text:
User talk:Jnavas2

'''Welcome to my Talk page. To communicate with me, please use the new section or + or +comment tab above to create a new section at the bottom of the page, give it a descriptive subject/headline, and please sign all posts with --~  Thanks! --John Navas'''

Cingular Wireless FAQ
I saw the same text in the Internet so I marked this article as possible copyright violation. Do you have rights for this text? --Derbeth talk 09:22, 16 November 2005 (UTC)

 * Yes -- I authored this material, which is entirely original, first posted to alt.cellular.cingular, and copied from there to other places. --John Navas 10:04, 16 November 2005 (UTC)

Anon edits on Cingular FAQ
Hey

Probably wondering who this person doing anon edits on your FAQ for Cingular is; well it's me. Just some background, I work in the Cingular data support center, and work with both "blue" and "orange" customers.

Cheers

--24.19.197.36 00:13, 28 November 2005 (UTC)

 * Thank you. --John Navas 21:05, 28 November 2005 (UTC)

Hey
Please see comments on Cingular Wireless faq talk page. --Admrboltz 05:06, 6 December 2005 (UTC)

 * Answered you there. --John Navas 07:48, 6 December 2005 (UTC)

ISPDA@CINGULARGPRS.COM

 * 1) I know there is a difference between CSD and GPRS
 * Ok
 * 1) Uh huh, I know.
 * 2) I am not confused. But I will belive you for ISPDA for GPRS until I take calls on it not working
 * 3) Same as above
 * --Admrboltz 05:05, 27 December 2005 (UTC)

 * I would be happy to email you the authoritative Cingular documentation. --John Navas 08:53, 27 December 2005 (UTC)

 * Will read tommorow at work. --Admrboltz 02:34, 28 December 2005 (UTC)

CellWiki
Thought you might be interested in CellWiki where I am an admin (it was created in May but only had 3 articles when I took it over. --Admrboltz 09:20, 8 January 2006 (UTC)

 * Thanks. Link added to Cingular Wireless FAQ. --John Navas 22:38, 12 January 2006 (UTC)

Cingular Misinformation by John Navas
John, I always wondered who was steering people in wacky unconfirmed directions with Cingular. First of all, if you have a tech problem with Cingular, a Customer Service Rep also known as Tier 1 can not send you through to Tech also known as Tier 2. In most cases Tier 2 doesn't talk to customers. Secondly Tier 1 has the outmost power to resolve most things without escalating. In fact Tier 1 rep's have extensive training in how to resolve most all types of issues ie: billing & technical. What outdated source information have you obtained in the past that led you to believe that these statements are true? 4/4/2006

 * Rebuttal by John Navas: This information in the FAQ is based on extensive personal experience as a customer, reports from other customers, and confidential reports from Cingular employees. I would nonetheless be happy to revise it given persuasive evidence to the contrary. With regard to your specifics:
 * I have been transferred to Tech Support by Tier 1 reps on several occasions, when particular technical problems couldn't be solved by Tier 1.
 * I have been told many times about the limits of financial authority at Tier 1.
 * Poor training of Tier 1 reps has been apparent on several (but by no means all) occasions.

 * Finally, your complaints don't belong on my User page, which is why I moved them here. In the future, either post to my Talk (discussion) page, or to the Talk (discussion) page for the document at issue. --John Navas 04:39, 19 May 2006 (UTC)

Deletion of "FAQ for alt.internet.wireless"
I'm stunned to find that all pages of this book have been summarily deleted as "not a textbook" without discussion or warning! They represented a great deal of work which hadn't been saved in any other place. Please at least send me the last content. I'd also like an explanation of the reasoning behind this kind of summary execution. --John Navas 05:38, 19 May 2006 (UTC)

 * As you may well be aware, recently at wikibooks we have been looking at what books we have and assessing whether they really meet our inclusion criterion of them being textbooks. The pages you refer to appear to me to fall foul of this and were therefore liable to be deleted summarily without further discussion. You do not indicate whether you disagree with my comment that this book is not a textbook or not.

 * I am quite happy to email you the content of the book (if you provide an email address) or alternatively to temporarily undelete the content to give you an opportunity to copy it. I would also note that, whilst I think the content is not suitable for wikibooks, I do wish you all the best in finding a suitable home elsewhere in wikiworld, Jguk 07:47, 19 May 2006 (UTC)

 * I've posted my detailed objections to your action and rebuttal to your contentions in Votes for undeletion, and ask that any further discussion take place there. Thank you. --John Navas 20:41, 19 May 2006 (UTC)

 * FAQ for alt.internet.wireless has now been reorganized and renamed/moved to Wireless Internet. --John Navas 17:44, 24 May 2006 (UTC)

Cingular Pages

 * 1) Cingular Wireless MEdia Configuration
 * 2) Cingular Wireless FAQ
 * 3) Cingular Wireless Data Connect Configuration

Since these pages all deal with Cingular wireless, I am proposing that we merge these 3 into a single Cingular Wireless book. This has the benefit of being easier to search for, and being a single destination for all information Cingular. Since you are the primary contributor to these books, I will leave the final decision up to you. However, if you do decide that this is alright, I will personally handle all the dirty work myself. --Whiteknight (talk) (projects) 16:03, 25 May 2006 (UTC)

 * Thanks for your constructive suggestion, which makes sense, and for your kind and helpful offer. However:
 * Recent summary FAQ deletions without warning or even notice, notably VfU#FAQ for alt.internet.wireless & VfD#Various FAQ pages, have left a bad taste in my mouth, and made me wonder whether Wikibooks is a safe home for this material. Depending on how that issue comes out, I'll either follow your suggestion (doing the work myself), or move the material to a more hospitable environment, possibly Wikia, or WikiFAQ.
 * The impending merger of "the new at&t" (formerly SBC) and BellSouth may result in Cingular being rebranded as at&t, and I'd rather avoid two successive name changes, so I think it might be a good idea to wait until that's concluded.
 * --John Navas 19:12, 25 May 2006 (UTC)

 * Fair enough, I can't blame you. We mean well at wikibooks, even if it doesn't always appear so. Also, the impending merger is a good point, no sense renaming everything a million times. --Whiteknight (talk) (projects) 19:27, 25 May 2006 (UTC)

Image:Motorola RAZR V3xx.jpg is missing a fair use rationale

 * Addressed. --John Navas (talk) 03:40, 7 July 2008 (UTC)

Rename
There is no need to spam the bureaucrats - I have put your request on WB:RENAME, and I will get to it in a few hours. I'm going to revert your notices to the others. — Mike.lifeguard | talk 21:22, 5 July 2008 (UTC)
 * Input needed here. — Mike.lifeguard | talk 23:40, 5 July 2008 (UTC)

 * I didn't "spam" anyone -- I did my best to do the correct thing. Had there been clear, easy to find documentation, I would have done the correct thing in the first place. Suggest you address that issue instead of being so reckless with accusations. --John Navas (talk) 03:31, 7 July 2008 (UTC)

title: User talk:Jnavas2


text:
Overcoming Procrastination

Overcoming Procrastination

/Authors/ · /History/ · /Print version/

This book is about the problem procrastination or "task aversion". Procrastination is a big problem in today's world. This book includes a large chapter about how to eliminate procrastination.

Contents

 * 1) /Introduction/
 * 2) /Consequences/
 * 3) /Characteristics/
 * 4) /Causes/
 * 5) /Eliminating Procrastination/
 * 6) /Chronic Procrastination/
 * 7) /Resources/

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

title: Overcoming Procrastination


text:
Novial/Pronunciation 1

Novial home – Pronunciation Guide

Contents – Lesson 1 – Lesson 2 – Lesson 3 – Lesson 4 – Lesson 5 – Lesson 6 – Lesson 7

Prefixes – Suffixes – Proforms

Pronunciation Guide
Otto Jespersen, who devised Novial, was a professional linguist. He carefully designed the spelling and pronunciation of Novial to be as easy as possible for people of different language backgrounds while using West European root words as the basis of the vocabulary.

