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Guitar/Recording Music

So you've been practicing and practicing, and finally, you're ready to record your first demo. But where to begin? Should you go to a professional studio, or just try to do it yourself at home? What kind of equipment and software will you need? Although everyone talks like they could write and record an entire album in a weekend, recording is a surprisingly tricky and detailed job. Remember that professionals go to school to learn how to record musicians.

This page is a guide for musicians that already have their own songs and are ready to record them. It will cover the basics of the recording process, what to expect with a professional studio, and outline an ideal home recording setup.

What Gets Recorded When
Drums: Generally speaking, it's a good idea to record the drums and percussion first. This will help all the other recording musicians follow the right beat, instead of the drummer having to follow the other off-beat musicians.

Bass: Should be recorded second, as it's the middle ground between the basic beat of the drums and the chords of the rhythm guitar.

Rhythm Guitar: Gets recorded third, as it's the foundation for the lead guitar.

Lead Guitar: Follows the rhythm guitar, and will give direction to some of the vocalist's melodies.

Vocals: Very last, as the vocalist will be able to wrap melodies around the bass and rhythm guitar's chords, and the lead guitarist's soloing melodies. Vocals are sometimes recorded as a "guide track" to help the other musicians "feel" their way and then at the final stage is replaced with a more focused performance.

All in this order, of course, assuming you don't have the space and tools to make a live recording.

Mixing
When it comes to mixing volume levels and other audio dynamics, one needs to take several things into consideration. First, which instruments should be heard the most? In a guitar-focused rock band, one may want to give the lead or rhythm guitar more prominence. In funk or dance music, the bass may want to be given more space. However, certain instruments may also need more focus at different times in the song. If there is a banjo playing in the background in a rock song, but it eventually gets a solo part, one may want to increase the volume at the point of the solo.

The second thing to consider is special effects and left-right panning. Should the guitar be given a delay effect at some parts? Perhaps the bass may need a flange effect, or backing vocals should pan from left to right during the bridge?

Another important thing to keep in mind is the master volume level. At no point in your song should the listener need to abruptly turn down the volume for fear of breaking his/her speakers!

Professional Studio
Although you have more "creative control" in a personal setting, having professional sound technicians taking care of the recording make things much, much easier.

Personal Studio
Based on your budget and space available, your home recording studio layout and design will vary. What really affects your home studio is the type of instrumentation you intend to record. For a guitarist, you could use a computer, audio interface, amplifier, guitar and a dynamic mic. For more advanced music composition, you could add a hardware mixer, keyboards, drum machines, variety of different microphones, VST software and percussion instruments.

Putting together a small studio at home is relatively inexpensive compared to the price of hiring a professional studio. The power of modern computers gives you a huge variety of recording options and the computer has become the centre of home recording and pro studios. Pro studios buy extra audio processing equipment like expensive compressors and outboard effects which will always give them an advantage over home recording but with a modest investment the home studio can produce a recording quality that most people would find acceptable. All professional musicians usually prepare demo versions of their songs before they go into a costly professional studio and this should also apply to your working method.

Equipment

 * Condenser microphones are generally used for recording acoustic guitars and dynamic microphones are more suitable for putting up close to the amplifier speaker. Try not to buy cheap microphones on the basis that the technology used is simple and therefore a cheap microphone will match a microphone like the Shure SM57 (industry standard microphone for recording electric guitar amplifiers and snare drums); the extra cost is reflected in the higher audio quality of your recordings.

 * An audio interface is essential for instruments and microphones. Plugging a microphone directly into the computer's microphone input or a guitar into the line-in input produces poor quality results due to the fact that a computer's soundcard and microphone/line inputs are generally not intended for serious recording projects. Audio interfaces can be an external box using USB or Firewire or an internal PCI card with break-out jacks.

 * The PC you use determines the amount of tracks you can record. A laptop can be useful for portable recording but they rarely match the usefulness of a high specification PC. You should aim for a minimum of 4GB of RAM and the fastest processor that you can afford. Audio recording and playback places a heavy demand on the computer's resources and this can lead to timing errors, glitches and less tracks but this has become less of an issue with multiple processor machines. Recording software usually comes with a "multiple processor" enabled option and you should check for this when choosing between software packages.

 * A good guitar is essential. An entry-level guitar should be replaced with a good quality guitar after a guitarist has mastered open chords and a few scales. This usually means within a year or so from the day they started playing. Guitarists tend to become attached to their first guitar and the danger in this is that the guitar itself hinders the development of higher skills. An entry-level guitar will always sound like an entry-level guitar when recorded. * A good rule is to find out what some of your favorite guitarist plays and play them all through a few different amps. You will then be able to see which feels best to you, and not what the "norm" is. That being said, there is a reason Gibson and Fender are the most popular brands to own. Just remember to find a guitar that you like, and if you like how it plays and sounds, its all up to you.

Recording Environment
This is an odd subject. Most studios are specifically designed for sound, and are built to get the best quality sound available. However, some of the most famous albums ever where recorded in buildings that were never designed for music. It all comes down to what sounds good to you.

That being said, you never want a square/rectangle room to record in. Always try and uses as much sound dampening possible, so that you can get the best quality with what you have. As long as there is no reverb (unless wanted), the recording should be adequate.

PC or Mac?
This is more a preference than which is better. Certain people are accustomed to Windows, others feel that an Apple is easier to operate. However, most professionals use Macs, but it is not uncommon for some major studios to use PCs. There are a variety of specialized Linux distributions dedicated to the purpose as well, utilizing real-time kernels for lower latency and faster processing of audio input.

Recording Software
There are many companies that supply music recording software (DAW - Digital Audio Workstation). Professional studios tend to use Pro Tools by Avid. Pro Tools is expensive and usually needs to be run on a computer that is built for editing, and are high performance computers such as a Mac Pro/Alienware, or a custom built PC. However, any basic PC/Mac can run it.

There is a learning curve associated with music software and it will take time before you achieve results that match your expectations. A good example is the virtual mixing desk; one aspect of the software that matches its hardware version down to every detail. On a virtual mixer you can assign auxiliary sends and returns, route audio, set instruments in the stereo field, balance volumes, automate changes and much more.

All recording software allows you choose a software driver from a multiple list. If you have bought an audio interface and installed the software, then choose that driver to achieve lower latency. Latency is caused by the analogue to digital conversion of the audio signal and by the processing that takes place before it is sent to your audio outs on your virtual mixing desk. This can be quite disconcerting to the guitarist; a sense of striking the string but not hearing the sound until milliseconds later. This is usually overcome by the audio interface offering direct monitoring. This bypasses the software and provides you with a signal that is not processed. This has its drawback in that you cannot use any software effects but these can be applied to your audio track afterwards.

Here is a list of sound drivers:

MME: early Microsoft driver that still appears as a default in driver drop-down menus. Low performance makes this unsuitable for DAWs.

DX: Microsoft multi-media driver designed for improved graphics and sounds. Offers high latency and is therefore not suitable for DAWs.

WDM: later Microsoft driver that offers improved performance over MME

ASIO: developed for high performance and low latency. This driver is recommended for DAWs. ASIO is not a Microsoft driver and it is essential to check that the DAW you buy supports the protocol.

Direct injection
Direct Injection is one of the most hotly debated decisions when recording the sound of guitar. On one hand, if truly direct (that is, does not goes through any amplifier or effects), the extremely clean signal is a blessing for the audio engineer, as he will now have some thing that can be easily manipulated with any effects. On the other hand, some people say that there are no rescue for such a clean signal, no matter what effects were inserted.

Effects to use
Whether you use direct injection or mikes, using computer or traditional 4-tracks, insert the effect while recording or after the recording, you will need to have some to bring life to the otherwise sterile sound.
 * Distortion - what makes electric guitar sound great? Distortion, that's what. When combined with proper amount of compression, the sound will be much smoother.
 * Compression - In terms of direct injection, compression of an audio signal can help produce a smooth distortion; this effect also produce a sustain on the sound.
 * Delay/Echo/Reverb - provide a front-back aural dimension
 * Stereo chorus - provide left-right aural dimension.

Some DI-boxes that is specifically designed for recording may also have additional circuitry, to help mimic the sound of some certain cabinet and the position of the mike.

Alternatively, if you can get a hold of a Pre-Dunlop era Rockman, it provides all the tools and setup needed to produce some of the best direct-injected recorded Guitar.

Tips for Recording

 * Don't get frustrated! - If you can't get something to sound right, just take a break. Go and do something that is not music related and then try again.

 * Re-amping - If your midi tracks sound a bit lifeless then re-amping can put some "air" into the mix. Play the midi track through your amplifier and record back into the DAW onto a separate track.

 * Creating a great guitar solo - the professionals may "comp" a solo from many different takes. Jimmy Page (Led Zeppelin) and David Gilmour (Pink Floyd) are two guitarists who utilize this method of merging the best sections of alternative takes.

 * Backup your projects - essential to save and back-up your music projects. Music projects tend to grow quite big as you gain proficiency in developing songs and backing up your work is essential if you don't want to lose earlier takes that you may wish to return to.

title: Guitar/Recording Music


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Talk:High School Physics/Force

Sorry Folks, my understanding is that

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

title: Talk:High School Physics/Force


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User talk:Truckies daughter94

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 04:48, 27 August 2007 (UTC)

title: User talk:Truckies daughter94


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User talk:Eyeonus

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. Webaware talk 04:54, 27 August 2007 (UTC)

Image copyright problem with Image:Noob-to-pro extrusion-explanation-before merge.png
Thanks for uploading Image:Noob-to-pro extrusion-explanation-before merge.png. The Wikimedia Foundation is very careful about the images included in Wikibooks because of copyright law, and requires that we maintain a strict copyright policy. The image that may soon be deleted unless we can determine the copyright holder and status.

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Blender screenshots
G'day, where you are presenting a screenshot of Blender-3D, you can license it with this template:

NB: this is only valid for the software itself, not any artwork shown within that software - but if you did the artwork, you can also add your own license (e.g. ). Webaware talk 06:39, 27 August 2007 (UTC)

 * Just to be clear, if the image is a screenshot of your artwork inside Blender, then you can license it with something like  or similar. If it's a screenshot showing parts of the Blender application, e.g. some of the buttons and settings displays, then you should use  . cheers, Webaware talk 06:55, 27 August 2007 (UTC)

title: User talk:Eyeonus


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Muggles' Guide to Harry Potter/Characters/Harper

Overview
Harper, a Slytherin one year younger than Harry, is a replacement Seeker on the house Quidditch team.

