text:
User talk:SimpsonDG

Welcome, !

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. Mattb112885 (talk to me) 00:24, 20 July 2007 (UTC)

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

title: User talk:SimpsonDG


text:
Esperanto/Appendix/Slang

There are very few idiomatic or slang words in Esperanto, as these forms of speech tend to make international communication difficult—working against Esperanto's main goal. The suffix -ĉjo may be used to describe something in an affectionate manner, but this was defined ever since the first Esperanto dictionary and should not be considered slang.

Slang

 * aligatori: to speak a national language different from one's own at an Esperanto congress.
 * bonantagulo : a lazy person who learns only a few simple Esperanto phrases such as "Bonan tagon!"
 * dando : fashionista, someone who is involved in fashion trends
 * etoso : ethos, atmosphere, "karma" (as of an Esperanto congress, etc.)
 * giko : geek
 * gufujo : a "chill room," a place or event that Esperantists gather at to relax and/or decompress
 * kabei : to disappear from the Esperanto movement (named after author Kabe)
 * krokodili : to speak one's native language among a group of Esperanto speakers
 * mojosa : "cool"
 * nerdo : nerd
 * samideano : Esperantist. Originally, someone "who has the same idea" as another.
 * verda papo : "green pope"; one who talks at great length about the ideals of Esperanto
 * verdulo : a proud/fervent Esperantist, literally "green person."
 * volapukaĵo : nonsense (after the obsolete constructed language Volapük)

title: Esperanto/Appendix/Slang


text:
Talk:General Chemistry/Introduction

Make it interesting!
As an introduction to a book, and NOT an encyclopedia article, it is important for this section (and every section!) to tell a story. I have tried to make the text in this introduction "speak" and not just list a series of facts about chemistry (which should properly be found on wikipedia).

For now this intro is vague and sparse. I am sure it will grow as the text fills out, but this should be a good starting point to introduce the as yet unwritten chapters. Hopefully there will be some point to editing this page once there is more text that follows it. I hope to come back and help write a better intro once there's actually something more to introduce! Zolot 01:45, 20 July 2007 (UTC)

title: Talk:General Chemistry/Introduction


text:
Spanish/Vocabulary/Occupations

= Las ocupaciones (occupations) =
 *  el abogado  :  lawyer
 *  el agente de policía  :  policeman
 *  el agente  :  actor
 *  el antropólogo  :  anthropologist
 *  el arquitecto  :  architect
 *  el banquero  :  banker
 *  el barbero  :  barber
 *  el carpintero  :  carpenter
 *  el cartero  :  postman
 *  el cocinero  :  chef
 *  el dentista  :  dentist
 *  el doctor médico  :  doctor
 *  el electricista  :  electrician
 *  el enfermero la enfermera  :  nurse
 *  el escritor  :  writer
 *  el farmacéutico  :  pharmacist
 *  el guardián  :  custodian
 *  el ingeniero  :  engineer
 *  el maestro  :  teacher
 *  el mecánico  :  mechanic
 *  la mecanógrafa  :  typist
 *  el músico  :  musician
 *  el periodista  :  journalist
 *  el piloto  :  pilot
 *  el pintor  :  painter
 *  el profesor  :  professor
 *  el secretario/la secretaria  :  secretary
 *  el soldado  :  soldier
 *  el vendedor  :  salesman

title: Spanish/Vocabulary/Occupations


text:
Wikijunior:World at Work/Weaver

fr:Wikijunior:Le monde au travail/Tisserand

title: Wikijunior:World at Work/Weaver


text:
Talk:Circuit Theory/RLC Circuits

The equation for the impedance of the series RLC circuit is wrong. It needs to be multiplied by a factor of L/(jw) to be right. Also, for the series circuit, the damping ratio is wrong. This page is therefore highly suspect.

Actually, the impedance for the parallel RLC circuit is incorrect as well.

even the waveform is also wrong. The one which is shown as over damped is actualy under damped.

more on parallel rlc circuits would be helpful
the differential equation given for series circuits is useful and helps to relate various quantities should as damping, quality factor. If a parallel rlc circuit differential equation is given parallels (so to speak) could be drawn. Also mentioning the fact that Q=1/2 is critical damping, Q>1/2 is underdamped (hence complex solution) and q>1/2 is overdamped, with a few graphs to boot. 129.67.119.240 (discuss) 22:38, 13 June 2011 (UTC)

Standing Wave
In Resonance section, case R=0, it is claimed that if L=C, then standing wave is produced ! How do you prove this fact, why L=C ?

Different in use of zeta from Wikipedia page
The Wikipedia entry for RLC circuits uses $$\zeta = \frac{\alpha}{\omega_0}$$. This page uses $$\zeta$$ in the way that that page uses $$\alpha$$.

--Jeff Wheeler (discuss • contribs) 16:11, 30 August 2012 (UTC)

I agree. I'm pretty sure that the definition given here is incorrect. The correct definition is the one on the Wikipedia page

-- Andy Adler, Oct 2017

title: Talk:Circuit Theory/RLC Circuits


text:
User talk:72.90.85.45

--AdRiley 06:22, 20 July 2007 (UTC)

title: User talk:72.90.85.45


text:
Applied Science BTEC Nationals/Chemical Laboratory Techniques/Iron tablet

=To Investigate The Percentage Of Iron In “Iron Tablets.”=

The experimental details given here are given in good faith and are believed to be safe and workable methods. However, the authors cannot take responsibility for the consequences of performing these experiments.

The experiments are written for experienced science teaching staff to use as instructions for a supervised class of students. The experiments are not designed for students or inexperienced members of the public to perform without supervision. If you wish to attempt the experiments, ensure that you have completed a legally adequate risk assessment beforehand and that you work within the constraints of the risk assessment.

Discussion.
Iron tablets are prescribed for anaemia. The iron in commercial iron tablets is in the form of Fe2+. This can be oxidised to Fe3+ by the manganate (VII) ('permanganate') ion. This is the reaction which will form the basis of our titration.

MnO4- + 8 H+ + 5 e- → Mn2+ + 4 H2O

Fe2+ → Fe3+ + e-

5 Fe2+ + MnO4- + 8 H+ → 5 Fe3+ + Mn2+ + 4 H2O

First we need to prepare a standard solution of sodium ethanedioate and titrate it with the given potassium manganate (VII) solution to determine the concentration of the manganate (VII) solution

Apparatus
beakers, 250 cm3

weighing bottles

burettes, 50 cm3

measuring cylinder, 25 cm3

pipettes, 25 cm3

thermometer

volumetric flasks, 250 cm3

Bunsen burner, tripod & gauze

conical flasks, 250 cm3

Reagents
potassium manganate (VII) solution sodium ethanedioate sulphuric acid

iron tablets

Precautions
Wear eye protection and laboratory coat at all times. Tie back long hair when using Bunsen burners.

Standard Solutions Procedure.

 * 1.	Weigh out accurately 1.65 - 1.70 g of sodium ethanedioate Na2C2O4 into a 250 cm3 beaker by the following procedure:

 * a)	Place a weighing bottle on the top-pan balance and tare the balance.

 * b)	Add the required quantity of salt.

 * c)	Now weigh the bottle plus salt on an analytical balance, tip the salt into the beaker and weigh the bottle "empty."

 * 2.	Add about 100 cm3 de-ionised water and stir the mixture to dissolve the solid. Transfer this solution to a 250 cm3 volumetric flask and make up to the mark with de-ionised water, observing all the normal precautions for making up a standard solution.

 * 3.	Pipette 25cm3 aliquots into a 250 cm3 conical flask and add about 25 cm3 dilute sulphuric acid.

 * 4.	Heat the mixture to about 70 °C and titrate with manganate (VII) solution until a faint permanent pink colouration is obtained.

 * 5.	Repeat twice more to obtain accurate titrations.

Calculations

 * 1.	Use your weighings to determine the mass of sodium ethanedioate used to make up the solution and hence determine its concentration.

 * 2.	The fully balanced equation for the standardisation titration is:

5 C2O42- + 2 MnO4- + 16 H+ → 10 CO2 + 2 Mn2+ + 8 H2O

 * Use this equation to determine the concentration of the manganate (VII) solution used in this experiment.

Questions

 * 1) Suggest a reason why the titration flask is heated to 70 °C before the titration is carried out.
 * 2) Write out the half ionic equations for the reactions and identify, giving your reasons, the oxidising and reducing agents.
 * 3) This particular reaction is said to proceed by a process of "autocatalysis". Explain what this term means.

Iron Tablet Analysis Procedure.

 * 1) Accurately note the mass of one iron tablet.
 * 2) Crush this tablet to a fine powder in a mortar with a pestle.
 * 3) Rinse all of the crushed tablet into a conical flask and add about 25 cm3 of dilute sulphuric acid. Add more water and / or warm if you experience difficulty in getting the tablet to dissolve completely.
 * 4) Titrate this solution with the standard potassium manganate (VII) solution in as accurate a manner as possible until a pink colour is obtained.
 * 5) From your result, decide if have obtained a suitable titre. Do you need to use more than one tablet or use a dilute solution as the equivalent of using less than one tablet?
 * 6) Repeat the titration accurately in the chosen manner.
 * 7) For each titration, calculate the mass of iron in one tablet.
 * 8) Calculate the percentage mass of iron in a tablet
 * 9) Compare your values with other members of the group and find average values.

Questions.

 * 1) Compare and contrast this technique with that used in the previous titrations. Consider carefully the sources of errors and mistakes in the two techniques.
 * 2) Describe briefly how this experiment would be used in an industrial or commercial context.


text:
Guitar/Folk Guitar

Introduction
Folk music is considered to be music that originates from the people. It is not the preserve of professional composers because its themes and melodies are derived from the experiences and lives of people who usually have no professional musical training. The lyrics are usually an expression of social or personal conditions. Work songs are a common folk theme and are an excellent example of community and the lives of those who exist within that community. Sea shanties and farming songs are two types of folk music that have work related themes. It is only natural for communities to express their joy at the arrival of spring and the promise of a bountiful harvest or for sailors to celebrate their arrival home after a long time at sea.

Folk music before modern recording tended to be regional and sung in local dialects. The invention of sound recording meant that for the first time these regional songs could be captured and preserved and heard by people from different backgrounds and countries. Folk music had always been passed down orally from generation to generation but industrialization had led to the fragmentation of traditional rural communities as people moved to industrial urban towns and cities. Musicologists became very aware that the old songs were disappearing and soon there was a movement to capture the songs using the technique of field-recording. Alan Lomax is one of the most famous of these early scholars who took to the roads of America with the aim of recording folk music for the Archive of American Song of the Library of Congress. In England the work was done by the composer Percy Grainger.