Novial uses the standard 26 letters of the modern Latin alphabet. There are no accents which makes it easy to write on any Latin alphabet keyboard. The letters C and Z occurs only in foreign names (proper nouns). There are only five vowels: A, E, I, O and U which are generally pronounced with their continental values, i.e. similar to Spanish and Italian. However, their very distinct sounds allow some leeway for speakers of different backgrounds while still avoiding miscomprehension.

Three digraphs are used: CH, SH and QU. Q occurs only in the combination QU. As in English S is pronounced differently from SH but the use of a hyphen between S and H when they are two separate sounds prevents any ambiguity. Every word is pronounced as spelled according to the pronunciation rules: Novial spelling is therefore phonemic (commonly called phonetic).

The stress generally lies on the vowel before the last consonant. If there is no vowel preceding a consonant it is on the second from last vowel. One exception is words ending in -ee where the stress is on the second from last -e.

Examples with stressed syllable in bold: abandona, fala, egal, vie, musee

Note that where alternative pronunciations are given, all are correct allowing easier pronunciation for people of different language backgrounds.

When writing if you do not know or remember whether CH or SH is the usual form simply use either. _____________________________________________________________________________________ Novial home - Pronunciation Guide

Contents – Lesson 1 – Lesson 2 – Lesson 3 – Lesson 4 – Lesson 5 – Lesson 6 – Lesson 7

Prefixes – Suffixes – Proforms

title: Novial/Pronunciation 1


text:
User talk:Margaret overhuls

non-free screenshots
Image:Cladonia.png and Image:Exchange2.png are not screenshots of free software ("free for non-commercial use"). Use screenshot instead of free screenshot. --Derbeth talk 12:22, 16 November 2005 (UTC)

title: User talk:Margaret overhuls


text: User talk:80.92.52.44

title: User talk:80.92.52.44


text:
User talk:67.173.1.56

Please stop adding nonsense to Wikibooks. It is considered vandalism. If you would like to experiment, use the sandbox. Thank you.

title: User talk:67.173.1.56


text:
Mac OS X Tiger/Advanced Finder Tricks

=Introduction= =Customizing the Toolbar= Like many toolbars in Mac OS X, the Finder toolbar is customizable. To customize the toolbar, right click it and choose "Customize Toolbar...".

A sheet appears, showing all of the buttons and controls you can add to the toolbar. You can add and remove buttons simply by dragging and dropping them on to and off of the toolbar.

Buttons you can add to your toolbar are:

 * Eject - Too lazy to reach over a few inches and press the eject key on your keyboard? This toolbar button does the same thing.
 * Burn - A remnant of pre-Tiger CD Burning, this burns the files you've chosen to the CD or DVD. These days, a similar button is offered above the files themselves, so this button isn't useful anymore. For information on burning discs, please see the next chapter.
 * Customize - This allows you to customize your Finder toolbar - just like you are doing now.
 * Separator - This draws a faint dotted line between two sets of Finder buttons, keeping your toolbar nice and organized.
 * Space - This puts a button-sized chunk of blank space between two icons.
 * Flexible Space - Similar to "Space", Flexible Space stretches to push the icons on one side to the left of the toolbar, and the icons on the other to the right side. Use it to align toolbar buttons to your liking.
 * New Folder - This button creates a new folder nested inside the current one.
 * Delete - This button moves the selected file into the Trash.
 * Connect - Opens a "Connect to Server" dialog, which you'll learn about in Chapter 9.
 * Get Info - This displays the same "Info" window you see when you right-click a file and choose "Get Info".
 * iDisk - Now mostly replaced by the sidebar, this button takes you to your iDisk.

If you mess up your toolbar and wish to return it to its default, factory-fresh state, drag the entire default set into the bar, and it will replace what you currently have.

Below the buttons is a pop-up menu for choosing if you want your buttons labeled. In fact, you can dispense with buttons entirely and show only the labels. A checkbox next door specifies the label size.

When you've finished customizing, click "Done", and the sheet will roll back into the toolbar. Your customizations are applied to all Finder windows.

=Get Info= The "Get Info" window is a very useful tool, allowing you to view metadata for the current file or folder. Metadata is data about the file's actual data: when it was last opened, how big it is, etc.

There are three ways to access the Get Info window:

The Get Info window is partitioned into sections by headings with flippy triangles to their left. You can show or hide a section by clicking the flippy triangle next to the section's heading. The different sections are described below.
 * Choose File > Get Info in the menu bar
 * Select the file you want info about and press ⌘I
 * Right click on the file you want info about and select "Get Info" from the contextual menu

 * Spotlight Comments - This field lets you type comments about the file. These comments are seen by Spotlight, so you can find files by the comments you made about them.
 * General - This section lets you view information that applies to every file, such as where it is located, how big it is, and when it was created. If the object is a "volume" (disc), the General section will also display the disc's capacity, available space, and used space. The General section also allows you adjust a couple of the file's settings:
 * Color Label - You'll learn about color labels later on in this chapter.
 * Stationery Pad - This checkbox turns a document into a virtual stationary pad - when you open it, the appropriate application creates a new blank document and fills it with the contents of the file, but leaves the actual file untouched. This is useful for letterheads and templates.
 * Locked - Checking this box makes the file impossible to edit or modify in any way - until you uncheck this box, that is.
 * More Info - This contains information specific to a certain type of file - who wrote a song file, or how many pixels are in an image file.
 * Name and Extension - This section contains a text field that lets you change the file's name and "extension" (type). Extensions are appended to the end of a file's name, so that an HTML file called "Sample" is written as "Sample.html". In general, it's best not to change a file's extension, since the data will usually be unrecognizable in its new form. Also note that some file types, like Adobe Photoshop files, use less obvious extensions such as "psd". Make sure you know the correct extension for a file before you change it. Below this field is a checkbox that lets you hide the file's extension from view in the Finder. Some people like to keep this option on, since it makes Finder windows much less cluttered. Files named without a file extension may open on a Macintosh just fine, in an appropriate application. Accordingly, some users prefer to always have file extensions displayed, so as to be sure files will open correctly on other computer operating systems which rely on file extensions.
 * The "Open With" pop-up menu below the name and extension field lets you choose the application the file opens in by default. A button below sets all files of the same type to open with this application.
 * Preview - The Preview section contains either the file's icon, a thumbnail of an image, a snippet of text, or a QuickTime Player that lets you sample a sound or video file.
 * Ownership & Permissions - This advanced section lets you modify file permissions. Steer clear of this section unless you're troubleshooting, which is covered in the appropriate appendix.

=Duplicates and Aliases= A duplicate of a file can be made by ^-click (or right clicking if you have a mighty mouse) and selecting duplicate from the menu. This process will create an entirely new file near the original.

It is also possible, however, to make an alias. An alias is a linking file, similar to a shortcut for Windows users, which, when selected, will open the original file regardless to where the alias is placed. To make an alias follow the same steps as you would to make a duplicate but select 'Make Alias' in the menu. A second file will be created near the original with a small arrow in the lower left corner to show that it is an alias. This can now be moved to wherever it is required.

=Archives= Archives are basically files containing other files. Think of it as a box which can hold items together. It is usually used as a means of transfering files to other people as sending one file is easier than sending several. To create an archive of a couple of files, select them using the mouse and right-click on any one of them. In the menu that pops up, choose "Create archive of X items" where X is the amount of files/folders you selected. The files you selected will be copied into an archive file.

Archives created in the Finder this way are .zip files and can be opened on Windows but archives can be of various other formats, some not supported by Finder (for example .rar).

=Packages= =Automator= =Slideshows= Exporting your slideshow to iDVD: You can transfer a slideshow, including its background music and transition effects, directly from iPhoto to iDVD to create a DVD slideshow. To export your slides to iDVD, select an Album or Slideshow, go to the Share menu and select Send to iDVD.