Half-Blood Prince
Ginny tells Harry that, as Draco Malfoy is too sick to play, they are going to put Harper in as Seeker in the Quidditch match between Gryffindor and Slytherin. Ginny says that Harper is in her year, and is an idiot.


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Muggles' Guide to Harry Potter/Characters/Vaisey

Overview
Vaisey is a Chaser on the Slytherin Quidditch team in Harry's sixth year.

Half-Blood Prince
Just before the Quidditch match between Slytherin and Gryffindor, Ginny Weasley tells Harry that Vaisey took a Bludger to the head during the previous day's practice, and is too sick to play. This greatly heartens Ron, as Vaisey is evidently Slytherin's top scorer.


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Muggles' Guide to Harry Potter/Characters/Urquhart

Overview
Urquhart is Slytherin's new Quidditch captain in Harry's sixth year.


text:
User talk:84.94.145.8

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 06:58, 27 August 2007 (UTC)

title: User talk:84.94.145.8


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Muggles' Guide to Harry Potter/Magic/Secrecy Sensor

Overview
The Secrecy Sensor is a device that detects certain classes of Dark magic.

Extended Description
Hermione tells us that the Secrecy Sensor can detect "jinxes, curses, and concealment charms", and so are useful for detecting a reasonably wide range of Dark magic. They can be operated by the non-magical; the first time we see one, it is being wielded by Filch, who is a Squib. Hermione later says that they are useless to detect love potions, because love potions are not Dark magic; and they can be concealed by putting them in perfume bottles, no Concealment charm is necessary.

Analysis
The limitations of Secrecy Sensors seem to be that they can only detect those sorts of magic that are associated with secrecy. Hermione mentions that simply putting love potions in perfume bottles, which disguises their nature, is enough to get them into the school, and that secrecy sensors won't trip because there is no curse, jinx, or concealment charm.

Hermione suggests that the cursed necklace that Katie Bell is carrying in that book would not pass the Secrecy Sensors, but does not have a chance to explain why not. If her statement is accurate, then we must assume that the Sensor would read the existence of the concealed curse on the necklace.

Secrecy Sensors, and their limitations, are an illustration of the way the author thinks through the magical world that she has created. We will learn later of the existence of Probity Probes, another way of defeating concealment. If it was possible to reliably detect Dark influence, or the actions of Dark wizards, the story would be significantly weakened; if there is no challenge, there is no story. The author understands that a writer, creating a fictional universe, must give the universe a coherent set of rules, and must keep everything within that rule set; it is unfair to the reader to suddenly unveil a skill that effortlessly wins the battle for the protagonist. So the limitations on the Secrecy Sensor, making it possible to evade its detection, make it more possible to believe in its existence as a part of the Wizarding tool set.

Greater Picture
While we don't know when the mead that poisoned Ron came into the school, Professor Slughorn suggests that it had been intended as a Christmas present for Professor Dumbledore. Filch, as we see at the initial mention of the Secrecy Sensors, is already using them in October, and we suspect will not stop using them between then and Christmas, as their introduction seems to be in reaction to Voldemort's return, rather than being an arbitrary decision of Filch's. It is unknown whether their use extends to the faculty, but it is possible, especially if the decision came from Dumbledore. It is possible that the mead was scanned by one of Filch's Secrecy Sensors as it entered the school, and was passed as clean. Non-magical poison in a mead bottle would be as unlikely to trigger a Sensor as love potion in a perfume bottle, of course, so even if the necklace mentioned above had been found, the mead would not.


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User talk:192.65.219.139

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 09:30, 27 August 2007 (UTC)

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Outsourcing/Careers

=University Courses= ==United Kingdom ==

Undergraduate

 * Coventry University Business Economics (BA Honours degree)
 * Manchester University Information Technology Management for Business (BSc)

Post-graduate

 * University of Northampton IT Service Management (MSc)

Post-graduate
Keller Graduate School of Management Information Systems Management (MSc)

title: Outsourcing/Careers


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Latin/Lesson 6-The Perfect Passive

The perfect passive is an easy tense to form in Latin, and it is also one of the most useful. The verb "to love" in the perfect passive would translate into English as "I was loved".

Forming the Perfect Passive in Latin
In order to form the perfect passive you must be familiar with the principal parts of the verb with which you are working, e.g., amo, amāre, amāvī, amātum. The fourth principal part is the perfect passive participle.
 * In its neuter nominative form, the perfect passive participle is identical to the nominative supine (a fourth-declension noun whose morphology and usage are very restricted). Be careful not to confuse the two.

To use the perfect passive, first determine the gender and number of the subject of the sentence. For example, in the sentence "The queen was killed by the soldier," queen is the subject. In Latin, queen will be feminine nominative singular (regīna).

Now make the participle agree with the subject in gender and number (and case), just as you would with any adjective. As a review, the singular endings for the participle, a first/second declension adjective, are:

Masculine: -us — (amātus) Feminine:  -a — (amāta) Neuter: -um — (amātum)

The endings for plural nouns are:

Masculine: -ī — (amātī) Feminine: -ae — (amātae) Neuter: -a — (amāta)

These participles by themselves can be translated with "having been", eg. amatus = having been loved. Add a present form of sum, and you have the perfect passive, eg. amatus sum = I am having been loved = I have been loved.

Examples
Regina ā milite interfecta est..
 * "The queen was killed by the soldier."

Rex ad proelium est ā servīs portātus.
 * "The king was carried to the battle by his slaves."

Numquam enim ā Pomponiā nostrā certior sum factus esse cuī dare litterās possem. (Cicero, Ad Atticum 1.5)
 * "For I was never made aware by our Pomponia that there was someone to whom I could give a letter."

Exercises
Convert the following sentences with relative clauses into sentences with the same meaning but using past participles.

eg. Aemilianus vidit urbem quam deleverat -> Aemilianus vidit urbem a se deletam

 * 1) colonus exit casam quam vendidit
 * 2) colonus videt nuntium (messenger) quam Romam misit
 * 3) nuntius colono dedit epistolam quam coloni pater scripserat
 * 4) colonus gratias egit (gave thanks) nuntio quem saepe viderat

title: Latin/Lesson 6-The Perfect Passive


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GIMP/Caption a Picture

This effect will create a text caption with an outline effect. Firstly, use the text tool to write your caption. A contrasting caption would typically be black text with a white border; the border will be coloured later, so use black text.

On the text layer, use

 *   Layer > Discard Text Information
 *   Layer > Layer to Image Size
 *   Layer > Mask > Add Layer Mask

Choose "Transfer layer's alpha channel" as initial mask

Duplicate the text layer ( in Layers dialogue or   Layer > Duplicate Layer)

Select the lower layer's content, and fill it in white.

Switch to the layer's mask, and use   Filters > Generic > Erode, this should expand the lower layer and give the text a border. This may need to be repeated several times ( Ctrl+F )

Different fills and gradients can be applied to the two layers for a range of effects. Additionally, if a layer's mask is copied into a new, hidden layer, this can be used to apply a bump map via   Filters > Map > Bump Map.

A method that may be easier to follow is documented here with step-by-step photos.

title: GIMP/Caption a Picture


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Latin/Lesson 2-Subjunctive Use

.The subjunctive mood has several uses in Latin, the most notable of which are: First Person Exhortations Purpose Clauses Result Clauses Indirect Commands

Definition, Common Usage and Expression in Latin
An exhortation is a statement which expresses a wish. In English, the most common exhortation is "let's go". Other possibilities are "would go", "should go" and "may go". In Latin, these statements are equally as often used and are expressed in the present subjunctive active tense.

Definition, Common Usage and Expression in Latin
A purpose clause is a clause which expresses that someone did something in order that something else might happen. In English they usually contain the words in order to or so that. In Latin this concept is expressed by the words ut and ne followed by a verb in the subjunctive mood. Ut means "so that" or "in order to" and ne means "lest." In purpose clauses, only forms of the imperfect (following the secondary sequence of tenses) and present (for the primary sequence) are used.

Definition, Common Usage and Expression in Latin
Result clauses state that something occurred as a result of something else happening. For a positive result, use ut. For a negative result, use ut... non.

Result clauses are normally recognisable by a signpost word in the main clause:

tam = so (with adjective or adverb) tantus, -a, -um = so big, tot (indecl) = so many talis, -e = such, of such a sort adeo = so much, to such an extent (with verb) ita = so, in such a way (with verb) totiens = so often, so many times (with verb)

Definition, Common Usage and Expression in Latin
An indirect command is a statement like the following: "He ordered her to do x". The English equivalent words are "to" or "that they should" It can also take the form of "I am ordering you to do x", as opposed to the imperative "DO X!". Several verbs in Latin take the subjunctive mood with indirect commands: rogo, rogare, rogavi, rogatum - to ask persuadeo, persuadere, persuasi, persuasum - to persuade impero, imperare, -imperavi, imperatum - to order peto, petere petivi, petitum - to seek, ask for</li> </ol> These verbs use an ut/ne + the subjunctive construction.

Definition, Common Usage and Expression in Latin
The subjunctive is used in indirect questions. For example, the question 'What are you doing?' is direct, while "He asked what I was doing" is indirect. In Latin, the verb in the clause containing the indirect question must be in the subjunctive.

Examples

 * Imperator milites rogat si castra ceperent The general asks the soldiers if they captured the camp.
 * Eum rogo quid faciat I am asking him what he is doing.
 * Magister pueros rogat utrum laborent an ludant The teacher asks the boys whether they are working or playing.

title: Latin/Lesson 2-Subjunctive Use


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Fighting/Accurizing

Accurizing is the process of improving the accuracy of a firearm. The goal of accurizing is consistency. If every part of the process of firing can be made as consistent as possible, then the bullet should strike the target as close as possible to the same place every time. Since most modern firearms are mass produced, and since mass production and interchangeable parts all have some allowance for error, most firearms can gain significant accuracy with some additional work.