Despite all these changes, folk music will always have its place in society. The form that the music takes may change but never the reason for its existence.

Playing Folk Music
The recording of an old Lead Belly (Huddie Ledbetter) song "Goodnight, Irene" by The Weavers in 1949 revived general interest in folk music and gave rise to a new movement in the 1950s that was called the American folk music revival. The next decade saw the distinction between popular music and folk music becoming blurred. In the US and many other countries, folk music and folk guitar became very popular and musicians like Bob Dylan wrote contemporary folk music that encapsulated the feelings and politics of the 1960s. This style most often uses an acoustic guitar, open chords, simple chord progressions and vocals. You can play folk guitar with a pick, or by finger picking. This style is simple, yet diverse enough to let you play a variety of tunes.

Folk music evolved during the 1960s into folk-rock and the electric guitar started to take on the role once reserved for the acoustic guitar. However many of the 1960s rock bands also featured acoustic guitar songs on their albums. These songs are not "folk music" in an historical sense but they are a modern adaption of the older folk style and are now generally referred to as "acoustic music". Often they use the same progressions as older folk songs but incorporate a catchy strumming pattern, rhythm or singing style. Here's a short list of songs that have a folk influence:

 * House Of The Rising Sun - The Animals
 * The Times They Are A Changing - Bob Dylan
 * Sloop John.B - The Beach Boys

These are songs that have become immensely popular, such that many people can sing them communally though they may need prompting to remember the next verse. Although these songs can often be performed on an acoustic guitar, they are not quite "folk". You are encouraged to learn these songs and perform them with the view of encouraging others to sing along.

This section will provide the basics of folk guitar. By taking open chords and learning some common (and important!) chord changes, you will learn the principles of folk guitar.

E to A
This is an E major changing to an A major. This is one of the easiest progressions to play since the chord forms are so similar.

C to G
This is a C major changing to a G major.

D to G
This is a D major changing to a G major.

F to C
This is a F major changing to a C major.

Am to C
This is an A minor changing to a C major.

Em to G
This is an E minor changing to a G major

Dm to Am
This is a D minor changing to an A minor

title: Guitar/Folk Guitar


text:
Guitar/Blues

Introduction
The blues is an American form of music whose origins can be traced back to the African-American communities of the southern states in the early 1900s. Its a music of African performance aesthetics played upon European instruments that not only draws upon a remembered African tradition but also alters the standard technique of each instrument. The uniqueness of this cultural exchange is the result of using established Western musical instruments, such as the tempered piano and fixed-valve trumpet, in a distinctly African micro-tonal and rhythmic context. The opening trumpet solo of "West End Blues", played by Louis Armstrong on a fixed-valve trumpet, illustrates all the points so far stated. In contemporary African music modern instruments of European origin are combined with traditional instruments. The guitars on the song "Djam Leelii" by the West African musicians Baaba Maal and Mansour Seck are the result of the same aesthetic approach. Baaba Maal is firmly rooted in the culture of Senegal and Louis Armstrong in the culture of America. The differences between the two artists reflects the importance of American culture to the development of the blues yet the link to African aesthetics is there for all to hear. The punctuation of percussion at certain points, the rhythmic variation of a single motif, the independence of each musician to temporarily introduce a melodic or rhythmic counterpoint to another part, and the space afforded to improvisation.

The twelve bar blues
The twelve bar blues is a simple chord progression that can be easily transposed to different keys. Each box in the diagram below represents one bar with four beats. The roman numeral inside the box indicates which chord is to be played for that bar.

{|class="wikitable" style="text-align:center; width:220px;"
 * width=25%|I
 * width=25%|I
 * width=25%|I
 * width=25%|I
 * IV ||IV ||I ||I
 * V ||IV ||I ||I
 * V ||IV ||I ||I
 * V ||IV ||I ||I

Below are the chords of the key of C major. The I is the tonic chord for which the key is named.

{|class="wikitable" style="text-align:center; width:220px;"
 * width=12.5%|I
 * width=12.5%|II
 * width=12.5%|III
 * width=12.5%|IV
 * width=12.5%|V
 * width=12.5%|VI
 * width=12.5%|VII
 * width=12.5%|I
 * C ||Dm ||Em ||F ||G ||Am ||Bdim ||C
 * C ||Dm ||Em ||F ||G ||Am ||Bdim ||C

Substituting the roman numerals with the chords from the key of C major we see that I is a C major chord, IV is an F major chord and V is a G major chord. This is how the boxes look after replacing the roman numerals with the chord names:

{|class="wikitable" style="text-align:center; width:220px;"
 * width=25%|C
 * width=25%|C
 * width=25%|C
 * width=25%|C
 * F ||F ||C ||C
 * G ||F ||C ||C
 * G ||F ||C ||C
 * G ||F ||C ||C

Note that the three minor chords and the one diminished chord of the key of C major are not used. The twelve bar blues exercise above consists of only the primary chords.

Basic blues shuffle rhythm
This exercise is a twelve bar blues shuffle in A. Observe that the lower note in each bar is always an open string and will be one of the roots of the primary chords I, IV or V.

The minor pentatonic and blues scales
The minor pentatonic scale is a five note scale. It can be derived from the natural minor scale by omitting the second and sixth which in this exercise are the notes B and F. The notes of the A minor pentatonic scale are:

A, C, D, E, G, A

 In any key, the pattern of intervals in between the notes of this scale is (in half-steps, or guitar frets):

3, 2, 2, 3, 2

So the second note, in this case C, will always be 3 half-steps, or 3 frets, higher than the first note, A. The third note is 2 half-steps or frets higher than the second, and so on. The exercise below allows you to visually map all the notes of the A minor pentatonic scale on the low E string up to the twelfth fret:

 Here are two octaves of the A minor pentatonic scale in the 5th position:

 The blues scale below is the A minor pentatonic scale with the addition of a flatted fifth. The addition of the diminished fifth introduces an element of dissonance and tension to the scale. In this exercise the flatted fifth blue note acts as a chromatic passing note which resolves to a consonance. Observe that you always refer to the scale degrees of the minor pentatonic scale by the interval names of the natural minor scale. The fourth note of the scale below retains the designation of a fifth whether it is diminished or perfect. The omission of the second and sixth note of the natural minor scale to form the minor pentatonic scale does not alter the interval relationship between the A and E which remains a perfect fifth.

Exercise 1

Exercise 2

Exercise 3
Playing The Blues Using Only Seventh Chords

You can use seventh chords when playing the blues. Try the 12 bar blues in A using the chords below. No fingering has been given for the D7 and E7 since they have the same fingering as a C chord.

Further blues exercises can be found in the appendix Blues Exercises

authors: Андрей Романенко

title: Guitar/Blues


text:
Applied Science BTEC Nationals/Chemical Laboratory Techniques/Qualitative analysis

=Qualitative analysis of inorganic compounds=

The experimental details given here are given in good faith and are believed to be safe and workable methods. However, the authors cannot take responsibility for the consequences of performing these experiments.

The experiments are written for experienced science teaching staff to use as instructions for a supervised class of students. The experiments are not designed for students or inexperienced members of the public to perform without supervision. If you wish to attempt the experiments, ensure that you have completed a legally adequate risk assessment beforehand and that you work within the constraints of the risk assessment.

Flame tests
A small amount of the unknown substance is added to a quiet blue Bunsen flame. A wire loop, cleaned and moistened with concentrated hydrochloric acid, is used for this purpose. Some metals will colour the flame:


text:
Applied Science BTEC Nationals/Chemical Laboratory Techniques/Qualitative organic analysis

=Qualitative Organic Analysis=

The experimental details given here are given in good faith and are believed to be safe and workable methods. However, the authors cannot take responsibility for the consequences of performing these experiments.

The experiments are written for experienced science teaching staff to use as instructions for a supervised class of students. The experiments are not designed for students or inexperienced members of the public to perform without supervision. If you wish to attempt the experiments, ensure that you have completed a legally adequate risk assessment beforehand and that you work within the constraints of the risk assessment.

Burning
Place a small amount of the test substance on a crucible lid on a heat resistant mat in the fume cupboard. Attempt to ignite it by playing a small Bunsen flame on it from above.

Reaction With Alkali
To about 0.5 g or 1cm3 in a test tube, add about 5 cm3 of bench sodium hydroxide solution, a little at a time, shaking after each addition. If there is no apparent reaction in the cold, warm and eventually boil the mixture. Test for gases with litmus paper but be careful not to touch the solution with test papers.

Reaction With Sodium Carbonate or Hydrogencarbonate
To about 0.5 g or 1 cm3 in a test tube add about 5 cm3 of sodium carbonate solution, a little at a time and with shaking. Look for evolution of gas and test for carbon dioxide with lime water.

Fehling's Solution
Mix equal volumes (about 3 cm3) of Fehling's A & B and add 1 cm3 or 1 g of the test substance. Warm, gently at first and then boil.

"Neutral" Iron (III) Chloride
To 1 g or 1 cm3 of the test substance add "neutral" iron III chloride dropwise until no further colour change - if any - occurs. If in doubt perform a control or blank test using water in place of the test sample.

Potassium Manganate (VII) ('Permanganate')
Use acidified potassium manganate (VII) - mix equal volumes of dil. sulphuric acid and potassium permanganate solution. To about 1 cm3 or 1 g of the test sample, add a few drops of reagent. If there is no immediate reaction, warm the mixture. If reaction does take place, then by adding reagent to slight excess and boiling, it may be possible to detect the odour of the product.

Note (i) A brown ppt. is sometimes observed, especially if insufficient acid is added to the manganate (VII). (ii) alkaline manganate (VII) is sometimes used as an alternative - the expected colour change is then from purple to green.

Potassium Dichromate (VI)
Experimental details are similar to the manganate (VII) test. The expected colour change is orange to blue/green.

Nitrous Acid (Nitric (III) Acid)
Into a test tube cooled in a beaker of crushed ice, place 1 g sodium nitrite (nitrate III) and dissolve it in 5 cm3 water. Add 5 cm3 dil. hydrochloric acid dropwise slowly. Dissolve 0.5 g or 0.5 cm3 of the test sample in a similarly cooled tube. Add the nitrous acid solution to this.