=Folder Actions= =View Options=

=Burning Discs= Burning Discs (CD-R/CD-RW and even DVD-/+ for superdrives) is simple in Mac OS X. Simply insert a blank disk and drag files to it. Instead of ejecting the disk, click "burn" to complete the burn.

If you want to burn multiple copies of a disk, you can create a Burn Folder. Simply ^-click (or right click) on the desktop and select 'New Burn Folder' from the menu. This will create a folder labelled 'Burn Folder' on the desktop. The next step is to drag the files/videos/pictures/documents etc that you wish to copy into the folder (The original files will remain in the positions as Mac OS only creates alias's within the burn folder). Now in the top right corner of the burn folder there is a button labled burn, click it. A message will come up telling you to insert a disc with at least ***mb of memory, when the disc is inserted and found to be in order another message will come up asking for the burn speed and a name for the disc, enter your preferences at click ok. Now sit back and relax for the disc to be burnt.

=Screenshots= Mac OS X offers several means to take a screenshot:

Using Mac OS keyboard shorcuts:
 * shift-command-3 will capture the full screen, and place screenshot files on the desktop. If you work in a multi-screen configuration, one file will be created for each screen.
 * shift-command-4 will allow you to capture part of the screen: after pressing those three keys, your cursor will become a small crosshair, and you will be able to select the region of the screen to capture. If you press the space bar, the cursor will become a camera, with which you may select a window to be captured (including the windows used for menus, the menubar, desktop icons etc). The item to capture will be highlighted as you pass your mouse over it.

If you hold the control key (ctrl) while taking the screenshot, the resulting image will be placed into the clipboard instead of saved to a file. You can then paste it into another application.

IThe files created using this method are PNG files by default. It is possible to change this setting using the command line: in the Terminal, type:

where image_format could be BMP (Windows bitmap), GIF, JPEG 2000, JPEG, PDF, PICT, PNG, PSD, SGI, TGA & TIFF.

Using other applications: Both Grab & Preview automatically save the files as TIFF.
 * The Grab application shipped with Mac OS X supports one more option – to take timed screen captures – and permits – via the Preferences – to place a cursor in the picture. Note that it does not include the actual cursor, but draws the user's chosen cursor at the cursor co-ordinates. Prior to Mac OS X, the mouse cursor was automatically included in full-screen captures but not captures of screen areas or individual windows where the cursor is used to select the area or window to capture. Grab places the screen capture into a new window, and you may save the image to disc as TIFF (but not any other format).
 * Preview version 3 has an option to take window, selection and timed screen captures via File > Grab. Preview simply activates the OS's existing screenshot system, but saves the captures as TIFF files instead of PNG and opens them as soon as they are saved.
 * Many commercial programs can be used instead, which adds functionality such as capturing a video of the screen.

Screenshots cannot be taken while protected DVDs are playing in DVD Player. You can also perform screenshots of Exposé in operation, and take screenshots of the process of taking screenshots: press shift-command-4 and then space to enter window screenshot mode, hold the cursor over a window, and press shift-command-3 to capture the full screen. Because the camera cursor during window capture is not a real mouse cursor, it, too, is included in the screenshot. You will now wish to hit escape to cancel out of window capture mode.

=Finder Preferences=

Advanced
=Advanced Spotlight=

you can narrow down your search by preceding the search criteria with the kind keyword.

i.e. kind:images mom will only return images that have mom as a keyword, part of the name, etc...

different 'kind' keywords are: Folders, Documents, Presentations, images, Applications, Mail, Events, pdf, Contacts, Music, Bookmarks, movies, Fonts, system preferences (two words will work)

try kind:system preferences mouse

title: Mac OS X Tiger/Advanced Finder Tricks


text:
Cookbook:Menudo (Mexican Tripe and Hominy Soup)

Menudo is a traditional Mexican dish; a spicy soup made with hominy and tripe. Menudo preparation in the northern state of Chihuahua as well as northern New Mexico requires the preparation of three separate items, all combined at the time of final preparation for the table: Stew, Posole, and Chili. This recipe is similar and is very simple, using minimal ingredients. Cooking the menudo and chili the night before allows the cook to place the stew into the refrigerator to harden the saturated fat, allowing it to be skimmed off prior to serving the "Breakfast of Kings" the next morning.

Chili

 * 4 dried Ancho chiles

Posole

 * 2 pork country ribs
 * 3 lb pigs feet (patas)
 * 2 cans (16 oz) white hominy, drained
 * 3–4 chiles de Arbol

Menudo stew

 * 2½ lb honeycomb tripe
 * 2 tbsp Mexican oregano
 * 1 clove garlic
 * 2 bay leaves
 * 1 tbsp salt

Menudo mix

 * 2 tbsp red pepper flakes (with the seeds)
 * 2 tbsp dried Mexican oregano

Serving

 * Lime
 * Corn tortillas
 * Diced white or green onion
 * Minced cilantro

Chili

 * 1) Wipe the dried Anchos off with a wet paper towel.
 * 2) If desired, toast dried chilies on each side 15 seconds on a hot griddle (this releases essential oils and enhances the flavor).
 * 3) Place the dried chilies into the small pot of boiling water and boil for 10 minutes, turning frequently in the boiling water to ensure all sides receive their fair share of punishment.
 * 4) Remove the chili pot from the stove and drain off the boiling water. Fill with cold water; let it sit a few minutes to cool.
 * 5) Remove the stems from the chilies, cut chilies longitudinally from stem to tip on one side and open. Flush gently with running cold water to remove the seeds.
 * 6) Place stemless and seedless reconstituted chilies into a blender and purée.
 * 7) Remove pure from the blender and place in the refrigerator overnight.

Posole

 * 1) Rinse and drain the white hominy.
 * 2) Place the patas (feet) and ribs into a pot.
 * 3) Place the hominy in the pot with the patas (feet).
 * 4) Put 1 tbsp salt in the pot.
 * 5) Take 3–4 dried Chilis de Arbol, discard the seeds and stems, and snip the chilis into ringlets and put into the pot.
 * 6) Cover with water to a height not exceeding 1 cm above the ingredients and bring to a boil.
 * 7) Cook the posole uncovered until the ribs are finished. Remove from the heat.
 * 8) Remove the meat from the ribs and dice into small cubes, place back into the pot with the posole, discard the bones.
 * 9) Place the cooked patas (feet) into the pressure pot you will use to make the menudo.

Menudo stew

 * 1) Place a small pot of water on the stove and set to boil. This will be needed to prepare the chilies.
 * 2) Cut the fat from off of the tripe. If fat clings to the non-honeycombed side of the tripe, use a stiff brush to remove it.
 * 3) Cut tripe into small pieces, about ¾–1 inch. Strong scissors work well here!
 * 4) If the tripe smells overly rank (this is normal), you may want to soak it in clean water for an hour (or possibly boil it in water for five minutes) throwing away the soak (boiling) water.
 * 5) Place cut tripe into the pressure cooker on top of the patas (feet).
 * 6) Add the garlic, bay leaves, and Mexican oregano.
 * 7) Fill pressure cooker with water until about 1 cm. above the height of the stew ingredients.
 * 8) Cook at pressure 35–40 minutes.
 * 9) After the stew has cooked in the pressure cooker at full pressure for 35–40 minutes, remove from the heat and let the pot cool off completely until pressure returns to ambient.
 * 10) Remove the patas from the pot and remove the bones. Put deboned patas into pot with the tripe and discard the bones.
 * 11) Transfer the stew to a large bowl and add the posole, ensure all savory pieces lie below the waterline, and set in the refrigerator overnight.
 * 12) In the morning, skim all hardened fat from the surface of the stew which has probably gelatinized overnight.