Accurizing generally concentrates on three different areas:
 * Usability: Enhancements that give the shooter a more consistent hold on the firearm, and a more consistent trigger pull.
 * Tolerances: Parts that fit together better will shift less or shift more consistently under recoil.  Moving parts still have to move, however, and finding the right compromise is more art than science.
 * Harmonics: Barrels vibrate under the shock of firing.  These vibrations can be minimized or tuned to minimize their impact on accuracy.  Generally the harmonic effects are proportional to the square of the barrel length, and so are generally only of concern in rifles but not handguns.

Defining accuracy
While the question "which of these guns is the most accurate" seems to be a fairly simple one to answer—just shoot and measure—defining "what is accurate" is not necessarily an easy task. For a hunting gun, for example, the first shot fired, from a cold, clean barrel, is often the most important. Target shooters, on the other hand, care as much about the last shot as the first, and so will actually fire fouling shots before shooting for score, to get the barrel warmed up and dirty so the first shots on the target will have the same conditions as the last. There is also the issue of ammunition—some guns may be very picky about ammunition, going from excellent groups with one ammunition to horrible groups with another, while others will shoot just about anything with the same performance. Depending on the shooter and the situation, a gun may be chosen based on its best case performance, its average performance, or even its worst case performance.

A perfect example of the ambiguity in the "which is most accurate" is a test run by Performance Shooter magazine in December, 1996. The magazine was testing seven brands of 38 Special wadcutter rounds in three different revolvers, a Smith & Wesson Model 686 and Model 52, and a Colt Python Target model, with six, five and eight inch long barrels, respectively. Ten groups of five shots were fired and measured from each revolver with each ammunition. Click on the image at right to see a larger view of the graph of average group sizes for each type of ammunition and each revolver. The average group size for the overall test was 2.85 inches (72.4 mm).

Based on average group size, the winner was the Model 686, which shot an average group of 2.69 inches across the brands of ammunition, with a standard deviation between ammunition types of 0.54 inches. However, the Model 52, while shooting slightly larger groups at 2.88 inches, was far more consistent across the brands, with a standard deviation of only 0.30 inches, and was the most consistent performer of the test. But, if you were able to tune your ammunition to the gun, the clear winner was the Python, which averaged just 1.69 inches with its favored brand of ammunition. The Python was by far the pickiest, however, turning in the largest groups at 6.08 inch and 4.0 inch averages with its least favorite brands, for a standard deviation of 1.6 inches.

Usability
The keys to an accurate shot are a firm but not overtight grip, the ability to get a good sight picture, and a controlled squeeze of the trigger. The ability to manage recoil is also important in heavily recoiling calibers, both to aid in possible additional shots, and to prevent the user from developing a fear of the recoil. For firing multiple shots, it is also best to minimize the amount of movement that must be made between shots, so that the ideal grip, once obtained, can be retained as easily as possible.

The enemies to usability are fatigue and anticipation of recoil or report. Fatigue causes muscles to tremor, eyes to lose focus, and concentration to lapse. Anticipation of recoil or report causes the user to jerk the trigger and to tense at the moment of firing, which will throw the gun out of alignment and cause a miss.

Eliminating grip fatigue
Any portion of the gun that must be gripped should be the right size for the shooter's hands. Too large and the user must grip too tightly, causing tremors and fatigue; too small, and a firm, consistent grip becomes very difficult to achieve. Ideally, the rifle stock or pistol grips should be shaped to fit the shooter's hand, so the gun in effect guides the shooter's hand into the same place each time. The hand used to squeeze the trigger is the most important; swells located under the palm of the hand, a shelf for the thumb to rest on, and a shelf to separate the trigger finger and guide it into place will all help. Some shooters prefer a smooth grip surface, especially on rifles, while others prefer a rough, checkered or stippled surface on some or all of the grip area. The angle of the grip is also important. For rifles the grip angle should ideally keep the wrists straight and the elbows down. For pistols, low recoiling calibers like .22 Long Rifle generally often have a grip angle of about 30 degrees from vertical, while heavier recoiling calibers have a straighter angle, around 20 degrees. The higher grip angles encourage a relaxed wrist, while the steeper angles work better with a locked wrist and a firmer grip.

While pistols only have significant contact with the trigger hand, rifles generally also have contact with the shooter's other hand, cheek, and shoulder—the exception being guns that are designed to be fired from a sandbag or other rest, which are often used with just cheek and trigger hand. The forend, where the non-trigger hand grips a rifle, is the main source of control in the aiming of the rifle. It should be wide enough to fill the hand without the fingers touching the barrel (which can get quite hot) and long enough that the user can pick a comfortable elbow angle for any shooting positions used with the rifle. Since the supporting hand may be placed anywhere along the forend, forends tend to have a constant cross-section along the useful portion of their length.

The weight of the gun is also an important consideration. A gun that is too heavy will result in a tighter grip and quick fatigue due to the effort of holding it. Too light can also be a disadvantage, since a heavy gun has more inertia and will be less subject to involuntary muscle movements.

Eliminating eye fatigue
Sights should be suited to the targets used. For large targets engaged at high speeds, large sights are best, for small targets requiring high precision, a finer sight would be best. Since the eye is capable of focusing only at one distance at a time, the sights should be selected so that the point of focus is where it will do the greatest good, which is usually the front sight. An aperture rear sight is best (where allowed by rules and other considerations) because even when out of focus, it is easy to center the target in the resulting fuzzy circle. On target rifles, circular front sights are often used as well; the target bullseye is centered in the front circle, which is then centered in the rear circle.

Pistol sights are rarely of the aperture type; they are most often Patridge style sights. When selecting a Patridge sight, the front sight blade should be wide enough to focus on easily, and the image of the target should sit centered on top of the sight blade. The rear sight should be chosen so that a good amount of light is visible on both sides of the front blade. Since the rear sight is always out of focus, the intensity of the light bars between rear sight and front sight are used to center the front sight—when both sides are equally bright and the top of the blade is even with the top of the rear sight, then the sights are correctly aligned.

Optical sights (usually called scopes) are the least fatiguing form of sight, and the easiest to use. The optical sight visually projects a single aiming point (typically a crosshair) to the same plane as the target image. Often the target image is magnified, but this is not necessary; many pistol scopes, especially those used in action shooting, have no magnification. Magnification has tradeoffs in field of view; if you double the target image magnification, you cut the angle that can be viewed in half. Magnification also magnifies the shooter's movements—a hold that looks perfectly steady with iron sights can be seen to wander around the bullseye when seen through a high magnification scope. This can be good or bad, depending on the shooter. A good shooter will use the magnification to increase the steadiness of their hold, while a poor shooter will be distracted by the movement and try to jerk the trigger as the crosshair slides across the target.

Since the rifle acts as a rest for the shooter's head, it is important that the stock provide both a secure rest for the cheek and a good placement for the shooter's eye. A rifle with optical sights, for example, should have a higher cheek rest than a rifle with non-optical sights, since optical sights tend to be higher. Cheek position also can impact accuracy. Optical sights, since they project the crosshair out to a given distance, suffer from parallax errors at other distances. As long as the crosshair is centered in the lens this will have no impact. However, if the crosshair is viewed off center parallax error will come into effect.

Optimizing the trigger pull
The trigger must fulfill two goals: it must fire the round with the minimum of disturbance to the shooter's grip, and it must not fire the round until the shooter is ready to fire. The force required to pull the trigger, called the trigger pull, and the consistency of the pull are both important for top accuracy.

For some guns, such as handguns used for combat pistol shooting, it is reasonable to expect that the gun may be dropped, so the trigger should be held forward with sufficient force to prevent it from being pulled by the force of a fall. For a heavy benchrest gun, that is intended only to be fired from a shooting bench and is never loaded except when on the bench and ready to fire, a much lighter force is allowable. Unfortunately, many manufacturers are afraid of potential lawsuits caused by negligent discharges, and so they build firearms with far heavier trigger pulls than is needed for top accuracy under normal usage conditions. This can almost always be fixed by using either aftermarket replacement parts, or by careful hand tuning by a competent gunsmith. Trigger pulls on competition guns range from 10 pounds force (44 newtons) on a double action revolver to as low as 2 ounces (0.6 N) on a benchrest rifle.

Consistency is always important, because sudden changes in the amount of force required to pull the trigger will result in sudden increases or decreases in muscle tension, which can alter the grip on the firearm. Even after the trigger breaks, or begins the process of firing the round, it is important to maintain a steady force. There is a short but significant lag between the trigger break and the firing pin striking the primer, called the lock time, and any movement during the lock time can still disturb the path of the bullet.

Many target guns will have triggers with one or more of the different aspects of the pull fully adjustable. Anschutz, for example, makes triggers where takeup distance, first stage weight, second stage weight, sear engagement, and overtravel are all independently adjustable.

Takeup
Many triggers, especially those in semi-automatic guns, will have some slack that needs to be taken in before the trigger engages the sear and begins the process of firing the gun. This is especially prevalent in semi-automatics because the trigger has to move forward after firing to re-engage the sear, which will have been disconnected during the cycling of the action. This takeup should be fairly short, so that the shooter's finger doesn't shift significantly on the trigger during the takeup movement. Any shifting will result in a less than ideal angle between trigger and finger, and this can cause the gun to be pushed to the side or elevated as the trigger is pulled further.

Release
The release is the portion of the trigger travel where the sear is being disengaged. Lower tension on the sear and reduced sear travel will both make the release a smooth, "crisp" operation (crisp meaning that there is little or no noticeable travel during release). Too much reduction in sear engagement, and the firearm becomes subject to unintentional discharge; reducing the tension means reducing the hammer or striker spring tension, and that can lead to failure to detonate the primer and excessive lock times. Another problem is getting the weight of the release so low that the inertia of the trigger will release the sear if the firearm is jarred.

One way to get a very light release without risking unintentional discharged is to use a two-stage trigger. A single-stage trigger has little or no takeup; if there is takeup, it is purely due to slack in the trigger mechanism. A two-stage trigger is designed to have a distinct takeup, with the trigger working against a significant amount of spring pressure. At the end of the takeup travel, there is a small but noticeable increase in pull as the sear begins to disengage. The two-stage trigger might have a pull force of several pounds force, but first and second stages differ in pull by only ounces. As the shooter prepares to fire, enough pressure is applied to handle the takeup, or first stage. Then the shooter pauses to finish aiming, and then the tiny amount of additional pressure is applied to overcome the release, or second stage of the pull. This gives the handling safety of a heavier trigger pull, with most of the advantages of a light, crisp single-stage trigger.