Iodine Or Potassium Iodide
To 0.5 cm3 sample add 3 cm3 iodine solution (or potassium iodide) and 1 cm3 sodium hypochlorite (chlorate I). Add aqueous sodium hydroxide until the brown colour just fades.

Phosphorus (V) Chloride
Place a small amount of the sample in a dry tube and add the phosphorus V chloride carefully - "spitting" may occur.

Bromine Water
NB - bromine is sometimes used in organic solvents such as tetrachloromethane - the following observations may be different.

Place 1 cm3 of the sample in a tube and add the aqueous solution of bromine dropwise with shaking. If decolourisation occurs continue to add it until it is in excess.

2,4-Dinitrophenylhydrazine (Brady's Reagent)
To 1 cm3 of reagent add several drops of the sample. Dissolve solid samples in the minimum volume of methanol.

Tollen's Reagent
To 5 cm3 of silver nitrate solution, add 2 drops sodium hydroxide to ppt. silver oxide. Decant as much of the supernatant liquid as possible. Add aqueous ammonia dropwise until the silver oxide just dissolves. To this solution add a few drops of the sample, or an aqueous solution of it, and place the tube in a beaker of hot water for a few minutes. Use a clean narrow test tube for best results.

NB Tollen's reagent must never be stored and must be disposed with copious amounts of water immediately.

Chlorate (I) - Hypochlorite
A very sensitive and specific test for aniline - blue or purple colouration produced.


text:
User talk:Karlie B CX21

You have been blocked from editing Wikibooks  as a result of your .  Please note that page blanking, addition of random text or spam, deliberate misinformation, privacy violations, personal attacks; and repeated, blatant violations of our neutral point of view policy are considered vandalism. If you wish to make useful contributions, you are welcome to come back after the block expires. Webaware talk 11:33, 20 July 2007 (UTC)

title: User talk:Karlie B CX21


text:
Wikijunior:World War II/Nuclear Weapons

During the war both the United States and Germany were working towards nuclear weapons. Each knew that having a powerful weapon would give them the upper hand in the war.

It was the USA who developed the first working nuclear weapons, with the help of British and Canadian scientists. The USA was the first nation to ever use nuclear weapons and is still the only nation to use them.

On August 6 1945 the first ever nuclear bomb, named 'Little Boy' was dropped on the city of Hiroshima. Shortly after, on August 9 1945, a second nuclear bomb, named 'Fat Man', was dropped on the city of Nagasaki. Both of these cities were in Japan and the utter devastation inflicted caused the surrender of Japan, who feared more attacks. The Japanese emperor also expressed concerns that if they continued fighting the new weapons could also lead to the destruction of humanity.

Whilst there are no reliable numbers that state how many people were killed by these two attacks, some estimates say that around 214,000 people were killed by the bombs. The radiation released by the bombs contaminated the ground around the cities for many years making the areas dangerous to enter.

Hundreds of people were killed through radiation related illnesses in the following years.

title: Wikijunior:World War II/Nuclear Weapons


text:
User talk:Damien Karras

Welcome, !

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. --Whiteknight (Page) (Talk) 12:59, 20 July 2007 (UTC)

Inkscape
I was so free to fix your images.

The problem is typical for Inkscape, the solution is the menu "Text" -> "Transform to normall text"

-- MichaelFrey 14:22, 23 July 2007 (UTC)

 * Thank you! Damien Karras 14:26, 23 July 2007 (UTC)

Images
I really like your images, I think i might use a few of them in the books that I work on. Some books, such as Control Systems, Communication Systems, and Analog and Digital Conversion will benefit from some of these images immediately.

By the way, when you make an image in inkscape you can upload that image directly as an SVG file, instead of having to convert it to PNG first. The mediawiki software will automatically scale and convert SVG images to PNG when you load a page. This makes the images more faithful when they are scaled to different sizes in different pages. --Whiteknight (Page) (Talk) 14:15, 28 August 2007 (UTC)

 * Be my guest, that's what they're there for! I had some problems trying to upload these files as .svg and I will say that some of them need work and tweaking anyway. They serve well as placeholders for the time being but in the future I will create .svg versions over the original .pngs, once I get round to sorting out the text-rendering issue I had above. Damien Karras 07:19, 29 August 2007 (UTC)

 * I had that same exact problem a while back. I had uploaded almost 20 images before I realized that none of them were rendering correctly. I'll let you know where I use your images, when I get around to actually using them. --Whiteknight (Page) (Talk) 12:35, 29 August 2007 (UTC)

Image copyright problems
Thanks for uploading image(s) to Wikibooks. The Wikimedia Foundation is very careful about what Wikibooks includes because of copyright law, and requires that we maintain a strict copyright policy. Some or all of your uploaded files may soon be deleted unless we can determine the copyright holder and status. The copyright holder is usually the creator, the creator's employer, or the last person who was transferred ownership rights. Please take the time to read Media to learn more about what copyright information is required to satisfy our requirements and remember to include this important information for every file that you upload in the future as well. If you have any questions, feel free to contact me, or ask another Wikibookian at the help desk.

To find the files in question, use (unlicensed|untagged)

Thanks! '''– MBA ( Bot talk | Mike talk | owner | block ) 01:19, 21 September 2007 (UTC)

 * This is an automated message. Please ignore it if you've already provided license information for all your uploads.

 * I did notice that some/all of your images say that they're your own work. Please decide how you want to license them (Public domain, GFDL...) and tag them as such. Thanks! – Mike.lifeguard  | talk 01:30, 21 September 2007 (UTC)

title: User talk:Damien Karras


text:
Knowledge Patterns/Key Contributors

Key contributions include

 * Contributors to the vision for this book
 * writers
 * reviewers
 * editors
 * illustrators
 * etc.

Please add your details below if you are a key contributor.

Hint: cut, paste and edit the wiki markup text from one of the other contributors.

title: Knowledge Patterns/Key Contributors


text:
User:Whiteknight/Project3

This template is used to create links to a page, including links to create a new outline if one does not exist. This is used only for wikibooks organizational or improvement projects which are planned but have not yet been implemented. This template makes heavy use of ParserFunctions, and may not be transcluded into a page outside of my user namespace.

title: User:Whiteknight/Project3


text:
User talk:Titusgroan

Welcome message
Welcome, Titusgroan!

Hi, just wanted to say thanks for the WYS48H answers. Won't have the time to check them myself, but hopefully the community will come up with something! Oh, and here's the standard welcome temeplate for new users; might be handy: -- Kowey 13:48, 20 July 2007 (UTC)

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally.

title: User talk:Titusgroan


text:
Cookbook:Spice Rub for Chicken

| American cuisine

Ingredients

 * 2 teaspoons black pepper
 * 2 teaspoons cayenne pepper
 * 2 teaspoons ground celery seed
 * 2 tablespoons garlic powder
 * ½ cup paprika
 * 2 tablespoons kosher salt
 * 1 tablespoon dried thyme

Procedure

 * 1) Mix together spices in a bowl.
 * 2) Rub on chicken, inside and outside.
 * 3) Let stand for a few minutes before cooking per your usual directions.

title: Cookbook:Spice Rub for Chicken


text:
User talk:24.58.235.203

Thanks for experimenting with Wikibooks. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing material in modules will normally be removed quickly. Please see the welcome page if you would like to learn more about contributing to our project. Thanks. Webaware talk 14:05, 20 July 2007 (UTC)

title: User talk:24.58.235.203


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User talk:84.92.86.34

Thanks for experimenting with Wikibooks. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing material in modules will normally be removed quickly. Please see the welcome page if you would like to learn more about contributing to our project. Thanks. Webaware talk 14:12, 20 July 2007 (UTC)

title: User talk:84.92.86.34


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User talk:Iamsaa

Hello, and welcome to Wikibooks! We welcome and appreciate your contributions, such as The Religion of God, but we regretfully cannot accept copyrighted text or images borrowed from either web sites or printed material. For more information, see Wikibooks' policies and guidelines. Happy editing! --dark lama  14:55, 20 July 2007 (UTC)

Please do not post copyrighted material to Wikibooks without permission from the copyright holder, as you did on The Religion of God. For legal reasons, we cannot accept copyrighted text or images borrowed from other web sites or printed material; such additions will be deleted. You may use external websites as a source of information, but not as a source of sentences. Wikibooks takes copyright violations very seriously, and persistent violators will be blocked from editing. --Az1568(Talk) 10:41, 7 August 2007 (UTC)
 * Hi Iamsaa, I don't think Wikibooks is the right place for your book, as it does not appear to be a textbook. If you do wish to write a textbook on the subject, then please read WB:WIW and WB:NEW before re-creating the page. Thanks. --Az1568(Talk) 02:39, 8 August 2007 (UTC)

title: User talk:Iamsaa


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User:Wight

Chuck Wight is a professor of physical chemistry at the University of Utah.

title: User:Wight


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Template:User irc

Anyone using this template will be categorized in Category:IRC users.

Parameters (optional)

 * 1) Channel in IRC that you chat in (#wikibooks, for instance)
 * 2) IRC network your channel is part of (freenode, for example)

title: Template:User irc


text: User:Whiteknight/Preload

title: User:Whiteknight/Preload


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User talk:Amagrabi

Welcome, !

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. Mattb112885 (talk to me) 17:36, 20 July 2007 (UTC)

title: User talk:Amagrabi


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User talk:Kevinfff

Welcome, !

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. Mattb112885 (talk to me) 17:36, 20 July 2007 (UTC)

title: User talk:Kevinfff


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User talk:Jwuelfin

Welcome, !

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. Mattb112885 (talk to me) 17:37, 20 July 2007 (UTC)

Commons images
Hi Jwuelfin. The great thing about Commons images is that it is not necessary to copy them into wikibooks, wikipedia, wikisource, etc. space in order to use them! If you use the command, the software will automatically look for a file named (imagename) on Commons. Just so you know!

Also, please don't delete the copyright tags on any images you import, they are very important. Thank you. Mattb112885 (talk to me) 14:28, 21 July 2007 (UTC)

title: User talk:Jwuelfin


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Category:User tr

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User talk:Manop

Reach me at either my English Wikipedia page or my Thai Wikipedia page.

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User:Manop

Reach me at either my English Wikipedia page or my Thai Wikipedia page.