Final preparation

 * 1) Reheat a serving portion of the stew in the microwave or on stovetop. When hot, place into a serving bowl.
 * 2) Add a tablespoon of chili to the stew and blend thoroughly.
 * 3) The menudo is ready to serve with hot corn tortillas. The spices (oregano and chili flakes) are traditionally combined before serving and placed at the side of the bowl of menudo with a lime wedge for the diner to add just prior to eating. Along with the spices, diced onion or cilantro are also traditionally added to the stew just prior to enjoying.

Notes, tips, and variations

 * Almost all (but not all) store-bought honeycomb tripe will smell strongly from the bleaching lime as possible. Let your nose be the judge as to whether or not it will require a soaking or boil as described in the steps below.
 * You may use cow feet instead of pig feet.


text:
Blender 3D: Noob to Pro/Advanced Tutorials/Advanced Animation/Guided tour/Const/tt

Track-To

The Track-To constraint lets you influence the Rotation of the constrained object by making it track a target with one of the constrained object's axis.

The Constraint Panel

 * You can enter the name of the target you want to track.
 * You can select which axis is going to track the target.
 * You can select which axis is going to stay up.

Where To Use It

A good example of use is the make a camera track an object. The setting to use on a camera is track: -Z and up: Y. You can turn Axis drawing in objectbutton window to help you choose the good axis.

Another example with armature would be the eyes of a character:


text:
Blender 3D: Noob to Pro/Advanced Tutorials/Advanced Animation/Guided tour/Const/fl

Using the floor constraint will keep a bone from passing through an object from a given direction. It is useful when making floors of course but also when making walls and other items which are obstacles for the armature.

There is also an offset value which is very useful when say for example you have a foot where the mesh stretches down below the actual tip of the armature you can then use the offset to make the bone stop before it actually reaches the obstacle object.


text:
Blender 3D: Noob to Pro/Advanced Tutorials/Advanced Animation/Guided tour/Const/cr

Copy Rotation

This constraint copies the rotation of the target. As simple as that. It can be an object or a bone. As you can see in the example, only the rotation gets copied.

The Constraint Panel

 * You have 3 buttons to select which axis get copied over.

Where To Use It
Can be used with Copy Location to fake parent relationship. As you can key the influence you can make a character pick something up and hold it in his hands.

You can also use this to align a plane with a 2D effect on it to the camera at all times. This works better than pointing it at the camera in some cases, such as a ring of atmospheric halo around a planet, where you don't want it disappear behind the planet.


text:
Blender 3D: Noob to Pro/Advanced Tutorials/Advanced Animation/Guided tour/Const/fp

Follow path
Follow path is a constraint which creates an animation in which the Object follows a Curve. You of course have to constraint it to a curve of some kind.

The Constraint Panel

When you added a curve you've to click the "Animate Path" button, otherwise nothing will happen.

The "Follow Curve" checkbox is there to make the objects Forward Axis, here "Y", point in the direction of movement. Of course here you'll find the Forward axis choices and Up choice, weird they still got different layouts, but don't bother. Finally, the "Influence" slider.

Where To Use It
It can be very handy when you animate a roller-coaster or something that has to follow something else perfectly. Here's an animation of a follow path


text:
Blender 3D: Noob to Pro/Advanced Tutorials/Advanced Animation/Guided tour/Const/st

Stretch-To
Stretch To causes the affected object to scale the Y axis towards a target object. It also has volumetric features, so the affected object can squash down as the target moves closer, or thin out as the target moves farther away. Or you can choose not to make use of this volumetric squash-'n'-stretch feature, by pressing the NONE button. This constraint assumes that the Y axis will be the axis that does the stretching, and doesn't give you the option of using a different one because it would require too many buttons to do so.

This constraint affects object orientation in the same way that Track To does, except this constraint bases the orientation of its poles on the original orientation of the bone! See the page on Tracking for more info. Locked Track also works with this constraint. Options

R Pressing the R button calculates the rest length as the distance from the centers of the constrained object and its target Rest Length Rest Length determines the size of the object in the rest position Volume Variation Volume Variation controls the magnitude of the effect Vol The Vol: buttons control along what axes the volume is preserved (if at all) Plane The Plane buttons define which local orientation should be maintained while tracking the target


text:
Blender 3D: Noob to Pro/Advanced Tutorials/Advanced Animation/Guided tour/Const/ik

The IK solver

The IK solver constraint is a wonderful tool for all animators. IK stands for "Inverse Kinematic" and is the opposite of FK (Forward Kinematic).
 * FK: You have a dependency to the root of the chain. In Blender, a FK chain is a chain of bones connected together. You have to animate the bones rotation one by one to get it animated. It takes longer, but gives you entire control over the rig.
 * IK: Both ends are roots. All bones in the chain are trying to rotate to keep both ends on targets. Now this Constraint got most of the attention during Animation refactoring, hopefully we have a lot of toys to play with now.

The IK solver has a special shortcut in Posemode to be added easily to a bone. If you select a bone and press 'CTRL-IKEY', You get a little menu asking for more info on the new constraint, the target: to a new empty object or without target. It's now possible to work without target. Though you have less freedom (no rot feature, difficult parent relationship).

You can also select the target and then the IK constraint holder and press CTRL-IKEY. With this way of selecting ensure that your target is selected, but the bone you want to apply the constraint to is active (the last one selected). The menu will then let you add a constraint to the current bone with a target. If the target would itself be part of the IK chain, you get an error message - so make sure the target bone is not connected to the bone you want to add the constraint to.

It's also possible to remove all IK constraints from selected objects or bones with 'ALT-IKEY'.

Q: 'CTRL-IKEY' doesn't seem to do anything

A: Either the 3D Window is out of focus (R-click in empty space to solve) or you're not in Pose Mode ('CTRL-TAB', selected bone will be magenta in color)

A: In the 2.48 version of Blender, the shortcut is 'SHIFT-I'

The Constraint Panel

 * You can rename the constraint.
 * You can select which Object or bone will be the target. Don't forget Tab completion.
 * The Rot button let you tell Blender to use the rotation of the target to influence the rest of the chain:

 * The Tip button lets you tell Blender which part of the bone is the target, the Tip or the Root. It's interesting to use tip, because this way the Bone holding the IK constraint can be used to deform geometry.

 * Len lets you tell Blender the length of the chain the IK solver will try to rotate. If set to 0, the entire chain will enter in the constraint. If for example the len is 4, only the 4 last bones of the chain will try to touch the target.

 * Also If you set len to 0 and your chain's root is a child of another bone, The IK solver will reach and rotate all the bones until it gets to the end of the parent relationship. If all the bones are linked up to a master root, then all other sub-branches will be affected. If there is another IK target in other sub-branchs of the rig, Blender will try to mix them. This concept of multiple IK targets in a rig is called Tree IK and can be used to get completely automated animations. For example like a doll: if you pull one hand, all the body will follow. In the 3D-view you'll see a yellow line from the IK solver to the root of the chain it covers. This line appears when you select the bone containing the IK solver.

 * PosW and RotW let you tell Blender if this IK solver will influence the final result more of less in the case of a Tree IK setup. With these options it's possible to use an IK solver just for location and an other one just for rotation.

 * Tolerance and iterations are performance and precision options. IK solving is done in more than one pass, the more passes you calculate, the more accurate results you get. The tolerance is the distance from the IK solver to the target you can accept. If Blender manages to place the target near enough, it will stop doing iterations. The Iterations value is a hard limit you set to limit the time blender can reach on each IK solver per frame. Try to set it to a very low value to know why Blender needs more than one pass ;).

 * You can set the general influence this constraint will have over bones, and it's animatable.

Where To Use It

In any chain of bones you don't want to animate by hand but you want both ends to be at precise location. The best example is a leg: The leg is connected to the body and to the foot. You don't need to animate the 2 bones in the legs, just place the body and the foot, the leg will follow automagically.

Degree Of Freedom

In DOF it is now possible to set it for bones in an IK chain. This way you can set what will block where. This is very useful when doing a mechanical rig as you can limit the move or better, lock completely an axis.