Overtravel
Overtravel is the travel made by the trigger after the sear is released. Generally, when the sear releases, there is a noticeable reduction in the force required to move the trigger. Since the shooter has already applied enough force to release the sear, the sudden reduction in pressure causes the trigger to move back rapidly—far more rapidly than the shooter can react to the change. Since this happens at the most critical moment of firing, and happens too fast for the shooter to react, this is the most difficult aspect of the trigger pull for the shooter to overcome through technique alone. The best way of dealing with overtravel is to not allow it. An adjustable stop placed just past the point of sear release will stop the movement of the trigger, preventing the sudden release in tension and the subsequent movement. This stop needs to be adjustable, since normal wear on the sear and trigger components will change the point of release slightly, and the overtravel stop will need to be adjusted periodically to compensate. Overtravel is most critical on pistols, where the inherent instability of the shooter's grip combined with the heavier trigger pulls encountered can result in deviations measurable in degrees of arc.

Other usability issues
The location of the various controls for a firearm can have a significant effect on accuracy. The most vital is, as one would expect, the trigger. The trigger should be easy to reach, so the user doesn't have to stretch or strain to reach it. The trigger placement should also cause the finger to naturally lie along the trigger in the best position to pull it—for most guns that would be with the trigger centered in the pad of the tip of the trigger finger. The exception to this is double action triggers, where most people shoot best with the trigger at the first joint of the finger.

Other controls can have a positive or negative on the user's comfort and consistency. Any controls that interfere with the user's grip, or cause discomfort due to poor positioning can cause the user to lose concentration or rush a shot, leading to a miss. A well located safety can help a shot in cases, such as hunting, where the firearm is carried with the safety on. A well designed breech, whether it be bolt action, lever action, or even a single shot design, can speed up reloading time, giving more time to concentrate on aiming a successive shot. Semiautomatic]designs should eject fired cases away from the shooter—for example, nothing destroys the concentration quite like a hot 10mm Auto case down the back of one's shirt.

Another issue that is not strictly related to the gun design, but does certainly apply to fitting the gun to the user is recoil. A heavy recoiling caliber can hurt to shoot. If the shooter is not comfortable with the recoil of the gun and cartridge combination they are firing, they will anticipate the pain, which can cause them to flinch before the shot is fired. This is a very common problem, and can be demonstrated by the classic "ball and dummy" drill, where live and dummy ammunition are mixed together, so that the shooter doesn't know ahead of time if a given pull of the trigger will fire the gun or not. If there is any movement of the gun when a dummy is fired, it indicates the user is anticipating the recoil and would have pulled the shot off target. If, even when focusing on good technique, a shooter still flinches on the dummy shots, then it is time to look at methods for reducing felt recoil. A padded grip or buttplate, a muzzle brake, a heavier gun, a lighter cartridge, or a combination of those items can go a long way to reducing the felt recoil, improving the user's confidence, and eliminating the anticipation.

Tolerances
Tolerances between moving parts are very important when it comes to maintaining a high level of consistency. Loose parts will tend not to fit together the same way every shot, and those differences can result in poor accuracy. This does not mean that tolerances should be as tight as possible, however. Firearms are generally used outdoors, and even modern smokeless powder leaves some residual soot in the gun. Dust, moisture, and soot will build up on the moving parts, and if there isn't sufficient allowance for some buildup then parts that should lock into place won't lock anymore, and parts that should slide smoothly will become stiff. As Mickhail Kalashikov, designer of the AK-47, said in reference to his creation, "Best is the enemy of good enough". The AK-47 is a military rifle, designed to be used by often poorly trained, conscripted troops, in all weather and all seasons. By allowing plenty of room around the moving parts, Kalashnikov created a rifle that on its best day might shoot under 5 minutes of arc, but will shoot under conditions that will cause most other firearms to fail miserably. The M16, on the other hand, is often criticized for unreliability under extreme circumstances, but most are capable of 2 minutes of arc or better, with match grade examples shooting along with some of the most accurate rifles in the world, with samples often producing groups of 0.25 minute of arc at ranges of under 200 yards. Picking the right balance between accuracy and reliability depends entirely on the situation in which the gun will be used. For a gun used only for shooting targets, the preference will be to trade reliability for accuracy; for a defensive weapon, reliability is far more important. For a sport hunting rifle, the balance will be somewhere in the middle.

Sight to barrel alignment
One of the most obvious areas where tolerances affect accuracy, especially in semiautomatic pistols, is the sight-to-barrel fit. Since one or both of the sights are often located on the slide of the pistol, which moves independently from the barrel, having the slide and barrel lock up consistently is very important. Since free and easy movement of the slide is also important for reliability, production guns often err on the side of a loose tolerance. Aftermarket barrels are often machined slightly oversized, so that careful removal of metal is needed in areas critical to the lockup. This allows the gunsmith to carefully match the barrel to the slide, providing as tight a lockup as desired for the proper balance of accuracy and reliability. Scoped pistols add an additional level of difficulty, as the scopes are often mounted to the frame, which is independent of both slide and barrel in the common short recoil design. In this case, the slide must be fitted to the frame, then the barrel to the slide. It is for this reason that competition quality pistols are often 2 or 3 times the price of the mass-produced versions.

Sight-to-barrel alignment also applies to some rifles, particularly the Ruger 10/22. Since the barrel slips into the receiver rather than threading in, the junction is relatively flexible, especially when the barrel heats and expands, pushing against the wooden stock. Since scopes are generally mounted on the receiver, special care must be taken to minimize the effects that barrel heating can have on this joint. Another approach is to use a cantilever mount, which mounts directly to the barrel, and has a bar that extends over the receiver. This bar may bolt to the receiver, adding strength to the joint, or may float entirely above it, with the scope mounted to the bar rather than the receiver.

Bolt to barrel fit
When a cartridge is fired, the pressures in the case can range from 10,000 to 65,000 psi (70–450 MPa, 700–4,500 bar) for common cartridges. The case, usually made of brass, expands under the pressure of firing to fit the chamber tightly. If the case is loose in the chamber before firing, this will cause a potentially significant change in the chamber volume, which will have an impact on the pressure curve. The sudden pressure can also cause a loose bolt to shift back, which will also change the effective chamber volume and thus the pressure curve. The initial shape of the pressure curve can have a profound effect on the behavior of the cartridge. For example, the 357 SIG cartridge, which has a very short neck to hold the bullet in place, has been observed to show significant case deformation due to serious overpressure by the bullet being pushed just 1/8" too deep in the case. This shows how much pressures can change with even a small reduction in effective chamber volume; while the effects of an increase aren't nearly as dangerous, they can cause accuracy problems.

To achieve the best possible bolt-to-barrel fit in a bolt action rifle, lapping compound is applied to the locking lugs of the bolt, then the bolt is locked in place with a dummy cartridge in the chamber. The dummy case pushes the bolt back, causing the lugs to lock up firmly. The lapping compound will quickly smooth out any high spots, and provide a smooth, solid surface for the bolt to lock into. For best results when firing the rifle, cases that have previously been fired in the rifle are reloaded, and are resized only at the neck, so the case will fit into the chamber as tightly as possible. This prevents any space at the shoulder of the chamber for the case to expand into. This solution is generally only viable for bolt action rifle and pistols, since the bolt action provides enough leverage to push the tight fitting cartridge into the chamber. While semiautomatic and other designs can benefit from a good bolt to barrel fit, they do not have the power to cam a neck-sized cartridge into place, and so full length resized cases must be used.

Movement under recoil
Upon firing, a significant amount of momentum is transferred to the firearm in reaction to the acceleration of the bullet. While this may only accelerate the rifle to a speed measurable in inches per second, that force is applied in milliseconds. This sudden acceleration is eventually transferred to the user, whose flexible body absorbs and dissipates the energy. Even transfer of this momentum must be consistent to achieve the best accuracy, because the momentum transfer is well under way before the bullet exits the barrel.

With rifles, the big issue is the fit between stock and barrel. The stock is a significant part of the mass of the rifle, and if it shifts relative to the barrel and/or action, then it changes how the rifle reacts to the recoil. This concern is addressed by bedding the action. When an action is bedded, portions of the action and the corresponding portions of the stock are made to fit together very precisely. In pillar bedding, this is done by machining metal (usually aluminum) pillars that perfectly match mating spots on the barreled action. The pillars are then epoxied into the stock, and the barreled action screwed down tightly to the pillars. The other method, far more accessible to the do-it-yourself user, is glass bedding. In this method, material is removed from the stock around the critical areas (generally where the screws attach action to stock) and then these sections are dammed off with a soft substance like clay. These areas are then filled with a mix of epoxy and fiberglass or other high strength filler. The barreled action, covered in a suitable mold release agent, is then screwed into the action and left while the epoxy cures. If all goes well, the result, after cleanup, will be a stock that contains a perfect impression of the barreled action - of course, if all doesn't go well, the user ends up with the action glued to the stock, which generally means destroying the stock to remove the action. Some die-hard accuracy shooters who consider a barrel with more than 1,000 rounds through it "worn out" will go so far as to intentionally glue the barreled action to the stock, with the intent of tearing it up when the barrel must be replaced. This makes it impossible to disassemble the rifle without destroying components, so most shooters are not willing to go to that extreme.

To explain the importance of movement under recoil in pistols, first consider the following paradox. Take a given pistol and cartridge combination, say a 45 Colt firing a 200 grain (13 g) bullet at 900 feet per second (270 m/s). After adjusting the sights so the pistol hits point of aim at 50 feet (15 m) with that load, switch to a 350 grain (23 g) bullet at 750 feet per second (230 m/s). Where does the round impact relative to the point of aim with the new cartridge? Logic says that the slower bullet will drop more during its longer flight, and hit lower than the lighter, faster bullet. In reality, it is far more likely that the slow, heavy bullet will hit higher than the fast light bullet. The reason for this is that the slow, heavy bullet produces about 50% more recoil than the light fast bullet. Since the barrel sits far above the pistol's center of mass, the recoil will torque the pistol so as to raise angle of the barrel. Unless the pistol is clamped firmly into a vise, there will be insufficient force to resist this torque. The phenomenon of "limp wristing" a pistol, that is, holding it so loosely that the cycling of the action will fail, is widely observed and well documented. While not as obvious, the firearm begins to shift in the user's grip before the bullet exits the barrel, and so can impact accuracy. Choosing a grip that allows the user to firmly hold the gun, especially against the rotation of recoil, can help ensure consistency.