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Template:Romanian/Introduction

 * About the language
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Talk:Digital Signal Processing/Sound Processing

discuss compression, not particular formats
Instead of discussing MP3 vs OGG or other compression formats, an explanation of Lossy/Perceptual vs lossless data compression algorithms might be more appropriate.

-Kcdixon 18:43, 20 July 2007 (UTC)


text:
Talk:Guitar/Buying an Amplifier

needs some technical improvements e.g. ohmage = impedance

I reworked the structure of the page, most notably moving the information about different types of amps to the top. I think it improves the flow of the article, because it gives readers the general information about what you can buy, before it gets into the "What Makes a Good Amp?" section. --NickPenguin 21:24, 20 July 2007 (UTC)

"Solid State While it is debatable when solid state amps became most popular, typically it is associated with a hard rock sound. Some attribute this to Eddie Van Helen and his modified Marshall, which allow him to have more gain, and deliver a more in-your-face tone and volume when overdriven."
 * EVH uses the approach of capturing the output of whole tube amplifier with a dummy speaker load, and then re-amplifying the signal with solid state. Solid state which has monstrous wattage not seen in audio tube amps. (Thereby blowing away the myth that a tube amp's output stage has to interact directly with the speaker for "legit" tone.)24.85.131.247 (discuss) 17:20, 16 June 2013 (UTC)

Are you crazy? EVH isn't ss sound! And hard rock/heavy metal are strictly TUBE sounds!!! Stop this bullshit.
 * Yes, exactly! If I had a dime for every time I heard nonsense like "tubes are for organic blues and classic rock music I like, and SS is only for that ultra clean jazz, or metal."  Metal players are among some of the most demanding "tone hounds". Great metal sounds is the most difficult guitar tone to get "right" in some way, whether live or recorded. The sound is extremely important to the music, and it has to sound huge and to have impact, without being unpleasant. It has to carry the meaning "I am nasty", but the sound cannot be nasty on the ears. It actually has to be beautiful. Dynamic, shimmering, fire-breathing, etc. People who cannot distinguish the beauties in metal guitar sound and think it's all just hard clipping shouldn't make comments about sound, period. 24.85.131.247 (discuss) 17:20, 16 June 2013 (UTC)

Some suggestions for this chapter
This chapter on amps is full of relevant information. I'm going to remove repeated material and see if I can make it more concise. I'll place anything I remove here. It needs general formatting; images, bullets and headings may need to be reworked. The wattage descriptions are great but I'm not too sure about the > sign in front of every wattage figure. This chapter is supposed to be a buying guide but there's little actual buying advice; it comes across as a technical breakdown of the different types of amps. As a buying guide it should include advice and tips; every guitarist who wishes to play in a band should avoid practice amps (the little 5 watt amps are essentially useless in band situations). Also I think the advice about changing tubes every 1 to 4 years may actually be quite costly. It might also be good to point out that Line 6 amps are modelled patches like the Guitar Rig software and though the benefits of modelling are real it does come at a price. Most onboard amp effects are not as good as dedicated rack units. A further point needs to made about Fender Bassman amps which despite the name has for decades proved one of the most popular amps for guitar players. The Marshall range has also grown to include some low-priced practice, hybrid and solid-state maps. The JCM series by Marshall was the most popular 80s rig and because of the name Marshall many guitarists today buy the lower priced Marshall amps in the belief that they are going to get that classic Marshall sound. These cheap Marshalls are ok but the reader should be left in no doubt that the solid state Marshalls don't recreate the classic tube sound despite the sales pitch. I think the Rockman is mentioned (might be in another chapter) but I think they don't make them anymore. I'll check on that.

This chapter is going to prove a difficult rewrite. I started out on a Peavey Bandit guitar amp, had a Marshall stack with JCM800 head, a Peavey bass amp (7 years playing a Jap Fender Jazz bass), various keyboard amps. I've bought Marshall cabs where the original speakers had been swapped out and also bought a new Marshall cab for a band and someone in the band swapped those out with cheaper speakers (needed the money I guess and thought I wouldn't spot it). I've made the mistake of buying a cheap 5 watt practice amp only to find the sound was terrible. There's many cautionary tales and pitfalls to avoid.

That's just a few ideas. If you wish to revert my edits then go ahead. This is not my book and most of the material had been written years before I landed on the shores of Wiki World. Still there's very little bad weather in Wiki World and its quite good fun to be a Wiki citizen.

Sluffs (discuss • contribs) 01:13, 10 November 2012 (UTC)

Placeholder for removed material from this section
I've removed the "chain" description and placed it here. The intro of this section needs to be a short description of the contents that follow. I've placed the material here so that I can add it in later.

MATERIAL REMOVED

The first point to understand is that everything that comes out of an amp is all due to the chain of sound. This chain refers to all the factors that comprise a rig: guitar, leads, amp, effects and your playing style. If all the links of the chain are strong then you will achieve a good sound.

 * 1) The first link of this chain is the player. It's the player's skill that determines the quality of the sound coming out of the guitar. A player whose technique needs improving will make the guitar sound worse than a player who has some technical skills, especially when amplified. Thus, accurate timing, clean intonation, balanced playing technique and optimal handling of the instrument determines the overall sound of the instrument. Almost all of the tone of the guitar comes from the guitarist.
 * 2) The second link is the instrument which the player manipulates. If the guitar is set-up poorly or has old strings; no amount of amplification will help improve the sound.
 * 3) The next link is the pickup. Pickups can sound clean, muddy, fat, or even metallic. This is especially true if you run it through a good clean channel.
 * 4) It's only after all these do we get to the amplifier. Within the amplifier there are a few more stages itself: preamp, equalizer, effects loop, power amp and speakers; all of which contribute to the overall sound. Amps also have different internal parts (tubes, solid state, digital modeling, analog modeling) and different makes of speakers and cabinets. There's also different configurations of the internal circuits and there's always some deviations in electronic parts. All these factors affect the sound of the guitar

END OF MATERIAL REMOVED

--Sluffs (discuss • contribs) 19:15, 5 February 2013 (UTC)

Placeholder for No amp here!
I've placed this material here. It does need to be included but this chapter is not the place.

Removed material

No amp here!
One of the iconic images of heavy rock and metal is a "Wall of Marshall" standing behind the entertainer. However, chances are that only 4 of these speakers (a double stack) are real, if at all. Some artists may even use amp modelers in secret. Brian May, for example, uses only 6 Vox AC30s even though he has a "Wall of Vox"

End

Sluffs (discuss • contribs) 20:39, 9 June 2013 (UTC)

The Class A debate - Placeholder
There's a lot of discussion online about what is and is not Class A. Here is a link to an advert free article by Randall Aiken:

The Last Word on Class A

I'm struggling to find justification to keep the section on Pure Class A, Class A and Class AB at the start of this chapter. Looking at the amount of threads and articles online discussing the definitions and the methods of categorization and with this being a beginners guide it may be better to place this in another section called "The Debate On Class A and Class AB". If a reader is genuinely interested then the first thing they are going to do is check what is said at the start of this chapter only to find that no one actually agrees as to the correct classification of these operating modes.

We can keep it in by altering the text away from the debate by just saying that a single-ended one "output tube" configuration completing a 360 input cycle is the only true Class A and by this definition all amps not fulfilling this requirement are Class AB though because I'm not an expert I imagine that I may be wrong.

This reminds me of the question "What is knowledge?" asked by Socrates (Plato's protagonist) and as each person answers, Socrates dismisses them on the basis they are speaking about how knowledge is acquired, retained, used or imparted to others (the act basically) and he is after the "essence" (the fundamental form from which we can divide the concept no further for it is in itself the cause for all the other things). Here Pure Class A, Class A and Class AB are modes of operation based around passing an electrical current through a series of connected components. I digress but it may be interesting to see if a philosophical approach can be applied to the problem of classification in the sense I could eventually find a way to write a neutral non-debatable description of what is on offer.

I'm basically saying there has to be some way to write the Class A, Class AB and Pure Class A classification without resorting to examples that can be proved to be otherwise or contrary to their own description.

Considering that I'm hardly qualified to write this chapter and the fact that the online debates have already got me musing about Plato's forms it might be a better idea for me not to bother with this chapter and move onto a a less problematic area in this book. lol

I'll give it some thought and if I find no solution I'll rewrite the tube amp section so there's no cause for confusion in the reader's mind. Clarity sometimes involves removing those things which have never received a true definition. Demiurge beware.

Sluffs (discuss • contribs) 16:48, 13 June 2013 (UTC)

This Wikibook is garbage
It needs to be rewritten from scratch by someone who knows what they're talking about, and doesn't drink the magic vacuum tube Kool-Aid. 216.31.219.19 (discuss) 00:31, 15 June 2013 (UTC)

lol. Absolutely spot on my learned friend. I pointed out I know very little about the subject of amps. Everyone complains but no one wants the job. Life hey!

Sluffs (discuss • contribs) 11:09, 13 September 2013 (UTC)

As someone from the UK I didn't have a clue what this American user was on about - Kool-Aid (we have Lucozade in the UK but that's for when you have the flu). So I looked it up. Here's a cut and paste hack from the Wise Geek site:

The term “drink the Kool-Aid” is used to describe blind acceptance of something, whether it be a high stress work environment, an order from a superior, or membership in a particular group. This term is commonly used in American politics and corporate culture, typically by outside commentators, who might say that someone is “drinking the Kool-Aid.” People will also tell each other not to drink the Kool-Aid, in the hopes of encouraging people to open their eyes to a situation before it is too late.

Sluffs (discuss • contribs) 11:18, 13 September 2013 (UTC)

25W into a 4x12 cabinet is not 100W into a 1x12 cabinet!
25W into four speakers is about as loud as 25W into one speaker, all else being equal: same speaker make and model, wiring for the same impedance, and the same material coming from the amp at the same voltage amplitude.

Although there are four speakers in the 4x12, each one plays more quietly. The 25W is divided four ways, to about 8W per speaker whereas in a 1x12, the speaker will take all 25W.

What a 4x12 cabinet provides is a different sound due to the dimensions of the cabinet, the interference between multiple speakers, and the fact that the speakers are not working as hard for a given power level.

The 4x12 cab also provides more maximum power handling. Four 50W speakers can take 200W as a group, and that's really what makes the cabinet potentially louder. But the power has to be driven into the cabinet to make that happen; the mere presence of four speakers doesn't create more power.

Some 4x12 cabinets are wired for four ohms. This may come about due to four 16 ohm speakers being being wired in parallel. Such a cabinet is louder than a 1x12 made using the same speaker, because the 1x12 cabinet will exhibit 16 ohms.