 * There you can set a limit on each axis, or completely Lock it.
 * No limit gives it complete freedom (which is the same as [min:0 max:360] or [min:0 max:0]).
 * The stiffness lets you tell Blender if an axis is more difficult to rotate than the rest. If all bones have a stiffness of 1 on X and you try to curve that chain in a way that all bones need to turn on X to follow the target, the Solving will find really weird poses to find a way to touch the target without rotating on X.


text:
User talk:62.49.166.122

Wikibooks is not a paper puzzle book
As such, what you are writing in is not your personal copy. If you want to have a go at solving the puzzles, go ahead, but don't alter the puzzle pages to contain your solutions. -- Smjg 17:08, 16 November 2005 (UTC)

title: User talk:62.49.166.122


text:
User:John Burkitt

John Howard Burkitt
I am an animal welfare advocate, Board Chairman and Educational Director of Tiger Touch, Inc., co-founder of the National Wildlife Humane Society, President of the Washington County Zoological Society, and the author of Operation Survival 21 and several essays about humane captive management of exotic cats. My background is in mammalian ethology and taxonomy with an emphasis on carnivores. My main thrust is in improving captive management of endangered species with an eye to reducing stress, improving diet, reducing isolation, and re-defining enrichment as ties not toys. I am an alumnus in the Beta Beta Beta (Tri-Beta) Biological Honor Society (Nat. No. 87914) and one of the original organizers of the Nashville Chapter of the American Association of Zoo Keepers. An avid Scoutmaster, I enjoy the out of doors and am a recipient of the District Order of Merit from the Boy Scouts of America. (Yes, I do teach a variety of animal and environmental merit badges.) I currently live in Nashville, Tennessee, USA. Donations of time are gratefully accepted--I currently need 36 hours a day to fit everything in...48 hours a day would be nice.

title: User:John Burkitt


text:
Blender 3D: Noob to Pro/Match Moving

Match moving is the technique of recreating the position of the camera used in recording live action footage. This information can then be used within Blender to merge 3D objects with live action film. For a more detailed discussion of the concept, take a look at the Wikipedia article on Match Moving.

Blender cannot perform match moving itself, you must use a 3rd party tool to determine the camera position and the way it moves, then import this data into Blender. While there are many software tools to do this, this page references two free options: Voodoo and Icarus.

Icarus
Icarus is a discontinued University of Manchester project which can be used for non-commercial work. The download links from the official page no longer function, but Windows and MacOS X versions are available from this Icarus video tutorial by Colin Levy.

Voodoo
Voodoo is an actively developed free match mover available for Windows and Linux. Here is a tutorial on using Voodoo and Blender

title: Blender 3D: Noob to Pro/Match Moving


text:
User talk:24.63.187.228

I see you have made a large number of edits on the Atlas Shrugged book. When you are editing a page, you can click the "Show Preview" button, that will show you what the page looks like, without taking the time and the effort to save the whole page, and then having to go back in and edit it again.

Also, if you register for a user name, you can get credit for all your hard work!

Cheers, --Whiteknight T C E 18:35, 16 November 2005 (UTC)

title: User talk:24.63.187.228


text:
A-level Physics/Forces, Fields and Energy/Electromagnetic induction

We have already investigated that passing a current through a wire in a magnetic field causes a force to be exerted on it. The opposite is also true, and when a force is exerted on a wire a current is induced in the wire. This completely revolutionised the world because it meant that electricity could now be cheaper to produce.

Inducing an EMF.
When a conductor is moved through a magnetic field, an EMF is generated and the interaction of the magnetic field produced by the conductor with the magnetic field that was present cause deflection.

Faraday's Law
Michael Faraday state in his law that: The magnitude of the electromotive force(EMF) generated is proportional to the rate of change of magnetic field

Magnetic Flux density is a measure of the strength of a magnetic field and is essentially how dense the field lines of a magnetic field are within a given height.

Direction of induced current
Direction of induced current is according to the Lenz's law, which states that current in a coil is induced such that it always opposes the change producing it. For example, if we bring north pole of a magnet towards a neutral coil with some velocity, the current is induced in a way that it opposes the north pole or simply north pole is induced at the side where north pole is brought near which will result in the flow of current in the coil. If we assume a coil placed on a horizontal air space and bring north pole towards it from upper side and then we see coil from upper side, the current induced is in anti clockwise direction.

Calculating the induced EMF
Faraday's law states: Induced EMF is equal to the rate of change of magnetic flux. Magnetic flux = Magnetic field strength x Area = BA. Rate of change implies we consider the variable with respect to time (in seconds) Therefore...Induced EMF = (change in Magnetic Flux Density x Area)/change in Time. OR EMF = BA/t If we are doing it with a coil, the area becomes the area of one coil multiplied by the number of coils, A = πr2n Therefore, Induced EMF = (Bπr2n)/t. If we want to increase the amount of EMF induced, we either... Increase the area 'swept'. Increase the Magnetic Flux Density. Decrease the amount of time taken. The EMF induced is also proportional to the speed of the object going through the Magnetic Flux. Because BA/t can be re-written as...EMF = Magnetic flux density x Width x Speed. This is because speed = distance / time.

REMEMBER! - EMF is measured in volts, magnetic flux density is measured in teslas and area is measured in meters2, time is measured in seconds. So you will have to convert things from mm, cm, km, minutes, etc.

Faraday's law
The magnitude of induced EMF is proportional to the rate of change of magnetic flux linkage: $$E.M.F. \propto \frac{\Delta NBA}{\Delta t} \cdot\cos\left(x\right)$$

Lenz's law
Lenz's law states that the direction of the induced current is always so as to oppose the change which caused the current. It is just a small addition to Faraday's law:

$$E.M.F. = -\frac{\Delta NBA}{\Delta t}$$

(Notice the minus sign!)

Transformers
A transformer is made up of two or more coils of unmagnetised magnetic material. One coil is the primary coil and is connected to an alternating supply. The other is the secondary coil.

When an alternating current is set up in the primary coil, it produces a changing magnetic flux, this changing magnetic flux causes an induced electromotive force (e.m.f) in the secondary coil.

Transformers can be used to increase or decrease the voltage by changing the number of turns in the primary and secondary coils.


text:
Communication Systems/Voltage-Controlled Oscillators

Voltage Controlled Oscillators (VCO)
A voltage-controlled oscillator (VCO) is a device that outputs a sinusoid of a frequency that is a function of the input voltage. VCOs are not time-invariant, linear components. A complete study of how a VCO works will have to be relegated to a more detailed section based on feedback and oscillators. This page will, however, attempt to answer some of the basic questions about VCOs.

A basic VCO has input/output characteristics as such:

v(t) |VCO|> sin(a[f + v(t)]t + O)

VCOs are often implemented using a special type of diode called a "Varactor". Varactors, when reverse-biased, produce a small amount of capacitance that varies with the input voltage.

Phase-Locked Loops
If you are talking on your cellphone, and you are walking (or driving), the phase angle of your signal is going to change, as a function of your motion, at the receiver. This is a fact of nature, and is unavoidable. The solution to this then, is to create a device which can "find" a signal of a particular frequency, negate any phase changes in the signal, and output the clean wave, phase-change free. This device is called a Phase-Locked Loop (PLL), and can be implemented using a VCO.

Purpose of VCO and PLL
VCO and PLL circuits are highly useful in modulating and demodulating systems. We will discuss the specifics of how VCO and PLL circuits are used in this manner in future chapters.

Varactors
As a matter of purely professional interest, we will discuss varactors here.


text:
User talk:John Burkitt

Hello and welcome to Wikibooks!

