Pro - for editing HTML files. http://www.editpadpro.com/search.html

Maxprograms Utilities is a set of free Java programs for translators that runs on Windows, Mac OSX and Linux.

The programs included in Maxprograms Utilities are:

 * RTFCleaner: Removes Trados styles and hidden text from "uncleaned" documents.
 * CSVConverter: Converts glossaries in CSV (Comma Separated Values) format to TMX.
 * TMXValidator: Checks TMX files for validity and compliance with TMX standard
 * PropViewer: Utility for proof-reading Java Properties files. Specially designed for viewing Asian languages.

/Macromedia Dreamweaver/ - for search and replace

QA Distiller - Automated translation quality assurance for TTX, TMX and XLIFF files

Xbench - Quality Assurance and Terminology Management in most common CAT formats including TMX, XLIFF, Trados, Wordfast, MemoQ, Deja Vu, IBM Translation Manager and many more.

'AceProof'- translation quality assurance tool for bilingual files in the following formats: DOC(X), RTF, XLS(X), HE (Helium), TMX, TTX, XLF, XLZ, SDLXLIFF, MQXLIFF, MQXLZ


text:
Talk:Dialectical Behavioral Therapy

Query about capital letters
I am new to Wikibooks. I am impressed with the content. However, reading this article I am confused about the use of capital letters. It seems that many phrases like wise mind, core mindfulness skills etc have been given a capital letter. They are not proper nouns and they are not capitalised in the textbook that is the reference for this Wikibook. --Vincej 10:01, 29 September 2006 (UTC)

Book licensed under GFDL
DBT is based upon the work of Marsha M. Linehan, Ph.D Can the book be under GFDL and be based on the work of the above person? Logictheo (talk) 20:48, 22 March 2009 (UTC)

Needs an overview. Perhaps incorporate or reference WP http://en.wikipedia.org/wiki/Dialectical_behavior_therapy
Needs an overview. Perhaps incorporate or reference WP http://en.wikipedia.org/wiki/Dialectical_behavior_therapy as an introduction.

title: Talk:Dialectical Behavioral Therapy


text:
User:Vincej

Hi. I am new to Wikibooks. Please comment on my talk page, if you wish.

title: User:Vincej


text: User talk:193.111.244.16

title: User talk:193.111.244.16


text: User talk:198.209.24.141

title: User talk:198.209.24.141