216.31.219.19 (discuss) 17:35, 17 June 2013 (UTC)

Placeholder for Rack-Mounted Products section
I've removed this for the main body of this chapter for the moment. Needs to be in an Effects section or Outboard Gear section.

START

Rack-Mounted Products
Rack mount units are the ideal setup for live arena playing. Rack mounted units gives the player maximum control of the tone and the ability to access different effects patches during a live performane. These units are mounted in standard 19-inch rack. The fact they each unit is a dedicated separate component allows the guitarist a high degree of flexibility in regards to tone and the order in which the units are chained.

A typical rackmounted setup would consist of a pre-amp unit, equalizer, speaker/cabinet simulators, power amplifiers, power unit and effects. Additional units such as tuners and MIDI switchers can be added. The routing options are more complex than those of a standard stack setup allowing the guitarist to draw upon a vast range of sounds either in stereo or mono.

Quite commonly, these are all controlled by a MIDI pedal, plugged into the MIDI switcher.

END

Sluffs (discuss • contribs) 12:50, 14 September 2013 (UTC)

solid-state vs solid state
I found this online. Obviously something online isn't necessarily the last word on the matter:

The Use of Hyphens Has Become More Restricted

Hyphens were more widely used in the nineteenth century. Did you know, for example, that Herman Melville hyphenated the title of his most famous novel? He called it Moby-Dick. In many cases, the hyphens are no longer used. They either have gone back to be two words or have become one word. A lot of biological names that were hyphenated an no longer are. For example, the common North American woodland plant the May apple used to be hyphenated most of the time; nowadays, it seldom is.

A more recent example is the compound adjective solid state. When transistors and chips first began to replace tubes, it was two words. Often, as the term became more common, it would be hyphenated. However, the word is used a lot less than it was twenty years ago because nowadays virtually every electronic device is solid state. It is not used as often because there are fewer things to contrast it with. Since it is not used as widely any more, today we usually see it written as two words again.

Sluffs (discuss • contribs) 16:12, 14 September 2013 (UTC)

Placeholder for Tips section
I added these Tips sections but the info would be better incorporated somewhere in the main body of each chapter. So placing the removed material here for the moment.

START

Tips

 * Visit the manufacturer's site for information and then compare their description to online reviews and forum discussions. Comparison allows a more balanced view to be formed especially with regards to the quality of on-board effects and the general performance of the amplifier.
 * Buy the best amplifier that you can afford while stretching your budget to the limit of what you personally consider expensive.

END

Sluffs (discuss • contribs) 16:25, 3 June 2014 (UTC)

Decibels and Wattage - Placeholder for removed material
The material I removed does have some relevance but needs further explanation about the non-linear relationship between decibels and wattage.

START

Doubling the amplifier wattage or amount of speakers will result in a volume increase of approximately 3db. Multiplying the amplifier wattage by ten (10 watts --> 100 watts) will result in a volume increase of approximately 10db. Note that 25 watts into a 4x12″ cab will be as loud as 100 watts into a 1x12″ cab. A full stack consisting of a 100 watt amplifier and two cabinets of 4x12″ speakers is equivalent to 800 watts.

END

Sluffs (discuss • contribs) 22:21, 13 March 2015 (UTC)

Modeling - Placeholder for removed material
Below is the material on modeling units which I have removed. This chapter is about buying an amplifier so tightened focus. The removed material has been placed here because it is relevant just needs to be somewhere else.

START

Modeling
A deviation of solid state that attempts to mimic the gain-compression on a valve-based amplifier, it is basically a combination of a very clean power amplifier and a tone modeling unit producing most of the tone. Some may consider this as the Swiss-army knife of amplifier. The best of these amplifiers can recreate the sound of many other units with acceptable accuracy and also have effects such as delay, chorus, flanger, reverb. The effects and modeled amplifier are patched into the correct configuration to recreate classic rigs such as a Gibson L5 being played through a Fender Twin Reverb or a Fender Stratocaster coupled with a Marshall stack. The power of modeling allows preset patches to be created that can emulate an acoustic guitar or synth. For beginners cheaper modeled amplifiers or a small emulation box like the Line 6 POD may initially be useful though if you find yourself returning to the same patch then it may be time to buy that particular combination.

There are basically three kinds: Analog circuitry, Dedicate DSP, and modeling processor (typically also have many digital effects onboard). Analog circuitry and dedicated DSP are typically the best kind, while modeling processors seems to have a bit of a lag between your pick attack and the sound produced, and you should test one carefully before buying it.

Many amplifier modelers or micro-amplifiers, like the Rockman, are actually DI Unit hybrid with effect units. A DI unit transforms the unbalanced, high impedance signal from the guitar into a balanced, low impedance signal for use with a mixer; however, some desiged for use with guitar have amplifier modelers within them, and may have multi-effect processors for additional effects. Most often these are used with headphones, but they also allow direct input of the guitar to the mixing desk in a recording studio, while retaining some of the tone and quality of an amplifier.

The main benefit of using a DI unit is that they are compact, and they can get "loud enough" and have a particular tone. This is particularly true for amplifier modelers and "headphone amplifiers", as their embedded electronics frequently have a somewhat decent approximation of a tube amplifier. You can also use these in recording, or use it like a preamp and plug it into a larger amplifier for volume. Also, if you are often going to hook up to a PA system with your amplifier, these may provide a cheap option and quicker setup than a larger amplifier.

The main disadvantage of DI units is that they cannot completely capture the tone of a guitar amplifier. The ultimate way to connect an electric guitar to a PA is to use a microphone in front of the speaker.

END

Sluffs (discuss • contribs) 23:31, 5 July 2015 (UTC)

Placeholder for "What Makes A Good Amp"
I've placed this section here. It promotes tube amps in preference to solid-state amps. The first amp for a lot of guitarists is usually a solid-state because tube amps are quite expensive.

START

What makes a good amplifier?
A solid state amplifier can provide a good tone. In fact, many pedals that are designed to create a metallic tone are designed to use the hard-clipping functions that the solid state amplifiers provide, one thing that tube amplifiers cannot do well.

Tube amplifiers are sensitive to their input signal. The harder you play with your pick, the more they tend to break up and distort. The softer you strum, the warmer and breathier they appear to sound. This is known as touch sensitivity. Multiple preamp gain stages can sometimes push an amplifier to the point where you do not hear the pick attack on the string. Finding a balance where pick attack and sustain are clearly articulated is the sign of a superior matched preamp and power section. With a good quality tube amplifier, the subtle changes you make with your pick and finger pressure has a dramatic impact on the sound and is part of the process of creating your own identifiable style.

However, a solid state amplifier has not yet been able to recreate the dynamic feel of a tube amplifier. While a solid state amplifier can get fairly close in tone, it's many times harder to influence the tone simply by how the guitar is played. A good tube amplifier will distort on command when digging into the strings, while a lighter touch cleans everything up with seemingly infinite levels in between. Where as, a solid state amplifier usually requires adjustments to the controls in addition to playing style to have any effect on the tone.

END

Sluffs (discuss • contribs) 23:30, 14 July 2015 (UTC)

Placeholder for removed material
This section about customized amps needs to be elsewhere - probably a new chapter called Customizing. Placed here for the moment.

START

Low wattage
Why would someone want to make an amplifier with low wattage, which is usually 5 to 15 watts – making them practice amplifiers, but in a stack format? The MG15MSII by Marshall is a microstack aimed at the practice and entry level market. While they may be in a stack configuration these low wattage solid state heads are essentially practice amplifiers.

However, for many <20w tube amplifiers, such as Epiphone Valve Junior's Stack configurations and its numerous clones, such as Crate Blackheart BH5H, or the Marshall 20w Lead and Bass Head, it provides much more flexibility that cannot be provided in a combo. A hot rodded class-A tube amplifier – which can go up to 16 watt RMS with 2x 6v6 and proper output trnsformer, pumped out a 4x12″ cabinet, can be as loud as a 50 watt solid state amplifier, and thus it provides potential to upgrade in the future. Furthermore, by separating the speaker from the amplifier, customizing (hotrodding) the amplifier is actually easier than a combo. Since pumping sound through more speakers produces more volume but has a softer sound, it may be even better than a fully cranked 50 watt tube amplifier during a performance. By separating the amplifier and speaker into two pieces, it could also be easier to carry, as in the case of Orange Tiny Terror (15 watt), which comes with a shoulder bag.

END

--Sluffs (discuss • contribs) 21:31, 8 October 2015 (UTC)

title: Talk:Guitar/Buying an Amplifier


text:
User talk:88.110.130.174

Thanks for experimenting with the page Muggles' Guide to Harry Potter/Books/Deathly Hallows/Chapter 1 on Wikibooks. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our project. Thanks.

Az1568(Talk) 00:03, 21 July 2007 (UTC)

title: User talk:88.110.130.174


text:
Muggles' Guide to Harry Potter/Books/Deathly Hallows/Chapter 1

Synopsis
There is a momentary silence. Then Snape and Yaxley Apparate in simultaneously, each aiming his wand at the other. Recognizing one another, they then head for Malfoy Manor, Voldemort's new headquarters, where he and his Death Eaters have gathered.

Above the table Voldemort and his followers are seated at, a bound, unconscious figure is suspended upside down, slowly rotating. Ignoring the captive, Snape informs Voldemort that the Order of the Phoenix is moving Harry Potter from the Dursley home to a secret location the following Saturday, at sunset. Snape reports that the information comes, "from the source [they] discussed." This contradicts the information that Yaxley obtained from Dawlish, an Auror, but that is determined to be unreliable. Snape suspects the Ministry has been infiltrated, and is feeding them false information. Yaxley reports that he has succeeded in placing Pius Thicknesse, the Head of the Department of Magical Law Enforcement, under the Imperius curse, a major step in taking over the Ministry of Magic. However, Voldemort says that Thicknesse is only one man, "and Scrimgeour must be completely surrounded by our people before I act."

During the discussions a prisoner is heard wailing from below; Voldemort sends Wormtail to quiet him.