Big Cats
I encourage you to keep up the brilliant work over at the Wikijunior area. Participation has fallen a bit and some new blood is always welcome. You seem to have made some great edits over there. Just thought I'd say thanks from all of us. -- LV (Dark Mark) 19:40, 16 November 2005 (UTC)

 * Thank you for your kind words. However, I will disagree with you one one point. It is not just people like me that make this thing run... it is people like me, you, that guy down the street fixing a comma. People like me barely scratch the surface. There are too many people to thank if you really wanted to show appreciation for everyone who has made a difference to Wikipedia, Wikibooks, and the other Wikimedia projects. I guess, publishing can be a tough business at times, and I too love what this enitre project is trying to accomplish. I hope you stick around and continue to contribute. Thank you. And if you ever have any questions, don't be afraid to ask. We won't bite. -- LV (Dark Mark) 15:17, 18 November 2005 (UTC)

 * I had seen your new work over there. It seems to be going very well. The removal of the stuff on the front page is fine. Just keep up the good work. Cheers. -- LV (Dark Mark) 17:26, 22 November 2005 (UTC)

I hope you stick around
Thanks for all your work around this place. I hope you stick around either here or at Wikipedia. We can always use good editors like yourself. If you decide not to, thanks anyway. You have been a real asset to Wikijunior. -- LV (Dark Mark) 17:32, 28 November 2005 (UTC)

Work on Big Cats
I'll tell you what. I'll take the Big Cats Wikijunior book and turn it into a PDF file on or about December 10th, for whatever state that it is in. That way we are technically "published" and have something that is a little bit more up-to-date than the current PDF file (that seems buggy to me as well for some reason). There is still much more to do in terms of proofreading, but we are well on our way.

BTW, thanks for all of the work that you have done. This is a huge task and I completely understand why you feel some pressure to get this accomplished. Relax, take a deep breath, and understand that there really isn't a huge deadline to get this accomplished. If we lose the money from the Beck Foundation, that isn't really a problem either. There is more... much more where that came from including some educational foundations that I'm familiar with. "If we write it... they will come" (to paraphrase from an older movie) is more the mantra I'm pushing, and I have no doubt that Wikijunior is going to make some major inroads into the children's educational book market. Let's do quality, not quantity, and try to make this one of the best books about Big Cats that you can find anywhere written for kids. It certainly is quite nice compared to many others I've seen as it is. --Rob Horning 05:06, 9 December 2005 (UTC)

Updated PDF File of Wikijunior Big Cats
As I promised, I did deliver. You can now download the revised PDF file for Wikijunior Big Cats. This is as far as we can really get something published except going to an actual printing company and making it with paper and ink. I'm even willing to do that if anybody is interested. Read, enjoy, and share with whomever you think might be interested. And thanks for your work on this project so far. I hope that this is something that we can continue to work on and improve in the future. --Rob Horning 02:51, 12 December 2005 (UTC)

Christmas Vacation
Am taking a Christmas break from working on Big Cats. Put in several species today to round out the collection, but am through until Season's Greetings.... John Burkitt 03:54, 21 December 2005 (UTC)
 * Thanks for your help... Have a Merry Christmas. -- LV (Dark Mark) 14:54, 21 December 2005 (UTC)

Editing disputes policy
This policy needs a few more people to take a look at it and vote. Any help would be most useful. RobinH 14:35, 5 June 2006 (UTC)

Copyvio
Someone has flagged as a copyvio. You flagged it as public domain, expired or ineligible. Could you elaborate as to its status, and why they might hytink they have copyright.Dolive35 18:49, 27 June 2006 (UTC)

Unspecified source for Image:Snowcub.jpg
Thanks for uploading Image:Snowcub.jpg. I notice the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this file yourself, then there needs to be a justification explaining why we have the right to use it on Wikibooks. If you did not create the file yourself, then you need to specify where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page. If you have uploaded other files, consider checking that you have specified their source and tagged them, too. --KFP 13:35, 19 November 2006 (UTC)
 * The message above also applies to Image:Manulkitten.jpg, Image:Ocelotkitten.jpg, Image:Cheetahcub.jpg, Image:Cloudcub.jpg, Image:Tigercub.jpg, Image:Servalkitten.jpg, Image:Caracalkitten.jpg and Image:Jaguarcub.jpg. --KFP 13:40, 10 January 2007 (UTC)
 * ...and Image:Panthers.jpg, Image:Swiftcheetah.jpg, Image:Cloudedleopard.jpg, Image:Manul.jpg, Image:Sandcat.jpg, Image:Rustyspottedcat.jpg & Image:European wild cat.jpg. --KFP 21:38, 14 January 2007 (UTC)

title: User talk:John Burkitt


text:
MATLAB Programming/Psychtoolbox/OS X FAQ

This section contains a number of questions about details of implementation of OSX. Being a wiki, you are encouraged to add your problems to these questions and your insight to these answers...

FAQ
Q: What is the difference between a texture and a window and a screen?

A: A screen corresponds to a physically connected display device. Screen 0 is the display with the Dock and menu bar. Screen 1 (on a dual-display system) is the 2nd display, and so on... The Screen('Screens') command returns a vector of all available screens - the available, connected and powered on display devices. If you have a dual-display setup whose displays are switched into mirror-mode (both displays show same content), then this will appear to PTB as a single screen. The screen-number just defines on which physical output device you want to open/show your stimulus window.

An onscreen-window is used to display your stimulus. Each screen can have exactly one full-screen onscreen window - or no PTB window at all. All drawing commands expect a handle to an onscreen window so they know where to draw to.

Onscreen windows are double-buffered: They consist of a backbuffer and a frontbuffer. The backbuffer is, where all drawing operations are performed -- where you build/prepare your stimulus for presentation. The frontbuffer is scanned out and displayed by your display - your beamer, flat-panel or CRT at the display refresh interval.

After you've finished drawing and your stimulus image is ready in the backbuffer, you issue the Screen('Flip',...) command. This command asks PTB to switch the role of the front- and back- buffer at the next vertical retrace of your display device. This way, the former backbuffer becomes the new frontbuffer and your new stimulus gets shown to the subject. The former frontbuffer becomes the new backbuffer and is ready for drawing the next stim. As the bufferswap is synchronized with vertical retrace and always happens in less than 1 microsecond, you'll get perfect, flickerfree, tearfree stimulus presentation timing, regardless how long drawing takes -- Unless obviously you try to draw something too complex in a too short period of time. The important point is that Flip decouples drawing (with its timing variabilities) and actual stimulus presentation - something not possible in the MacOS-9 and Win toolboxes.

Offscreen windows are the same as Textures in the Psychtoolboxes released since 2006. Internally they are the same thing, so you can always use a Psychtoolbox texture where you would use an Offscreen window and an offscreen window where you would use a texture. They only differ in creation and performance: Textures are created by Screen('MakeTexture') from a Matlab image matrix or automatically by the Quicktime movie playback engine or the videocapture engine. Creating them is very fast and efficient. They are also optimized for fastest possible drawing. Offscreen windows are created by the call Screen('OpenOffscreenWindow'); - they are initialized with a selectable size, color depth and initial uniform color, not with image content. They are optimized for fast drawing *into* them - Each Screen drawing command can not only draw to onscreen windows, but also into offscreen windows. After creation, they are (nearly) synonymous.

E.g.:

Say you have a image matrix I in Matlab, e.g., created via I=imread('myimage.png'):

Then:

tex=Screen('MakeTexture', win, I);

is the same as:

tex=Screen('OpenOffscreenWindow', win); Screen('PutImage', tex, I);

in, just that the former is much faster than the latter. The advantage is also that the Screen('DrawTexture') command allows to scale, zoom, filter and rotate textures while drawing, that texture drawing is extremely fast as it uses specialized hardware on your graphics card, and much more...

Q: How do you create a duplicate of an offscreen window?

A: You would first create an empty offscreen window of the same size and color depth as your original offscreen window, then copy the original windows content into the new window:

Be origWin the offscreen window you want to duplicate, then:

duplicateWin = Screen('OpenOffscreenWindow', origWin); Screen('CopyWindow', origWin, duplicateWin);

-> duplicateWin is a copy of origWin.