Bore characteristics
Bullet-to-barrel fit is, as one would expect, very important to accurate shooting. A bullet that does not fit tightly in the bore will let gas escape, causing erratic velocities, and will tumble in the bore so that it exits at an angle, which is likely to cause tumbling. In addition, the shape of the bore and the rifling can have quite an impact as well.

Harmonics
While the barrel of a firearm may seem very stiff and resistant to significant vibrations, the force of an igniting cartridge, which goes from zero pressure to 10,000 to 60,000 lbf/in² (70–400 MPa, 700–4,000 bar) or more in less than a millisecond, creates enough force to make the barrel ring like a tuning fork at its natural frequency. It has been experimentally shown that such ringing can open groups up several minutes of arc, especially with long, thin barrels that ring at lower frequencies and higher amplitudes than short, thick barrels. Harmonics don't really have an impact with handguns, since the barrels are far shorter and thus inherently far stiffer than rifle barrels. Most target rifles have larger diameter barrels, appropriately called "heavy barrels"; some go so far as to have no taper at all along their length, and these are called "bull barrels". The large diameter barrels reduce the amplitude very significantly, but at the expense of a lot of weight. Sporting rifles and rifles made for target matches that have a maximum rifle weight cannot afford to have a barrel that heavy, and legal and internal ballistics considerations set a minimum practical length. For these rifles, alternate methods of dealing with harmonics must be used.

No method can completely eliminate the effects of harmonics, and because of that, an accurate rifle attempts to make the harmonics as consistent as possible. This is generally done by "free floating" the barrel. This is done by opening up the stock channel under the barrel so that there is a small amount of space free—the general rule of thumb is enough to slide a business card between stock and barrel. This will allow the barrel to ring at the same frequency even when the barrel heats and expands, or when the stock swells and contracts with changes in humidity. Some rifles, particularly the Ruger 10/22, shoot even better with a small amount of upward force on the barrel near the end of the stock. In the case of the 10/22, this is due to the weak barrel to receiver junction, which is not strong enough to allow a free floated barrel. On other rifles (often .22 Long Rifle calibers) they just shoot better that way, even though the pressure isn't needed to support the barrel.

Stiffness without weight
One method commonly used is to use a fluted barrel. A fluted barrel is made by cutting shallow longitudinal grooves, called flutes, in the outside of a heavy barrel. This process removes weight, but retains the larger diameter of the original heavy barrel. A fluted barrel is generally stiffer than a solid barrel of the same weight, but not quite as stiff as the original heavy barrel. Fluted barrels are often favored for their ability to cool faster, as the flutes increase the surface area and thus the ability of the barrel to transfer heat to the air.

A fairly recent innovation is the composite barrel, called an "ultra-light bull barrel", or in some cases a "tensioned barrel". These are made by turning a steel barrel down to the minimum diameter suitable for the internal ballistics of the cartridge—generally a very aggressive taper from the breech end, flattening out towards the muzzle. The resulting barrel is obviously too light to be at all accurate, and looks too fragile to carry its own weight, but fulfills the requirement of containing the pressure of the propellant. Over this skinny barrel is placed a cylindrical sleeve the diameter of a typical bull barrel for the rifle in question. This sleeve is generally made from either carbon fiber composite or aluminum, and may contact the steel barrel (now called a liner) along its entire length, or only at breech and muzzle. Generally, the sleeve is held on by threading the barrel and attaching a nut on the end. The nut is then tightened down, tensioning the liner and compressing the sleeve. When compressed, the sleeve becomes even stiffer than it originally was. The resulting barrel is far lighter than a solid steel barrel of the same diameter (often half the weight or less), and is comparable or even superior in stiffness and accuracy. The downside to these barrels is that they require more effort to manufacture than a standard heavy or bull barrel, and are thus generally more expensive.

Barrel and load tuning
The other approaches to dealing with harmonics take the opposite view—rather than trying to eliminate the harmonics, they are embraced and used. For these methods, it is essential that the barrel be free floating, or bedded in a soft, flexible bedding material, so that it is allowed to vibrate freely. The goal of tuning is to have the bullet exit at the extreme end of the vibration, be it top, bottom, or side. This is the point at which the barrel is moving the slowest, so the angular dispersion of the bullets due to the vibrations will be minimized. These methods work best with long, thin barrels, since these barrels vibrate at the lowest frequency and therefore have the widest "sweet spot" when tuned correctly. Since long, thin barrels tend to be the least accurate "out of the box", the improvements that can be made by tuning are highly dramatic. It is not uncommon to see group size cut in half or more with a properly tuned combination.

The first and oldest method is tuning the load to the rifle. This is a trial and error process, and can be quite time consuming. A large number of loads are chosen, either by handloading or by purchasing a wide range of commercial ammunition. Each load is fired at a target, and the total spread of the rounds measured. The group with the smallest spread is then considered the "tuned" load for that rifle. This approach has its drawbacks, especially when rimfire cartridges are involved, as they cannot be reloaded and the user is limited to commercially available choices. Even when reloading, it is possible that the load chosen may be unsuitable for the desired purpose; the bullet weight needed for best accuracy may be too light for heavy game, or too heavy to generate the flat trajectory needed for varmint shooting.

The other method involves tuning the barrel to a given load. Since it is not practical to shave off or weld metal back onto the barrel, tuning the barrel involves having adjustable parts that can change the harmonics of the barrel. The most popular of these is the adjustable barrel weight. These are mounted either on the muzzle (lightest and most effective) or near the muzzle (shorter overall length) of the barrel. They can be moved back and forth along the length of the barrel and locked rigidly in place, and the position of the extra mass changes the frequency of the barrel—further out gives a lower frequency. The Browning BOSS system is such a tuner, and mounts to the muzzle end of a specially threaded barrel. The BOSS weight has markings similar to a micrometer plus a locking nut, so it can be dialed into a given location and locked in place. The advantage of this system is that the barrel can be tuned to a given load and that tuning recorded; that allows the rifle to be tuned to any number of different loads, and with a quick turn of a dial, the tuning for a given load can be recalled.

The disadvantage to a tuning weight is that it adds either bulk or length to the barrel, which many shooters dislike. Another system for tuning works by selectively damping the barrel, and it can be completely hidden in the stock. These systems use an adjustable pressure point mounted in the stock, pushing up on the barrel. A small screw is exposed, usually on the muzzle end of the stock, that slides a plastic block forwards and backwards along the barrel. This plastic block is mounted so that there is a significant amount of pressure up on the barrel; one product suggests a pressure of about 7 to 10 pounds (30 to 45 N). Once in place and pressing upwards on the barrel, moving the pressure block back and forth over the range of an inch or two will damp vibrations in the barrel to differing degrees.