 * That Potter lives is due more to errors than to his triumphs... I have been careless, and so have been thwarted by luck and chance, those wreckers of all but the best laid plans. But I know better now. I understand those things that I did not understand before. I must be the one to kill Harry Potter, and I shall be. – Lord Voldemort, to the Death Eaters

Voldemort mentions that his wand, having the same magical core as Harry Potter's wand, could prove ineffective against Harry. Voldemort demands Lucius' wand, claiming Malfoy no longer needs it and that he and his wife were unfaithful to the Dark Lord. Bellatrix Lestrange boasts that she, unlike her sister, Narcissa, has always been faithful, though Voldemort japes about her niece having recently married a Werewolf. The captive suspended above the table, now awake and sobbing, pleads for help from an impassive Snape. Voldemort casts a killing curse at the woman, Professor Charity Burbage, the Muggle Studies instructor at Hogwarts, for teaching the subject and for publishing an opinion suggesting that the declining pure-blooded wizard population is actually beneficial and that blood purity should no longer matter. Her body is given to Nagini as her "dinner".

Analysis
Although Voldemort has gathered key supporters around him, there is little solidarity among them, showing a major difference between Death Eaters and the Order of the Phoenix. The Death Eaters constantly compete with one another to ascend in the Dark Lord's eyes. Some are affronted that Snape, who is still regarded with suspicion by others, is invited to sit at Voldemort's right hand while the Malfoys now occupy a lower position at the foot of the table; this is obviously galling to them and shows how far and how quickly they have fallen from favor, particularly Lucius Malfoy, whose arrogance and wealth have, until now, shielded his rather weak character. Now the Malfoys must endure this latest humiliation, though they apparently still retain hope to somehow redeem themselves to the Dark Lord. This will likely prove difficult, as Voldemort has shown that he demands absolute loyalty and servitude while offering his followers little in return. Any failure is severely punished and unforgiven. This has created an atmosphere where disharmony and rebellion can quickly set in, prompting Voldemort's followers to seek their own reward any way they can, possibly resorting to treachery against one another. Even his most ardent follower, Bellatrix Lestrange, is taunted by Voldemort, who likely considers her "tainted" for her familial relationships to the Malfoys (her sister, brother-in-law, and nephew) and to the Tonks clan (through her other sister, Andromeda Black Tonks). Voldemort may come to doubt Bellatrix's loyalty if he should ever kill one of her closest kin, which may be one reason the Malfoys remain alive, at least for now. In the Order, however, the organization rallies around Harry in a unified goal to protect him and defeat Voldemort; this is far more important than material gains or an individual's status within their group, and it serves to strengthen, rather than divide them.

The one character whose true motives and loyalty have never been clearly defined throughout the entire series is Snape. Is he a reformed Death Eater secretly carrying out Dumbledore's orders as a double-agent, or was he merely biding his time, gathering information, awaiting the Dark Lord's resurrection? Now Snape is deeply embedded in the Death Eaters' inner council and has become a trusted Voldemort confidante. He also acts as a conduit for information about the Order. It is unknown whether Snape's information is accurate or how he obtained it. Voldemort is likely attempting to read Snape's mind using Legilimency and thus judge how reliable the information is, though Snape is skilled in Occlumency, and, conceivably, could block Voldemort's intrusions. Disputes over Snape's loyalty had seemed resolved after Snape killed Dumbledore (at the end of Harry Potter and the Half-Blood Prince). Yet, Dumbledore steadfastly maintained unwavering trust in him. Also, the circumstances surrounding Dumbledore's death are ambiguous, and some readers have speculated that Snape killing Dumbledore was actually some prearranged plan between them. And while many questions go unanswered, it is doubtful that Voldemort and other Death Eaters will ever completely trust Snape. The old adage, "keep your friends close, but your enemies closer" may very well apply here, and it could equally have applied to Dumbledore just as it does to Voldemort. Also, many fans believe that Dumbledore may not actually be dead, though the author is adamant he did die in the previous book. Whatever Snape's actual course or motives may be, it remains unknown until the book's end.

Also, some critics may feel that waiting until the last book to introduce the Charity Burbage character solely to kill her off is literary laziness by the author. However, it serves to demonstrate just how bloodthirsty Death Eaters are, which makes murdering a helpless victim logical to the plot. That she is a Hogwarts professor re-enforces that the school is not as sacrosanct as it once seemed. And who better to kill than the Muggle Studies instructor? However, this scene might have had more emotional impact if readers had been introduced to Professor Burbage when Hermione was taking her class during her third year.

Killing Burbage may also have been a means for Voldemort to test Snape's loyalty by gauging his reaction to it, seeing if he registers any emotion or attempts to intervene in any way, for any reason, to spare Burbage's life. If Snape is loyal to Dumbledore, readers can only imagine what he must be thinking and feeling, not only as he witnesses Burbage, a fellow Hogwarts teacher, being so horribly murdered, but also helplessly listening to her desperate pleas to him for her life. If he is a traitor, then this cruel act shows how evil and vile he truly is.

Review

 * 1) Why has Lucius Malfoy lost favor with the Dark Lord? Having lost that favor, why would Voldemort want him returned from Azkaban Prison?
 * 2) Even though Voldemort's wand may be ineffective against Harry, it is not so hindered in acting against Professor Burbage. In that case, why would Voldemort use Lucius' wand rather than his own to kill the Muggle Studies instructor?

Further Study

 * 1) Who might be the 'source' that Snape and Voldemort refer to?
 * 2) Lucius Malfoy was sentenced to Azkaban Prison at the end of Harry Potter and the Order of the Phoenix. Yet, he has returned. There was no news of any breakouts at Azkaban during Harry Potter and the Half-Blood Prince. How was Malfoy released from prison, and what does that say about the Ministry of Magic?
 * 3) Who might the prisoner in the cellar be, and why would Voldemort be holding him there? Why is it Pettigrew who is sent to quiet him?
 * 4) Compare and contrast how and why Death Eaters and Order of the Phoenix members show loyalty to their respective causes.
 * 5) Why did Voldemort murder Charity Burbage? Was it also for something other than his obvious stated reasons? Also, what might the author be attempting to show with her murder? Explain.
 * 6) Why would the pure-blooded wizard population be declining?

Greater Picture
During Voldemort's meeting with his Death Eaters, Peter Pettigrew (Wormtail) is dismissed to attend to a prisoner, who is evidently disrupting the proceedings. While it is never confirmed who this prisoner is, it is learned later that Mr. Ollivander, the wand maker, is being held captive in the house.

Snape's information about the Order's set dates to move Harry is accurate, though he apparently lacks the plan's full details. Later, it is discovered that Snape not only knows the complete plan, but it was he who planted the additional details into Mundungus' thoughts so that he could suggest them to Mad Eye Moody. However, we are still unaware of that information, and this chapter seems to reinforce the belief that Snape is loyal to the Dark side.

It is revealed much later, that Snape is, and has been, an extremely talented actor for as long as we have known him. Though Snape rarely shows any emotion, and his relationship with Burbage was likely mostly professional, his ability to suppress any reaction as he witnesses a long-time colleague's brutal murder shows extreme self-control and dedication to his mission.


text:
Muggles' Guide to Harry Potter/Books/Deathly Hallows/Chapter 2

Synopsis
For the first time in six years, Harry is fully emptying his school trunk, deciding what to take on his mission and what to leave behind when he departs the Dursley house for the final time. While unpacking, something cuts his hand. Harry, still four days away from his seventeenth birthday, the age he can perform unrestricted magic, has yet to learn how to heal wounds. He plans to ask Hermione to show him. Hunting carefully through his trunk, he finds a glass shard from the broken two-way mirror his late godfather, Sirius Black, gave him. While heading to the bathroom to tend the cut, Harry stumbles over a tea cup left outside his bedroom door, a booby trap he assumes Dudley planted for him.

Harry reads Dumbledore's obituary in the Daily Prophet. It reveals that Dumbledore's father was sentenced to Azkaban for attacking three Muggle children. Albus quickly overcame his father's notoriety through his brilliant performance at Hogwarts, winning many honors there and corresponding with many learned witches and wizards.

Three years later, Albus' brother, Aberforth, joined him at Hogwarts. The two were unalike, Aberforth being more reserved and likely to settle differences by dueling, where Albus would debate the issues, but they were friends. After finishing school, Albus planned to travel the world with his friend, Elphias Doge, the obituary's author, when his mother, Kendra, died suddenly, leaving Albus the sole provider for the family. While Elphias traveled the world, another tragedy struck the Dumbledores: Albus' younger sister, Ariana, died suddenly. The brothers became estranged after, and Albus never discussed his family. Following this sad chapter, Albus went on to achieve many notable successes, including discovering twelve uses of Dragon's blood and defeating Grindelwald in an epic duel.

Looking at Dumbledore's picture, Harry realizes he barely knew the man; their conversations were mostly about him. Tearing out the obituary, he stuffs it into a book.

In that day's Daily Prophet, Harry reads about an upcoming exposé on Dumbledore, excerpted from hack journalist Rita Skeeter biography about him.

 * Stripping away the popular image of serene, silver-bearded wisdom, Rita Skeeter reveals the disturbed childhood, the lawless youth, the lifelong feuds and the guilty secrets Dumbledore carried to his grave. – Description of Rita Skeeter's book about Dumbledore's life

Harry flips to the interview with Skeeter, who, spinning her usual stylized lies, suggests that Dumbledore dabbled in Dark magic, that his sister, Ariana, was a Squib, that Aberforth broke Albus' nose at Ariana's funeral, claiming Albus killed her, and that the epic duel between Albus and Grindelwald may have been something other than it seemed. She hints that the relationship between Harry and Dumbledore was odd, even inappropriate, and that Harry was seen running from where Dumbledore fell to his death. And even though Harry testified against Snape, the long-standing grudge between them is public knowledge.

Harry is outraged, but there is little he can do. Distractedly turning over the mirror shard, he glimpses a sky-blue flash in it, the same color as Dumbledore's eyes. Studying the mirror closely, he only sees his reflection, and there is nothing blue nearby that could have been reflected in it. Dumbledore's eyes will never gaze upon him again, but all the same, he tucks the shard safely away in a front pocket.

Analysis
Glimpses into Dumbledore's previously unknown history, which have been kept concealed, are revealed here. Doge's comments and Rita's interview imply that there is some significant, and possibly unsavory, mystery regarding Dumbledore's earlier life, though anything written by Skeeter, known for embellishing or fabricating her articles' facts, should be considered suspect. Regardless, Dumbledore's past appears to be darker and more secretive than most knew. And while Dumbledore's death has left a significant hole in Harry's life, much of that emptiness is now caused by what Harry never knew about his mentor, throwing Harry into emotional turmoil and groping for answers. He is still grief-stricken by the loss and deeply misses his mentor's comforting and protective presence, but he is also left confused, cut adrift, and doubting what Dumbledore's true intentions were; Harry also wonders whether Dumbledore ever loved him or was merely using him as a weapon to defeat Voldemort. These inner conflicts and doubts will plague Harry throughout the book, and could possibly affect his mission. Even allowing for Skeeter's poisoned pen, there are many mysteries about this mysterious wizard that will need significant explanation before Albus Dumbledore can finally be laid to rest.