Q: Is there any simpe way to set TextSize (or other such parameters) for all windows/screens?

A: No. You have to set it for each window via the Screen('TextSize', win, ...) command. But that's not much work, given that most people have at most two windows.

Q:Can 'OpenOffScreenWindow' windows have multiple buffers?

A: Nope. It wouldn't make sense to have multiple buffers.


text: User talk:204.39.37.195

title: User talk:204.39.37.195


text:
User talk:202.177.170.18

You have been temporarily blocked from editing Wikibooks. You were warned several times that linking to commercial sites is not allowed. If you wish to make useful contributions, you are welcome to come back after the block expires.

title: User talk:202.177.170.18


text: User talk:66.193.254.66

title: User talk:66.193.254.66


text:
Clarinet/Introduction

The Clarinet is a superb instrument with a unique sound quality to it. Anyone can play the clarinet. The Clarinet is an ideal instrument for beginners and after a small amount of study students can usually play simple melodies with ease. If you don't read music then don't let that deter you from trying the clarinet. Many melodies can be played by ear and it is one of the instrument's virtues that as soon as you can create a sound it is well within your abilities to improvise to recorded music.

If you are not sure if you would like to play this instrument, ask yourself,
 * Would I be good at an instrument that requires air?
 * Do I like the sound of the clarinet?
 * Am I ready for a challenge?

If you feel that the clarinet is the right instrument for you, go ahead and read on. This book is intended to be a guideline for the beginner, advancer, and professional clarinetist. It is not intended to be a replacement for lessons. In fact, it is recommended that you find a music instructor who can teach you the clarinet, as well as use this book for a guideline to their teachings. A professional clarinet teacher will increase the speed at which you learn and introduce you to the clarinet's techniques and repertoire.

Goals of this Book

 * To provide basic information on a clarinet
 * To provide a fingering chart for reference
 * To provide techniques of improving your playing
 * To suggest methods of upgrading your clarinet experience
 * To help understand the basics of reading music

Note from original author: This book is being written to help educate the beginner, advancer, and even the professional on good technique of the clarinet. '''Please do not take this as a replacement for private lessons. Do not challenge your instructor with this material, everyone teaches differently, but they should mostly follow the guidelines of this book!'''

Kларинет/Увод

title: Clarinet/Introduction


text:
Clarinet/History

History of the Clarinet
In the 3rd century B.C., the Egyptians created an instrument called the memet, a double clarinet also called a zummāra. It had a double bore, like the double-reeded Greek instrument aulos, but each bore was a single-reed instrument, much like the modern day clarinet. The zummāra's two pipes were parallel so that with each finger the player covered two holes, one on each pipe. The pipes were said to be out of tune with each other and produced a very dissonant beating sound.

Invented around 1690, the clarinet is a single-reed woodwind instrument with a cylindrical tube. The clarinet evolved from an earlier instrument called the chalumeau, the first true single reed instrument. Johann Christoph Denner of Nuremberg with the help of his son Jacob improved the chalumeau, creating a new instrument called the clarinet. Denner added two keys to the chalumeau and increased that instruments range by over two octaves. He also created a better mouthpiece and improved the bell (end) of the instrument. In India, there was an instrument people now call the double-clarinet but in India it was called the pungi or the magudi. The difference between this instrument and the zummara was that the reed was enclosed in a wooden chamber and the left-hand pipe was drone, and the right-hand pipe was melodic.

Single reed instruments of this type have been found in many cultures throughout the world, as it is a simple way of producing sound. The reeds are called idioglot reeds and are cut out of part of the instrument that is placed inside the mouth to sound. A simple way of reconstructing one of these idioglot reeds is to cut a small triangular slit in a straw, when this is placed in the mouth it produces a buzzing sound. Instruments with these idioglot reeds are first mentioned in dictionaries in France in the Sixteenth century (for example Estienne (1511)) and are described in more detail in the Seventeenth Century treatises of Mersenne and Trichet.

The man universally credited for actually inventing, or making, the clarinet was Johann Christoph Denner (1655–1707) with the help of his son, Jacob, of Nuremberg, Germany. J.C. Denner was well-known and well-respected for the high quality woodwind instruments he made. Denner was said to have a creative mind; he toyed with the instruments he so finely crafted and it would seem the clarinet was the result of such tinkering. There is no documented proof that Denner alone developed the clarinet since two of his contemporaries, Klenig and Oberlender, also made clarinets.

However, it must also be mentioned that (apart from a single instrument at Berkley whose attribution is much disputed) there are no extant clarinets by J.C.Denner, only chalumeau.

Scholars first believed the clarinet was developed around 1690, but further research has led scholars and music historians to believe it was developed around 1701–1704. It is also believed the clarinet was first called a mock trumpet. There is a music book discovered by a scholar, Thurston Dart, for mock trumpet which was published in 1698, and this was followed by three similar volumes throughout the next decade. Doubt still remains about who made the clarinet and how.

The accepted hypothesis is that Denner crafted the clarinet, and he did so sometime around 1700. J.G. Doppelmayr, a contemporary of Denner, wrote a Report on the Mathematicians and Artisans of Nuremberg in 1730, twenty-three years after Denner's death. The report indicates Denner developed the clarinet a little after 1700. Before this historical text was discovered, historians and scholars only had a piece written in 1778 by C.G. Murr, "Description of the Distinguished Features of Nuremberg," wherein Murr wrote that Denner created the clarinet in 1690.

What made the clarinet a clarinet was Denner's great improvement to the old chalumeau. The usual material used for early examples of both instruments is boxwood (a common material in instrument making) with a heteroglot reed (that is separate to the instrument)tied to the upper side of the mouthpiece therefore vibrated by the upper lip. To change the chalumeau to a clarinet he added a 'speaker key' (also known as the register key) causing the instrument to over-blow, creating a new and higher register for the instrument. This register is known as the clarion register (a reference to a style of trumpet playing) and is thought to be the origin of the name of the instrument. Many modern clarinettists still refer to the overblown register of the clarinet as the clarion register, and to the lower register as the chalumeau.

Acoustically the clarinet acts like a closed cylindrical tube and overblows at the twelfth. He also equipped it with a bell by enlarging the bore.The mouthpiece and barrel joint are made in one piece and, with Denner's additional key the earliest clarinets are two-keyed instruments. Extant chalumeaux have single keys at the front of the instrument.

The Clarinet's Early Days
There is no mention of the name clarinet until 1690, when Denner made the first playable clarinet. In this year, the Graf (Duke) of Gronsfeld in Nuremberg ordered two clarinets from Jacob Denner, the brother of Johann, for the use of his musicians. In 1712, four clarinets that were made out of boxwood were bought by the Nuremberg Town band (Ratsmusik). Since Denner worked in Nuremberg and that's where they first appeared in the band, it is said that Denner gave the instrument its name.

History of the clarinet from 1690-1751
The history of the clarinet is a long history beginning in 1690. During that year a man named Johann Cristoph Denner invented the clarinet. These clarinets only had two keys that were mostly made from brass along with the springs. The clarinet, however, was made from boxwood, plum, ebony, ivory or pear. Around 1700, he added the register key to his instrument. In 1740 a third key was added, enabling the players to play low E. Nine years later, a man named Rameau used the clarinet in his opera in Paris. Shortly after, in 1750, Barthold Fritz added the 4th & 5th key to the clarinet. The clarinet was introduced to London by Bach in 1751.

Kларинет/Историјат

title: Clarinet/History


text:
Clarinet/Clarinet Basics/Tone/Airflow

Basics to Airflow
A good airflow through the clarinet is the most important thing that a clarinetist can do to achieve a good tone. The airflow, or airstream, is the most important aspect of playing a clarinet. If you think it is the embouchure, think again. The embouchure can't be the most important thing because no matter how good of an embouchure you have, if there isn't an airstream then there won't be any sound. The articulations that you use can't be the most important thing either, because again, there would be no sound or at least not a very good one. It doesn't matter how many rhythms you can count or how fast you can play, for if there isn't a good solid airstream going through the clarinet, then all of it is all for naught because it won't sound good.