title: Fighting/Accurizing


text:
Talk:Fighting/Accurizing

Wikipedia page history at time of import
* (cur) (last) 13:55, 25 August 2007 Arthurrh (Talk | contribs) m (38,413 bytes) (→What is accurate? - section name change) (undo) * (cur) (last) 06:39, 24 August 2007 Thumperward (Talk | contribs) (38,413 bytes) (stronger tag. this looks like somebody's gun club homework) (undo) * (cur) (last) 09:27, 18 May 2007 AlleborgoBot (Talk | contribs) m (38,424 bytes) (robot Modifying: ru:Кучность стрельбы) (undo) * (cur) (last) 22:33, 15 May 2007 VVVBot (Talk | contribs) m (38,407 bytes) (robot Adding: ru:Кучность) (undo) * (cur) (last) 10:51, 11 May 2007 69.210.159.196 (Talk) (38,382 bytes) (→Eliminating eye fatigue - Grammatical changes to last sentence. Replaces a long, run-on sentence with two shorter, more easily understood sentences.) (undo) * (cur) (last) 20:55, 8 March 2007 CmdrObot (Talk | contribs) m (sp (2): farily→fairly, performace→performance) (undo) * (cur) (last) 19:28, 2 March 2007 Tierlieb (Talk | contribs) m (→Tolerances - Typo: Kalishnakov -> Kalashnikov) (undo) * (cur) (last) 02:36, 11 January 2007 CharlotteWebb (Talk | contribs) (add tag per discussion) (undo) * (cur) (last) 02:35, 11 January 2007 CharlotteWebb (Talk | contribs) (result was keep) (undo) * (cur) (last) 00:31, 7 January 2007 Wibbble (Talk | contribs) (nominated for deletion: see Wikipedia:Articles for deletion/Accurizing) (undo) * (cur) (last) 10:22, 27 December 2006 Arcades (Talk | contribs) (undo) * (cur) (last) 03:01, 13 November 2006 Interiot (Talk | contribs) m (→Tolerances - link Tolerance (engineering)) (undo) * (cur) (last) 11:13, 30 August 2006 Fluzwup (Talk | contribs) m (→What is accurate? - links) (undo) * (cur) (last) 10:55, 30 August 2006 69.81.44.8 (Talk) (→External links) (undo) * (cur) (last) 11:23, 8 August 2006 72.70.79.194 (Talk) (→Movement under recoil - wikify) (undo) * (cur) (last) 07:04, 31 July 2006 Ryamer (Talk | contribs) (→Other usability issues) (undo) * (cur) (last) 16:12, 27 July 2006 Straker (Talk | contribs) m (→What is accurate? - typo) (undo) * (cur) (last) 18:11, 26 July 2006 Firsfron (Talk | contribs) m (clean up+rem apostrophe abuse using AWB) (undo) * (cur) (last) 01:52, 23 July 2006 Qwasty (Talk | contribs) (→External links) (undo) * (cur) (last) 10:30, 19 July 2006 Fluzwup (Talk | contribs) (undo) * (cur) (last) 07:39, 11 July 2006 GunGeek (Talk | contribs) m (→Optimizing the trigger pull - corrected definition of "lock time") (undo) * (cur) (last) 18:59, 15 June 2006 Night Gyr (Talk | contribs) m (moved Accurize to Accurizing: noun title) (undo) * (cur) (last) 12:12, 10 June 2006 CamTarn (Talk | contribs) m (→Movement under recoil - Missing bracket) (undo) * (cur) (last) 10:51, 4 April 2006 Fluzwup (Talk | contribs) m (→Bolt to barrel fit - Link fix) (undo) * (cur) (last) 10:49, 4 April 2006 Fluzwup (Talk | contribs) m (→External links - Added AccuMajic Accurizer link) (undo) * (cur) (last) 10:46, 4 April 2006 Fluzwup (Talk | contribs) m (→External links - Barrel tuner link) (undo) * (cur) (last) 10:39, 4 April 2006 Fluzwup (Talk | contribs) m (Bolded category names) (undo) * (cur) (last) 10:30, 4 April 2006 Fluzwup (Talk | contribs) m (→External links - Acurizing links) (undo) * (cur) (last) 10:18, 4 April 2006 Fluzwup (Talk | contribs) m (Added image) (undo) * (cur) (last) 03:17, 2 April 2006 64.113.71.245 (Talk) (→Movement under recoil - Instead of "this" being inclusive, I think the intent was explanatory) (undo) * (cur) (last) 12:51, 22 March 2006 Larry V (Talk | contribs) (undo) * (cur) (last) 09:15, 9 March 2006 Bluebot (Talk | contribs) (bulleting external links using AWB) (undo) * (cur) (last) 17:18, 29 December 2005 Gene Nygaard (Talk | contribs) (space before unit symbols, dashes) (undo) * (cur) (last) 09:11, 28 November 2005 194.201.25.22 (Talk) (undo) * (cur) (last) 10:05, 10 November 2005 Flowersofnight (Talk | contribs) m (fix link "Browning") (undo) * (cur) (last) 23:09, 28 October 2005 Evil Monkey (Talk | contribs) m (→Tolerances) (undo) * (cur) (last) 10:06, 26 October 2005 24.6.199.184 (Talk) (→Eliminating eye fatigue - Fixed punctuation.) (undo) * (cur) (last) 09:59, 26 October 2005 24.6.199.184 (Talk) (→Movement under recoil - Fixed typo in the second sentence.) (undo) * (cur) (last) 18:21, 2 September 2005 CDThieme (Talk | contribs) m (→Movement under recoil - skip redirect) (undo) * (cur) (last) 21:29, 31 August 2005 Fluzwup (Talk | contribs) m (→Barrel and load tuning - sp) (undo) * (cur) (last) 17:09, 20 August 2005 63.82.139.3 (Talk) (→Stiffness without weight - spelling) (undo) * (cur) (last) 04:57, 19 July 2005 Bobblewik (Talk | contribs) m (units, possibly using Google converter) (undo) * (cur) (last) 18:17, 25 June 2005 69.172.9.129 (Talk) (→Sight to barrel alignment) (undo) * (cur) (last) 10:17, 21 June 2005 Fluzwup (Talk | contribs) m (Added link to cryogenic treatement article.) (undo) * (cur) (last) 16:29, 3 May 2005 Cmdrjameson (Talk | contribs) m (spelling) (undo) * (cur) (last) 20:05, 28 April 2005 Quale (Talk | contribs) m (→Sight to barrel alignment - sp) (undo) * (cur) (last) 13:43, 21 April 2005 Sam Hocevar (Talk | contribs) m (grammar (it's / its)) (undo) * (cur) (last) 01:33, 17 April 2005 Quale (Talk | contribs) m (→Movement under recoil - sp) (undo) * (cur) (last) 12:10, 28 March 2005 Fluzwup (Talk | contribs) m (→Tolerances - Used a more common translation of Kalashnikov's quote) (undo) * (cur) (last) 12:05, 28 March 2005 Fluzwup (Talk | contribs) m (→Tolerances) (undo) * (cur) (last) 12:03, 28 March 2005 Fluzwup (Talk | contribs) m (→Bolt to barrel fit) (undo) * (cur) (last) 11:54, 28 March 2005 Fluzwup (Talk | contribs) (→Harmonics - Typos) (undo) * (cur) (last) 11:48, 28 March 2005 Fluzwup (Talk | contribs) (→Harmonics - Added content) (undo) * (cur) (last) 16:40, 25 March 2005 Fluzwup (Talk | contribs) (→Tolerances - Added content) (undo) * (cur) (last) 12:52, 25 March 2005 Fluzwup (Talk | contribs) m (Link typo) (undo) * (cur) (last) 12:44, 25 March 2005 Fluzwup (Talk | contribs) (→Other usability issues - Added content) (undo) * (cur) (last) 23:30, 3 February 2005 RPellessier (Talk | contribs) (→Usability - fix typos) (undo) * (cur) (last) 10:35, 21 January 2005 Fluzwup (Talk | contribs) m (→Optimizing the trigger pull - fixed another link) (undo) * (cur) (last) 10:27, 21 January 2005 Fluzwup (Talk | contribs) m (→Optimizing the trigger pull - fixed link) (undo) * (cur) (last) 02:41, 21 January 2005 Sam Hocevar (Talk | contribs) m (spelling) (undo) * (cur) (last) 16:02, 20 January 2005 Fluzwup (Talk | contribs) (→Takeup - Split out and filled in release and overtravel.) (undo) * (cur) (last) 17:11, 19 January 2005 Fluzwup (Talk | contribs) (→Optimizing the trigger pull - Partially done) (undo) * (cur) (last) 04:33, 16 January 2005 Bryan Derksen (Talk | contribs) m (Category:Firearms) (undo) * (cur) (last) 15:20, 13 January 2005 Fluzwup (Talk | contribs) (Added content on usability.) (undo) * (cur) (last) 17:47, 6 January 2005 Fluzwup (Talk | contribs) (Created page., more to come.)

title: Talk:Fighting/Accurizing


text:
Template:Basic Computer Security/Introduction

 * Introduction
 * General Security and Passwords
 * Malware
 * Web Security
 * PC Security
 * Privacy
 * Network Security
 * Further reading


text:
Template:Basic Computer Security/General Security and Passwords

 * Introduction
 * General Security and Passwords
 * Malware
 * Web Security
 * PC Security
 * Privacy
 * Network Security
 * Further reading


text:
Template:Basic Computer Security/Web Security

 * Introduction
 * General Security and Passwords
 * Malware
 * Web Security
 * Choose a Better Browser
 * HTTP, HTTPS and SSL
 * Email Security
 * Phishing and Spam
 * Enhancing Web Services Security
 * PC Security
 * Privacy
 * Network Security
 * Further reading


text:
Template:Basic Computer Security/PC Security

 * Introduction
 * General Security and Passwords
 * Malware
 * Web Security
 * PC Security
 * User Controls
 * Data Encryption
 * Privacy
 * Network Security
 * Further reading


text:
Template:Basic Computer Security/Privacy

 * Introduction
 * General Security and Passwords
 * Malware
 * Web Security
 * PC Security
 * Privacy
 * Personal Information and Privacy
 * Public and Shared computers
 * Chat Logging
 * Browsing by Proxy
 * Network Security
 * Further reading


text:
Template:Basic Computer Security/Network Security

 * Introduction
 * General Security and Passwords
 * Malware
 * Web Security
 * PC Security
 * Privacy
 * Network Security
 * Wired v Wireless
 * Firewalls and Ports
 * Further reading


text:
Template:Basic Computer Security/Malware

 * Introduction
 * General Security and Passwords
 * Malware
 * Viruses
 * Trojans
 * Spyware
 * Adware
 * Removing & Preventing Malware
 * Web Security
 * PC Security
 * Privacy
 * Network Security
 * Further reading


text: A Guide to Inkscape/Appendix:Reference

title: A Guide to Inkscape/Appendix:Reference


text:
User:Dreftymac

w:User:Dreftymac

 * XML_-_Managing_Data_Exchange/Basic_data_structures
 * Learning_the_vi_Editor/Vim/Vim_on_Windows
 * AnyLang_Programming_Language_Comparison
 * AnyLang_Programming_Language_Comparison/Introduction

title: User:Dreftymac


text:
Muggles' Guide to Harry Potter/Magic/Muggle Studies

Overview
Muggle Studies, an optional course, is the Wizarding view of how Muggles live, and the techniques they use to circumvent their lack of magic.

Extended Description
This course is apparently taught by Charity Burbage for the first six years that Harry is in school. The course, specifically designed to teach Wizards how to get along with Muggles, will be required for any Wizarding career which involves liaison with Muggles, including, almost certainly, Ministry jobs.

After Professor Burbage's disappearance, it is taught by a Death Eater, Alecto Carrow, under whose guidance the course seems to have become a diatribe against Muggles, in the best propaganda tradition, teaching how non-Magical people are dirty and behave like animals.

Hermione takes this course in her third year at Hogwarts. As Hermione is Muggle-born, it seems unlikely that she would need to learn about Muggles; but it seems her intent is to learn about how Wizards see and interact with Muggles, rather than to learn about Muggles as such. At the end of this year, despite achieving a mark of over three hundred percent for the course, she decides to drop the course so as to have a humanly possible course load.

Analysis
A certain amount of humour is created in the series by the Wizarding world's residents and their inability to understand Muggle artifacts and techniques. We see this first in Hagrid and his problems dealing with the Muggle train system. It continues with Mr. Weasley's infatuation with electricity, the Weasley family's odd attempts to deal with the telephone and postal system, and the odd assortments of Muggle clothing worn by wizards trying to pass as Muggles at various points in the story. Against this, we have to consider that a significant part of the Wizarding population has either sprung from purely Muggle environs, as Harry and Hermione did, or were raised in households with at least one Muggle parent, like Dean was.

Given the above, we must wonder what the point of the Muggle Studies course is. Clearly, even wizards who take that course are not completely able to fit into Muggle society; a wizard as intelligent as Professor Dumbledore apparently feels that plum is a good colour for a suit when visiting a Muggle orphanage. Additionally, it seems that the Weasley children are able to wear Muggle styles without difficulty, despite being raised in an almost entirely Wizarding milieu; at least, when Harry first sees them, he does not remark anything odd about them except for the fact that one of them has an owl in his luggage.