The blue flash in the broken two-way mirror may also be significant. Is this Dumbledore somehow watching from beyond the grave? Harry apparently hopes so, considering his sudden care with the mirror shard.

Review

 * 1) Could some of what the Daily Prophet states about Dumbledore be correct?
 * 2) Why would Rita Skeeter write a biography about Dumbledore? How accurate is it likely to be?

Further Study

 * 1) Why did Harry know so little about Dumbledore's past? How much did Harry, or anyone, have the right to know?
 * 2) Why would Dumbledore's father have attacked three Muggle children?
 * 3) Why does Harry keep the mirror shard? What might the blue flash in it be?
 * 4) Who might have left the cup of tea outside Harry's bedroom door? Why would they leave it there?

Greater Picture
Rita Skeeter's source for her book was the elderly and senile Bathilda Bagshot, a noted historian and Dumbledore family friend, who was also known by Lily Potter. Rita elsewhere alludes to having slipped Bathilda some Veritaserum to retrieve her memories. However, the only story that Bathilda could share, and thus the only one that Skeeter can report, is an outsider's point-of-view. That, highly coloured by Skeeter's acidic quill and Bathilda's likely addled recollections, will result in an extremely slanted, highly inaccurate, and damaging story.

Harry will labor under these skewed beliefs until Aberforth Dumbledore, Albus' younger brother, truthfully explains why his father attacked the three Muggle youths. Aberforth discloses that the Muggle boys had witnessed Ariana, their younger sister, performing magic, and had demanded that she do more. When she refused, the Muggles physically assaulted her. The resulting injuries left her permanently brain-damaged and unable to control her power. Their father retaliated, finding and attacking the Muggles, though he was later imprisoned. It was due to Ariana's brain damage that Kendra Dumbledore hid her daughter, fostering gossip that she was a Squib. Kendra feared that if Ariana's condition was discovered by the Wizarding community, she would forcibly be institutionalized "for their own safety". Unfortunately, when Ariana suffered an uncontrolled magical outburst, Kendra was accidentally killed. Ariana died in an accident soon after.

Following these tragedies, the young Albus Dumbledore became obsessively driven to pursue the titular Deathly Hallows. Like Harry, he desired to be reunited with his dead loved ones, and he believed that one Hallow possessed that power.

The eye that Harry occasionally glimpses in the broken mirror shard is not Albus Dumbledore's, but his brother Aberforth's. He apparently purchased several artifacts that Mundungus Fletcher looted from Sirius Black's ancestral home, including the twin to the magic two-way mirror Sirius gave Harry.

Readers should pay attention to the cup of tea left outside Harry's bedroom as it may be somewhat significant. It was Dudley who left it there, probably in a rather feeble attempt to make amends for mistreating Harry during their childhood but also to express his gratitude for Harry having saved him from the Dementors two years previous. This small episode plays no part in the overall plot, but the teacup may foreshadow Harry's search for Helga Hufflepuff's Cup, one of Voldemort's Horcruxes that Harry must destroy. The author will use a similar literary tactic when she directs our attention to Auntie Muriel's tiara, later in the book. That particular article, like the teacup, is also relatively insignificant, but it may foreshadow something else.


text:
Openbravo POS/Administrator Guide

To do the changes below make sure you are running as Administrator.

Interface
The interface uses similar elements in all the panels.

Taxes
On the left side of the Screen are some menus for you to select from. Let's set up the taxes first. Under “Administration”, click “Stock”, and then “Taxes”. Here you can set up tax bands that will later be associated with products. This allows taxation calculations to be performed automatically.
 * The first tax is already set up. You can edit the Name (to something like exempt, for example) or the Rate.
 * After you are done, save using the save button.
 * If you want to delete a tax, you can click on the delete button
 * You can add more taxes by clicking on the new button

Categories
The second thing you'd want to do is to setup your categories. Managing the catalog consists of setting up categories and adding products to those categories. Note that Under “Administration”, and click “Stock” again, and then click the button that says “Categories.” You will notice that the interface is very much alike to that of the taxes screen. Here you can define several categories under which you can fit your products.
 * 1) Categories cannot be nested
 * 2) Products can belong to at most one category
 * Figure out how you want to categorize your items. This is key to avoid problems later.
 * The ID needs to be numeric. It is suggested making each category an increment of 100.
 * You can also add pictures for each category, this field is, however optional.
 * Make sure you save after each category.

Products
After you have made all of your categories, you will need to type in your products. “Administration”, “Stock”, then “Products”.
 * Once again, each item must have it’s own unique reference. Products can have anything as reference, not just numbers.
 * Figure out how much each individual item costs you, if you do not know, type in some number below what you are selling it at. This is required, so you need to type in a number to make the program happy. You can give it as many digits as you like.
 * For “Sell price”, enter the amount that you intend to sell the item at (before taxes).
 * Select the tax and the category this product fits in (optional).
 * You can also set up the product's minimum and maximum stock under the stock tab.
 * On the Properties tab you can set wether the product is displayed on the catalog. If you select the Catalog checkbox, the product will appear in to system users when they select the appropriate category (only if it has an image)

Create a resource
In LibrePOS much of the advanced configuration is managed from the resources panel rather than with a GUI. Such is the case for the Tickets

To change the default ticket you must go to the Resources Panel and create a new resource of type text with the name Printer.Ticket LibrePOS uses Apache Velocity to parse the XML templates. The reference to Velocity contains further information for the syntax used.

Editing the ticket
In the ticket there are available all of the public methods of the TicketInfo class in the $ticket variable and the public methods of the TicketLineInfo class in the $ticketlines variable.

The default ticket template can serve as a good starting poing. The default ticket template as of 0.22 can be found on this forum post

Editing the image
The default image can be changed by adding a new resource of type image on the resources panel. The resource must be named Printer.Ticket.Logo The image types supported vary by printer. Most thermal printers support them, and most dot-matrix ones don't. The image must be 256 px wide at most.

To remove the image from the ticket you have to edit the Printer.Ticket resource and remove the references to the Printer.Ticket.Logo resource

Editing the roles
For editing the permissions you would have to create a new role and edit the permissions in there. The format used is an XML file which describes the forms to which the role has permission to access. The default template for the administrator role, which can serve as inspiration can be found on the following forum post

Users
Go to “Configuration” under Administration and Select “Users”

Click on the icon with the flower on it to add a new employee. (I recommend adding yourself first). Type in the name under “Name”, and then select their role. You want them to be visible, so leave that alone.

As far as roles go, make sure you give yourself the role of “Administrator.” Now you can go two ways. You can either make your employees “User” or “Manager.” If you give them “User”, they will only have access to the sales and the will not be able to “Close-cash during the night, or pull up a shopping list for you. However, “Manager” will give them this access.

Personally, I recommend “Manager”. You can give them passwords, but they can do this for themselves as well. Also, I recommend that you delete the default Users (“Administrator”, “Employee”, “Guest”, and “Manager”) or at least turn off their visibility. That way each employee must log on as themselves.

Reports
If you need reports that are not available in LibrePOS you'll have to make your own. It is not that hard, however, you will need some SQL knowledge on most cases.
 * 1) Gather info about your database from LibrePOS's sidebar: System:Configuration>Database. You'll need all the information under the Database heading, including the password. (Btw, you'll have to create another username if you intend to have LibrePOS open at the same time as when you run reports.)
 * 2) What kind of report do you want?
 * 3) What do you want to be on the report? You can use any of the SQL Queries already made.

Reporting from the Command Line
Here we are retrieving the information from the database using the command line tools. Remember SQL is case sensitive, even in Windows. LibrePOS's tables are all in uppercase

For postgres installations: To run in Windows, save this as filename.bat and simply double-click it: "c:\Program Files\PostgreSQL\8.1\bin\psql.exe" -U username -d tinapos -c "SELECT * FROM stockdiary;" To create a file that you can import into (for example) excel, add this to the end: -o filename For MySql installations: mysql -u username -p --execute="SELECT * FROM stockdiary;" tinapos You'll need to replace "username" with a real username and "tinapos" with the database name (tinapos is default). You will be prompted for a password after you hit enter.

Postgres' pgAdmin
Extremely Easy. Once the server connection has been added, go to tools, Query Tool. You simply need to paste the query into the box.

iReport
iReport. iReport is a tool that helps to visually create reports. LibrePOS' reports are created on this tool.

iReport makes easy to create printable information, as it offers a feature to export to pdf and several other formats by default. For further information you can check the iReport documentation

phpMyAdmin
Easy. click on the SQL button and enter the query. It will return a table with the results. phpMyAdmin can also export to excel, making the data selection easier if you are used to that kind of tools.

Cannot create a new record
If you reuse an ID you will receive the error message Notice: Cannot create a new record. If you select the Information button from the error dialog, you should see the following message net.adrianromero.data.loader.DataException: java.sql.SQLException: Unique constraint violation: in statement [insert into CATEGORIES (ID, NAME, IMAGE) values (?, ?, ?)]

This is the database's way of telling you that you have reused an ID value.

title: Openbravo POS/Administrator Guide


text:
User talk:Jeduan~enwikibooks

Welcome message
Welcome, ! Just wanted to greet you as a new wikibooks contributor. I didn't even know Tina POS existed until I saw your edits in the recent changes. Anyway, here's some standard welcome info you might find handy.