To back up the methods that were just introduced in the last paragraph, David Pino writes in his book The Clarinet and Clarinet Playing, "Some players make the mistake of thinking that the embouchure is even more important than what the air is doing; this is a mistake because no embouchure, no matter how good it is, will have any effect if an unimpeded airflow is not traveling through it... all other aspects of playing should be considered less important than airflow because they actually "depend upon" it...  some players may think that technique, for example, is just as important or even more important than airflow.  To them I point out that technique is just reduced to much finger-wiggling, unless airflow has been established first...  What are clarinetists going to articulate if they do not have a good airflow?" Pino clearly shows that all other aspects to clarinet are secondary to the importance of airflow.

Leon Russianoff writes in his book Clarinet Method that the clarinetist must create an art to handle and improve every aspect of performance, which includes the ability to:

 * take in sufficient air at the right moment to sustain long passages
 * use air to play easily at any volume, and to increase or decrease that volume at will
 * intensify sound
 * produce a vast rage of tone colors

To maintain a good airflow through the clarinet, the clarinetist must fill up the lungs with air by filling the bottom of the lungs first. Fill up with air from bottom to top, the shoulders should, for the most part, remain stationary; do not arch back as you breathe in or crouch over, or slouch for that matter.

"The airflow or the player's use of air generally, can be thought of as having two qualities: (1) pressure, which is a 'constant' and (2) speed, which is a 'variable'," writes Pino. The pressurized aspect of the airflow, that is caused by muscular action of the player in the area of his or her waistline is constant, and should remain the same throughout the entire practice time. This pressure aspect of the airstream is what many people call breath support. The speed of the airstream should change variably, depending on the music, whether the dynamic is forte or piano. In both of these cases it's not so much as to what the muscles of the stomach or diaphragm are doing, but it's more of what it "feels" like. David Pino continues to write "There are always some exceptions clouding the issue, of course," by this he means that there are certain instances that when played on the clarinet go against that general rule. For example, if the player wishes to go down through the "register break" the player may be required to push more air.

As with all wind instruments, you are never really blowing or forcing the air down the shaft, but rather "letting go." As a final note to airflow and some what of a "summary," the airflow should be consistent all the time. Once the clarinetist has discovered how to maintain a good airstream what he or she might have thought at first were finger and technical issues will disappear because the only thing that needed help was not the fingers, but a good strong tone and airstream to flow through the clarinet.

Breathing exercises
There are many different breathing exercises to help teach good constant air flow, and here are just a few examples:

1) Lie on the floor and just take in deep breaths, as deep as you can make them, then make your mouth into the clarinet embouchure and breath out slowly until all of the air is gone.  Now take a few seconds and breath normally, and then do it again, each time you do it try to take in a little bit more air, expand your lungs, and your rib cage.

2) Set a metronome to 80 beats/min, and fill up as much air as you can in one count, hold for two counts, then take two quick breaths (one on each beat), and exhale for a designated amount of time (i.e. four beats, six beats, eight beats, eleven beats, etc... it doesn't matter).  You can do this exercise laying down, sitting up, or standing.

3) Set a metronome to 80 beats/min, and fill up as much as you can in four counts, then hold for two counts, then take two quick breaths on the next two beats (one on each beat), and exhale for a designated amount of time (i.e. four beats, six beats, eight beats, eleven beats, etc... it doesn't matter).  You can do this exercise laying down, sitting up, or standing.

4) Do exercise 1), 2), or 3) but in a chair, and exhale through your clarinet.

Circular Breathing
Circular breathing, if done properly, enables a good constant airflow to be maintained for any desired period of time. Here is how:

 * 1) Learn to hold air in your cheeks while breathing in through your nose.
 * Close your mouth and puff your cheeks out.
 * Attempt to breathe in through your nose while holding the air in your cheeks.
 * i) If you suck the air in your cheeks back into your lungs when you try to breathe in through your nose, you need to think about the position of your tongue.
 * ii) Try taking a sip of water (small) and holding it in the back of your throat without letting it travel down your throat. Think about the position of your tongue while preventing the water from traveling down your throat.  This is the same position as when beginning to say the letter "K".
 * iii) Swallow the water and then try to hold air in your cheeks again. (Think about the position of your tongue to close off the back of your throat as before.)
 * Practice slowly squeezing the air in your cheeks out through closed lips to create a buzzing sound.
 * i) It is important to remember to keep your throat closed while buzzing in this fashion.
 * ii) You should eventually be able to relax and buzz your lips while breathing in a relaxed manner through your nose.
 * iii) As a secondary thought, you should be able to also hold your mouth open and breath in through your nose without breathing in through your mouth at the same time.

 * 1) Practice blowing out your mouth by squeezing the air as above with the mouthpiece and reed in your embouchure.
 * Do not worry about breathing in through your nose yet while squeezing the air out. Just get used to squeezing the air from your cheeks quickly and controlled enough to get a smooth sound.

 * 1) After learning to squeeze the air from your cheeks to get a smooth, controlled sound a for a second or two, attempt to quickly breathe in through your nose at the same time.
 * Repeat this routine over and over until you alleviate any breaks in the sound.

Kларинет/Техника дувања

title: Clarinet/Clarinet Basics/Tone/Airflow


text:
User talk:139.67.197.201

Welcome!
Welcome to Wikibooks, a collection of open-content textbooks! You don't have to log in to read or edit articles on Wikibooks, but creating an account is quick, free and non-intrusive, requires no personal information, and gives you many benefits, including:
 * The use of a username of your choice
 * The ability to view all your contributions via a "My contributions" link
 * Your own user page
 * Your own talk page which, if you choose, also allows users to send you messages without knowing your e-mail address
 * The use of your own personal watchlist to which you can add articles that interest you
 * The ability to rename pages.
 * The ability to upload images
 * The ability to customize the appearance and behavior of the website
 * The eligibility to become an administrator
 * The right to be heard in votes and elections
 * Your IP address will no longer be visible to other users.

We hope that you choose to become a Wikibookian and create an account. Feel free to ask me any questions you may have on my talk page. By the way, make sure to sign your posts and comments with four tildes (~~~~), which will let others know who left it.

title: User talk:139.67.197.201


text: User talk:204.186.255.22

title: User talk:204.186.255.22


text:
User talk:203.144.21.77

Please stop adding nonsense to Wikibooks. It is considered vandalism. If you would like to experiment, use the sandbox. Thank you.

title: User talk:203.144.21.77


text:
Wikibooks:Game textbook guidelines

'''Before continuing to read this guideline it would be advisable to initially consider if your specific game textbook would be suitably put here. Many game textbooks would be more appropriately on StrategyWiki.'''

Game textbook must be in a well organised book format
Game textbooks should not be pages and pages of short data, but instead be read as a book. Glossaries or other appendices are fine however.

Additionally, game textbooks should not have large amounts of short, stubby pages. Game textbooks should flow naturally, and a large amount of short pages would flow much better if merged into a single page.

Maintain a presentable quality
Game textbooks should look good, and be as valid as possible. There are plenty of low-quality or incorrect sites gamers can go to, Wikibooks should not be another one.

Game textbooks must be more than just a walkthough or database
Every wikibook should be a textbook in its own right. A walkthrough or database is not a textbook. Every game has its own walkthough already, be it at GFAQs or some other random place on the internet - so wikibooks does not need to repeat this. If you're looking for game guides, you might want to try Gameinfo or StrategyWiki. Encyclopedia articles about games are found at Wikipedia, for example Go and Super Mario Bros.. Electronic games is a collection of quotes from computer and video games.

A useful question to ask is "Will my textbook be useful to non-gamers as well as gamers?". If you can say yes, then that is indicative that the textbook may be able to stay.

title: Wikibooks:Game textbook guidelines