We don't actually ever see this class, as it is one of the classes Hermione takes separately from the Trio, so what we know about the course is necessarily limited. From the name of the course, and the way wizards educated (presumably) by this or similar course-work behave in Muggle society, we have to guess that Muggle Studies amounts to an anthropological overview of Muggle society and technology, probably out of date to some extent, rather than a course on how to conceal oneself in the Muggle world.

Greater Picture
One must wonder, to some extent, why the author chose to create this course, as we never see it taught and it seems to be somewhat ineffective. It seems clear, however, that it is a useful part of a wizard's education. The school years covered by the story, ages 11 to 17, form a critical part of the young human's understanding of the world outside the family home and the opportunities for gainful employment, so there should be at least an introduction to every field of endeavour in the outside world. Muggles, of course, make up a large majority of the population, and the Wizarding world cannot exist in complete isolation, so at least some of the Wizarding world is involved with Muggles, and clearly this course is intended to lay the groundwork for that class of career.

In the context of our story, however, its role is much smaller. None of the Trio plan a career in Muggle relations, so the course, introduced in Harry Potter and the Prisoner of Azkaban, is initially introduced only so that Hermione can receive top scores for the one year, and then drop it for lack of time without materially changing her educational future. After that, its only mention is Voldemort murdering the professor of the course for daring to publish something that disagreed with his own opinion. The latter mention is, of course, little to do with the course, and primarily intended to show Voldemort's inhumanity. Professor Burbage is sacrificed because a professor of Muggle Studies is most likely to write a sympathetic article about Muggles, and also to highlight the fact that Hogwarts and its occupants are not invulnerable.


text:
User:Whiteknight/gadgetscore.js

//Whiteknights Core javascript //Maintained by User:Whiteknight /* This is a javascript library for helping to automate and simplify some common JavaScript tasks, and expose special-purpose functionality for use with several other scripts. This core library contains special functions for dealing with common elements, and a number of AJAX-based functions for loading pages and text from the server and posting edits to the server. Documentation about this library is located at  User:Whiteknight/Gadgetscore.

wk = { _version: 2.81,

testVersion: function(ver) { return ((ver == null)?(true):(wk._version >= ver)); },

_getNode: function(elem) { if(elem == null) return null; if(typeof elem == "string") return document.getElementById(elem); return elem; },

getDate: function { var date = new Date; return (date.getMonth + 1) + "/" + date.getDate + "/" + date.getFullYear; },

getQueryHash: function { var qs = new Object; var query = location.search.substring(1); if(query == "") return qs; var pairs = query.split("&"); for(var x = 0; x < pairs.length; x++) { var attrval = pairs[x].split("="); qs[attrval[0]] = attrval[1]; }   return qs; },

_httpmethods: [ function { return new XMLHttpRequest; }, function { return new ActiveXObject("msxml2.XMLHTTP"); }, function { return new ActiveXObject("Microsoft.XMLHTTP"); } ],

_httpmethod: null,

_initclient: function { for(var i = 0; i < wk._httpmethods.length; i++) { try { var method = wk._httpmethods[i]; var client = method; if(client != null) wk._httpmethod = method; return client; } catch(e) { continue; } }   return null; },

httpClient: function { if(wk._httpmethod != null) return wk._httpmethod; if(wk._initclient == null) return null; return wk._httpmethod; },

_encodeData: function(dat) { var p = []; for(var name in dat) { var value = dat[name].toString; var pair = encodeURIComponent(name).replace(/%20/g, "+") + "=" + encodeURIComponent(value).replace(/%20/g, "+"); p.push(pair); }   return p.join("&"); },

loadPage: function(url, callback, type) { if(callback == null || url == null) return false; var client = wk.httpClient; client.onreadystatechange = function { if(client.readyState != 4) return; if(type == "text/xml" && client.overrideMimeType) callback(client.responseXML); else if(client.status == 200) callback(client.responseText); else callback(''); }   client.open("GET", url, true); if(type == "text/xml" && client.overrideMimeType) client.overrideMimeType(type); client.send(null); return true; },

loadWikiPage: function(page, callback) { page = page.replace(/ /g, "_"); return wk.loadPage(wk._URLBase + page, callback, "text/xml"); },

loadEditPage: function(page, callback) { return wk.loadPage(wk._editURL(page), callback, "text/xml"); },

loadWikiText: function(page, callback) { return wk.loadPage(wk._rawURL(page), callback, "text/x-wiki"); },

loadWikiTextSection: function(page, section, callback) { return wk.loadPage(wk._rawURL(page) + "&section=" + section, callback, "text/x-wiki"); },

_URLBase: "http://en.wikibooks.org/w/index.php?title=", _rawURL: function(page) { return wk._URLBase + page.replace(/ /g, "_") + "&action=raw&ctype=text/x-wiki"; }, _editURL: function(page, section) { if(section == null) return wk._URLBase + page.replace(/ /g, "_") + "&action=edit&printable=yes"; else return wk._URLBase + page.replace(/ /g, "_") + "&section=" + section + "&action=edit&printable=yes"; },

_ensureXML: function(text) { if(text.getElementsByTagName) return text; var xmldom = new ActiveXObject("Microsoft.XMLDOM"); xmldom.async = false; xmldom.loadXML(text); return xmldom.documentElement; },

/*"opts" contains options pertinent to the edit: opts.section opts.minor opts.watch opts.filter opts.callback

postEdit: function(page, text, summary, opts) { if(opts == null) opts = {}; var client = wk.httpClient; client.onreadystatechange = function { if(client.readyState != 4 || client.status != 200) return; if(client.overrideMimeType) wk._postEdit2(client, client.responseXML, page, text, summary, opts); else wk._postEdit2(client, wk._ensureXML(client.responseText), page, text, summary, opts); }   var url = wk._editURL(page, (typeof opts.section != "undefined")?(opts.section):(null)); client.open("GET", url, true); if(client.overrideMimeType) client.overrideMimeType("text/xml"); client.send(null); },

_postEdit2: function(client, xml, page, text, summary, opts) { var input = xml.getElementsByTagName("input"); var data = []; var pagetext = xml.getElementsByTagName("textarea")[0].value; data["wpTextbox1"] = (typeof text == "function")?(text(pagetext)):(text); data["wpRecreate"] = true; data["wpSummary"]  = summary; if(typeof opts.minor != "undefined") data["wpMinoredit"] = "1"; data["wpSection"]  = (typeof opts.section != "undefined")?(opts.section):(""); data["wpSave"]     = "Save page"; var watch = null; for(var i = 0; i < input.length; i++) { var attribs = input[i].attributes; var name = ""; var value = ""; for(var j = 0; j < attribs.length; j++){ if(attribs[j].name == "name") name = attribs[j].value; if(attribs[j].name == "value") value = attribs[j].value; }     if(name == "wpStarttime") data["wpStarttime"] = value; if(name == "wpEdittime") data["wpEdittime"]  = value; if(name == "wpEditToken") data["wpEditToken"] = value; if(name == "wpWatchthis") watch = value; }   if(typeof opts.watch == "undefined") data["wpWatchthis"] = watch; else if(opts.watch == true) data["wpWatchthis"] = true; var url = wk._URLBase + page.replace(/ /g, "_") + "&action=submit"; client.open("POST", url, true); client.setRequestHeader("Content-Type", "application/x-www-form-urlencoded"); client.onreadystatechange = function { if(client.readyState != 4 || client.status != 200) return; if(opts.callback) opts.callback(page, pagetext, data); }   client.send(wk._encodeData(data)); },

// Shows a basic edit window showEditWindow: function (xml, parent, text, summary) { if(parent == null) parent = wk.makeElement('div'); if(typeof xml.getElementById == "function") { var form = xml.getElementById('editform'); form     = document.importNode(form, true); wk.spanText(parent, "").appendChild(form); } else { wk.spanText(parent, ""); var i = xml.indexOf("<form"); var j = xml.indexOf(" "); xml  = xml.substring(i, j+7); wk.appendSpanText(parent, xml); }   var ta    = document.getElementById('wpTextbox1'); var sum  = document.getElementById('wpSummary'); var time = document.getElementById('wpStarttime'); if(summary != null) sum.value = summary; if(typeof text == "string") ta.value = text; else if(typeof text == "function") ta.value = text(ta.value); return {form: form, text: ta, summary: sum, time: time, parent: parent}; },

// shows a small edit window with no descriptions or fancy tools. showEditWindowSmall: function (xml, parent, text, summary) { var editform = wk.showEditWindow(xml, parent, text, summary); editform.text.rows = 10; wk.spanText('editpage-copywarn', ''); wk.spanText('editpage-specialchars', ''); wk.spanText('specialchars', '') return editform; },

// opens an edit page in a separate tab or window, with the given text and summary pre-loaded. showEditWindowExternal: function(page, text, summary) { var loadwin = function(win, newtext, newsummary) { var eb = win.document.getElementById('wpTextbox1'); if(typeof newtext == "string") eb.value = newtext; else if(typeof newtext == "function") eb.value = newtext(eb.value); if(newsummary != null) win.document.getElementById('wpSummary').value = newsummary; }   var w = window.open(wk._editURL(page)); if (w.attachEvent) { w.attachEvent("onload", function { loadwin(w, text, summary) });} else if (window.addEventListener) { w.addEventListener("load", function { loadwin(w, text, summary) }, false); } else { w.document.addEventListener("load", function { loadwin(w, out) }, false); } },

makeElement: function(type, attr, children) { var elem = document.createElement(type); if(attr) for(var a in attr) elem.setAttribute(a, attr[a]); if(children == null) return elem; if(children instanceof Array) for(var i = 0; i < children.length; i++) { var child = children[i]; if(typeof child == "string") child = document.createTextNode(child); elem.appendChild(child); }   else if(typeof children == "string") elem.appendChild(document.createTextNode(children)); else elem.appendChild(children); return elem; },

elementBuilder: function(type) { return function(attr, children) { return wk.makeElement(type, attr, children); } },

makeButton: function (name, value, onclick) { var elem = wk.makeElement("input", {type:"button", name:name, value:value}, null); elem.onclick = onclick; return elem; },

makeInput: function (name, value){ return wk.makeElement("input", {type:"text", name:name, value:value}, null); },

spanText: function(spanid, text) { var res = wk._getNode(spanid); if(res) res.innerHTML = ((text == null)?(""):(text)); return res; },