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. Kowey 08:02, 21 July 2007 (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 Jeduan. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Jeduan~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 23:16, 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) 05:04, 19 April 2015 (UTC)

title: User talk:Jeduan~enwikibooks


text:
Muggles' Guide to Harry Potter/Books/Deathly Hallows/Chapter 4

Synopsis
Even You-Know-Who can't split himself into seven. {Moody, to Harry}

After the Dursleys leave Number 4, Privet Drive, Harry gathers his belongings, including the caged Hedwig, his Firebolt, and his rucksack and waits for Order of the Phoenix members to arrive. He reflects on his childhood prior to learning he is a wizard. Sooner than expected, a rather large group, including Hermione Granger and Ron Weasley, appear in the back garden. Alastor "Mad-Eye" Moody says that they are flying out on broomsticks, Thestrals, and a flying motorbike; six members will be disguised as Harry Potter with Polyjuice Potion to trick any nearby Death Eaters. Harry immediately refuses, saying no one is to take risks for him; Mad-Eye Moody ignores him. They have few alternatives as Privet Drive is being monitored for any Apparition, Portkeys, or Floo Network use. This monitoring, ostensibly for Harry's safety, is believed by the Order to have been established by Pius Thicknesse solely to monitor Harry's movements. Moody believes that the entire Ministry of Magic is gradually falling under Lord Voldemort's control.

The six Harry decoys include Ron, Hermione, Fred and George Weasley, Fleur Delacour, and Mundungus Fletcher. The real Harry is to go with Hagrid in a sidecar bodged on to Sirius Black's motorbike, to Ted Tonks's house, where they will be transported to The Burrow via a Portkey. The remaining six pairs, one defender and one Harry each, will travel separately to various safe-houses, all finally transferring to The Burrow.

As the Order members clear the garden, Death Eaters attack. Hedwig is struck by a Killing Curse. Hagrid's attempts to dodge four Death Eaters causes the sidecar to break free; Harry stops it falling and is rescued by Hagrid. Harry destroys the falling sidecar to disable a Death Eater. One remaining Death Eater is Stan Shunpike, evidently under the Imperius curse. To avoid killing an innocent person, Harry casts a disarming spell, whereupon the remaining Death Eater yells, "It's the real one!" and falls back.

Near the Tonks' home, as the Death Eaters, including Voldemort, surround them again, Hagrid leaps off the motorbike to tackle a Death Eater. Voldemort, using Lucius Malfoy's wand, casts a lethal curse at Harry, but golden flames spontaneously erupt from Harry's wand, destroying Malfoy's without Harry casting a spell. Before Voldemort can get another wand from a Death Eater, Harry's out-of-control motorbike crashes into a muddy pond.

Analysis
While the Order is uncertain if the Ministry has been infiltrated, they suspect Death Eaters now have a presence there, and the ever-paranoid Moody believes that the "security measures" the Ministry has put in place are intended to monitor rather than protect Harry. Readers know that Moody is correct: Pius Thicknesse, who now heads the Department of Magical Law Enforcement, has been placed under the Imperius Curse by Yaxley, a Death Eater.

The immediacy with which the Order was attacked indicates that Death Eaters knew the exact date Harry was being moved. It also shows how quickly Voldemort's power is spreading. Though the Ministry of Magic has not yet fallen under Voldemort's control, his Death Eaters are infiltrating it, gradually seizing power through key officials, such as Pius Thicknesse, who is under the Imperius Curse and must do the Dark Lord's bidding. Others surrounding Minister for Magic Scrimgeour will likely fall to Voldemort, either through the Imperius Curse or by other extreme and deadly means, leaving Scrimgeour completely exposed.

Harry also loses yet another tie to his childhood, Hedwig. Her death, while sad, actually serves several purposes:

First, it shows how ruthlessly evil Death Eaters actually are. There is a wide-spread joke in England (the real one, not the Wizarding one) that, if the Germans had wanted to invade England unopposed, they should have sent in paratroopers, each cradling a cute little puppy in his arms; no true Englishman would harm a pet. Death Eaters indiscriminately firing curses that kill pets clearly indicates their inhumanity.

Second, it builds suspense. Hedwig's cage is clutched between Harry's knees in the sidecar; the curse that killed Hedwig missed Harry by mere inches.

Third, it eliminates an encumbrance. In Harry Potter and the Half-Blood Prince, Harry decided to leave Hogwarts to search for Voldemort's Horcruxes; as he is about to embark on a dangerous adventure, he would either have to put Hedwig in someone else's care, or try to care for her while he is traveling. His Firebolt, unfortunate as its loss may be, was also a burden, although it tied him to his late godfather, Sirius Black, who gave it to him during his third year at Hogwarts.

Finally, it can be argued that Hedwig's death represents an end to Harry's childhood. Harry, having increasingly lost his innocence with Cedric Diggory's, Sirius', and Dumbledore's deaths, is now a fully-grown man in the Wizarding world. Hedwig had provided Harry comfort, familiarity, and security, but when she is brutally killed, another remaining tie to Harry's childhood is lost. He realizes just how fragile those ties are and how heavy and painful adult responsibilities can be.

It is also interesting to note Voldemort's appearance in this chapter. In the previous six books, Voldemort only appeared to Harry four times, each time near the book's end. That he appears to Harry this early shows how much power Voldemort has gained in the Wizarding world, and puts us, and Harry, on notice that there are ever fewer places that he will be safe.

It is also worth observing the author's sense of humour here. We had seen much earlier in the series her sure touch with the cognitive dissonance that results in humour: the dark, foreboding setting, the violent weather, the huge shaggy thing coming in from the storm that promptly starts cooking sausages for himself and Harry. Here, as Harry, with mixed emotions, prepares to leave the residence that had been his nominal home for almost sixteen years, we have the Twins, upon taking Polyjuice Potion and transforming into Harry's likeness, immediately exclaim, in mock surprise, that they look identical. And we have Harry protesting about his own modesty when all the other Harry-clones start stripping down in the kitchen to change clothes.

As this is a children's book, we will avoid analyzing the sexual innuendo that could be developed from Hermione's comment concerning the appearance of the Polyjuice Potion; it is certain, though, that the author recognized that possible misinterpretation, as Hermione's reaction to what she had said is very much true to life. The author did not see fit to comment on the gender-bending effects of Polyjuice Potion, though the mind rather boggles when imagining Harry Potter wearing clothes that Fleur Delacour would have thought appropriate for herself. As a small side point, while there might have been some question whether attempting to change genders would result in the same sort of half-hybrid as the species change seen earlier, we should recall that Crabbe and Goyle had stood watch for Draco while disguised as little girls in Harry Potter and the Half-Blood Prince, without obvious physical effects.

Review

 * 1) How were the Death Eaters able to distinguish the real Harry Potter from the decoys?
 * 2) Why do Voldemort and the Death Eaters suddenly vanish?
 * 3) Why did Harry use such a mild curse on Stan Shunpike, who probably would have killed him?

Further Study

 * 1) When Harry was to be moved to a safer location, Mundungus seemed apprehensive about the plan and in participating in it. What are some possible reasons for his reaction?
 * 2) How could Harry's wand destroy Voldemort's borrowed wand without Harry casting a spell with it?
 * 3) Harry's departure from the Dursleys was a closely guarded secret. How could the Death Eaters have found out?
 * 4) Voldemort has generally remained hidden from the Wizarding population. Why does he now openly show himself during the pursuit?
 * 5) Was using the Potter decoys the best plan for moving Harry from Privet Drive? Discuss other ways the Order could secretly have taken Harry from there.

Greater Picture
Hedwig's death may foreshadow what happens later in the book. It has been suggested that having Harry lose his beloved pet and best friend in this manner is one way the author further hardens Harry's heart so he is able to continue his fight against Voldemort, though witnessing Sirius', Dumbledore's, and Cedric Diggory's deaths within such a short period has certainly also toughened him.

An interesting parallel between Harry's escape and Voldemort's survival should also be mentioned here. Just as Voldemort split his soul into seven pieces to preserve his own life, so has Harry been replicated into seven simulacra in the attempt to protect him from Voldemort. The differing methods in how they achieve this once again highlights the difference between Harry and Voldemort. Harry's friends readily assume his likeness out of love and loyalty, while Voldemort splinters Horcruxes off his soul by ruthlessly murdering innocent people. Interestingly, while Voldemort believed the number seven had magical importance tied to it, this probably was not a calculated factor in the Order's plan.

Harry's wand casting a spell of its own volition is never fully explained. Dumbledore, later in the story in the Waystation, says that during the duel in the cemetery, Harry's wand and Voldemort's had recognized each other as having a common source (the phoenix Fawkes' tail feathers) for their cores, and recognized Harry and Voldemort as kin by their blood (and possibly also the soul shard). Harry was the stronger wizard at that encounter, as he was prepared to die while Voldemort feared death. Dumbledore surmises this caused Harry's wand to imbibe power from Voldemort's, and against Voldemort's own power, plus Harry's courage, "what chance did that poor stick of Lucius Malfoy's stand?" While this is arguably no explanation for the wand acting on its own, it is the only explanation ever given in the series. We can speculate that wands have some limited sentience, as it has been stated many times that "the wand chooses the wizard;" we see this again in how well or poorly a wand works, depending on the manner it was transferred from one wizard to another. It is possible that the wand, in its own limited way knowing that Harry's "kin" and enemy Voldemort is attacking, had independently acted to remove the opposing wand. All we are actually told is that Harry and Voldemort have entered an area of magic and wandlore where none have ventured before.

One possibility is that it was not Harry who cast that spell, but rather that portion within him that was Voldemort. The part, which Voldemort knows nothing about, could be protecting itself. Against that, however, we must point out that rather than Harry acting without intent, it seems to be the wand acting without Harry's input. Quoting: "his wand acted of its own accord. He felt it drag his hand around like some great magnet..." (Harry Potter and the Deathly Hallows, UK / Canadian edition p. 56) One supposes that if the author had intended to indicate that it was Voldemort's soul fragment doing this, Harry would have felt his hand moving of its own volition, rather than feeling the wand pull his hand around. However, there is insufficient evidence to be certain of her intent.


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User:Alexsmail/Computer programming/How Objects should be correctly compared in Java

= Introduction = See appendix A for formal definition.

= Method along consideration =

equals
Object hirerachy and its state (getClass or instanceof ?). Immutable object. Object.equals

hashCode
Object.hashCode

Natural order - compareTo
Comparable#compareTo

compareTo
Comparable#compareTo

Comparable#equals

Map (Hashtable)
= Combination consideration =

equals and hashCode
Object.hashCode

TreeMap, equals and compareTo
= Maps, Hashtable and Set and Arrays =

HashMap's and Set's key
Immutable. keys are Uniformly distributed.

Sort
QuickSort MergeSort Stable sort Comparator TreeMap

= Miscellaneous =

Sorting with Comparator
Arrays.sort

= Appendix B =

Mathematic background
Set Order pair Relation Relation over Set Two-place relation function function in Java Partial Order Full order Equivalence relation Equivalence class