appendSpanText: function (spanid, text) { var res = wk._getNode(spanid); if(res) res.innerHTML = res.innerHTML + text; return res; },

appendChildren: function(parent, children) { var res = wk._getNode(parent); if(res == null) return; if(children instanceof Array) { for(var i = 0; i < children.length; i++) { if(typeof children[i] == 'string') children[i] = document.createTextNode(children[i]); res.appendChild(children[i]); }   } else { if(typeof children == 'string') children[i] = document.createTextNode(children); res.appendChild(children); } },

spanEditor: function(spanid) { return function(text) { return wk.spanText(spanid, text); } },

wikiLink: function(pagename, link, action) { if(pagename == null) pagename = "Main Page"; if(link == null) link = pagename; var a = wk.makeElement("a"); if(action == null) a.setAttribute("href", "/wiki/" + pagename.replace(/ /g, "_")); else a.setAttribute("href", "/w/index.php?title=" + pagename.replace(/ /g, "_") + "&" + action); a.innerHTML = link; return a; },

wikiLinkText: function (pagename, link, action) { if(link == null) link = pagename; if(action == null) return "" + link + ""; else return "" + link + ""; },

toggleDisplay: function (elem, disp) { var res = wk._getNode(elem); if(res == null) return; if(disp != null) res.style.display = disp; else res.style.display = ((res.style.display == "none")?("block"):("none")); },

toggleDisable: function (elem, disa) { var res = wk._getNode(elem); if(res == null) return; if(disa != null) res.disabled = ((disa == true)?(true):(false)); else res.disabled = !res.disabled; },

getElementsByClass: function (c, type) { var elems = new Array; if(type == null) type = "*"; var els = document.getElementsByTagName(type); var pattern = new RegExp("(^|\\s)" + c + "(\\s|$)"); for (i = 0, j = 0; i < els.length; i++) { if (pattern.test(els[i].className)) elems[j++] = els[i]; }   return elems; },

testUserPermissions: function(level) { for(var i = 0; i < wgUserGroups.length; i++) { if(wgUserGroups[i] == level) return true; }   if(level == "administrator") return wk.testUserPermissions("bureaucrat"); return false; } };

title: User:Whiteknight/gadgetscore.js


text:
User:Katr67

See my Wikipedia page.

Sister projects
My username is the same on all of Wikipedia's sister projects:

It's best to contact me on my Wikipedia talk page.

title: User:Katr67


text:
User:PaulWLepp/monobook.js

import_script('User:Whiteknight/pagetester.js');

title: User:PaulWLepp/monobook.js


text:
Citroën Berlingo Electrique/Service Manual/Brush Replacement

This page provides additional tips on how to change the Citroën Berlingo Electrique motor brushes.

The motor brushes are a key element of the Berlingo and failure of the units can cause significant damage to the motor and may also cause damage to the very expensive controller. It is therefore recommended that brushes are changed at regular intervals defined in the service manual.

Brush suppliers

It is recommended that only genuine Citroen brushes are used. These units are expensive but are; manufactured to tight tolerances, made with specially hard wearing carbon and finished (with serated bearing services) to provide quick bedding-in and therefore minimal impact on the commutator.

The genuine Citroen supplied brushes seem to be supplied by http://www.schunkgraphite.com

http://www.schunkgraphite.com/ supplied Marc Boden. Did not have groves for bedding in.

Required tools

The following tools are recommended:
 * 8 and 10 mm socket.
 * 10mm ring spanner
 * Miniature goose neck pen light taped as shown.

Remove old brushes
Follow instructions supplied with the brushes.

Inspect brush container

Once the old brush has been removed. Inspect the brush container for signs of spark erosion, between the brush container and the commutator. This may obstruct the movement of the brush and result in further sparking and possible motor/controller damage. If erosion is present it may be necessary to remove the (possibly very hard) material as follows:
 * make up a commutator protector using sheet metal (ideally steel) as shown on right (damaging the commutator is very costly problem to rectify).
 * insert the (long part of the ) protector between the brush holder and commutator
 * using a drill with a Dremel bit to very carefully remove any burrs or obstructions
 * continually check that the protector is still in place and performing its job

Check brush is inserted and seated correctly
Insert the brush with the slopping face aligned with the commutator. This can be checked after the brush has been inserted by checking the slope on the back of brush is opposite to the slope on commutator end.

Once the brush is inserted check that it moves freely and seats solidly on the commutator. Use the miniature goose neck pen light taped as shown to verify brush is seated correctly.
 * insert the goose neck behind the brush
 * lift the brush a little to see the light between the brush and commutator
 * release the brush and check that the light is obscured.

Finish off
Follow instructions supplied with the brushes.


text:
Talk:Puzzles/Arithmetical puzzles/Four 4s Equal...

I THINCK IT IS GREAT FOR MATH CLASS AND FREE TIME.


text:
Celestia/Command Line

Introduction
Celestia can be started either by clicking on its icon or by typing a command into a terminal window. Under Windows, the terminal window is often called a DOS window or CMD window.

A typical command to run Celestia might be cd Celestia ./Celestia

The command line can optionally include the following qualifiers. These qualifiers are different depending on which command interface Celestia was built for. Each command qualifier (aka switch) should be prefixed by two hyphens

Windows command qualifiers

 * --dir

 * Change root celestia directory to

 * --fullscreen

 * Start Celestia in fullscreen mode

 * --once

 * Send the command line to a running instance of Celestia. If no running instance exists, a new one is started.

 * --url  |

 * Start in the given or if the parameter is the name of a script file, execute.

 * --verbose >

 * Write debug messages to (Although --verbose can only write to a file, the redirection > is required.)

gtk command qualifiers

 * --conf

 * Use alternate configuration file

 * --dir

 * Use alternate installation directory

 * --extrasdir

 * Use additional "extras" directory

 * --fullscreen

 * Start full-screen

 * --nosplash

 * Disable splash screen

 * - v [0|1]

 * Enable debug mode.

KDE command qualifiers

 * --conf
 * Use alternate configuration file

 * --dir

 * Use alternate installation directory

 * --extrasdir

 * Use additional "extras" directory

 * --fullscreen

 * Start full-screen

 * --nosplash

 * Disable splash screen

 * +[url]

 * Start and goto URL

 * Start in the given url/execute script file.

 * - - help

 * Command-line help

title: Celestia/Command Line


text:
Cookbook:Ploughman's Sandwich

| Sandwiches

The ploughman's sandwich is a popular traditional mouth-watering sandwich. The pickle provides some sourness, and the lettuce prevents dryness.

Ingredients

 * 2 slices of bread
 * Sliced cheddar cheese
 * Lettuce, preferably iceberg
 * Sliced tomato
 * Sweet pickle
 * Optional extras such as sliced onions or mayonnaise.

Procedure

 * 1) Assemble a sandwich between the slices of bread, containing 1 layer of cheese, 2–3 layers of lettuce, a thin layer of sweet pickle, and a few tomato slices.

title: Cookbook:Ploughman's Sandwich


text:
User:Stephen Shaw~enwikibooks

Placeholder text...

title: User:Stephen Shaw~enwikibooks


text:
Contemporary Educational Psychology/Chapter 8: Instructional Strategies/Creative Thinking

Creativity is the ability to make something new that is also useful or valued by others (Gardner, 1993). The “something” can be an object (like an essay or painting), a skill (like playing an instrument), or an action (like using a familiar tool in a new way). To be creative, though, the object, skill, or action cannot simply be bizarre or strange; it cannot be new without also being useful or valued. It also cannot result simply by accident. If a person types words or letters at random that happen to form a poem by chance, the result may be beautiful, but it would not be creative by the definition above. Viewed this way, creativity includes a wide range of human experience that most of us, if not everyone, have had at some time or other (Kaufman & Baer, 2006). The experience is not restricted to just a few geniuses, nor just to those working in specific fields or activities like art or the composing of music.

Especially important for teachers are two facts. The first is that an important kind of creativity is creative thinking, the generation of ideas that are new as well as useful, productive, and appropriate. The second is that creative thinking can be stimulated by teachers’ efforts. One way to do so, for example, is to encourage students’ divergent thinking—ideas that are open-ended and leads in many directions (Torrance, 1992; Kim, 2006). Here are some open-ended questions—questions with many possible right answers:

 * How many uses can you think of for a cup?
 * Draw a picture that somehow incorporates all of these words: cat, fire engine, and banana.
 * What is the most unusual use you can think of for a shoe?

Note that answering these questions creatively depends partly on having already acquired knowledge about the objects to which the questions refer. In this sense divergent thinking depends partly on its converse, convergent thinking, which is focused, logical reasoning about ideas and experiences that leads to specific right answers. At least up to a point, then, rewarding students’ convergent thinking—as schoolwork often does by emphasizing mastery of content—has the paradoxical effect of making students’ creative or divergent thinking possible (Sternberg, 2003; Runco, 2004; Cropley, 2006). But beyond that point—the point, that is, where students have acquired “enough” prior knowledge—divergent thinking may not happen unless teachers explicitly encourage students explicitly to use it, and in general show students that they value it.

Whether in school or out, creativity seems to flourish best when the creative activity is its own intrinsic reward, and a person is relatively unconcerned with what other people think of the results. Whatever the activity—composing a song, writing an essay, organizing a party, or whatever—is more likely to be creative if the creator focuses on and enjoys the activity in itself, and thinks relatively little about how others may evaluate the activity (Brophy, 2004). Unfortunately, this requirement of creativity can sometimes pose a challenge for teachers. Why? Because not only are teachers supposed to evaluate students’ learning of particular ideas or skills, but they often have to do so within the restricted time limits of a semester or school year. In spite of these constraints, though, creativity still can be encouraged in classrooms at least some of the time (Claxton, Edwards, & Scale-Constantinou, 2006). Students may, for example, have to be assessed on how well they understand and use particular vocabulary. But the assessment does not have to happen constantly; there can also be times to encourage students to experiment with vocabulary creatively through writing poems, making word games, or in other thought-provoking ways. Sooner or later across the week, term, or school year, learning content and experimenting or playing with content can both find a place. In fact one of these activities can often support the other. We return to this point later in this chapter, when we discuss student-centered strategies of instruction such as cooperative learning and play as a learning medium.

(back to Chapter 8...)