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Australian History/Captain Cook

‹ Return to the Contents ‹ Back to Early Explorers

Perhaps the most famous explorer of Australia was Captain James Cook.

Early life
James Cook was born in relatively humble circumstances at Marton in North Yorkshire, near what is today recognised as the town of Middlesbrough. Cook was one of five children born to a local woman and a Scottish immigrant farm labourer, Grace and James Sr. As a child, Cook moved with his family to a farm at Great Ayton where he was educated at the local school, his studies financed by his father's employer. At 13 he began work with his father, now as the farm's manager.

In 1745 when he was 16, Cook left home to be apprenticed in a grocer/haberdashery in the fishing village of Staithes. According to tradition, it was there that Cook first felt the lure of the sea, while gazing out the shop window.

After about a year and half in Staithes, the shop owner, a Mr. Anderson, apparently finding the young James unsuited to the trade, took him to the nearby port town of Whitby and introduced him to prominent local shipowners and Quakers, John and Henry Walker. Their business was involved in the coal trade, and Cook was taken on as a merchant navy apprentice in their small fleet of vessels plying coal along the English coast. His first assignment was aboard the collier Freelove, and he spent several years on this and various other coasters sailing between the Tyne and London.

For this new apprenticeship, Cook applied himself to the study of algebra, trigonometry, navigation, and astronomy, skills he would need one day to command his own ship.

His three-year apprenticeship completed, Cook began working on trading ships in the Baltic Sea. He soon progressed through the merchant navy ranks, starting with his 1752 promotion to Mate (officer in charge of navigation) aboard the collier brig Friendship. In 1755 he was offered command of this vessel, but within the month he volunteered for service in the Royal Navy.

The Kingdom of Great Britain was re-arming for what was to become the Seven Years War, and Cook saw his opportunities for career advancement more readily to come from military service. This necessitated however starting over in the naval hierarchy, and on June 17 he began as an able-bodied seaman aboard HMS Eagle under the command of Captain Hugh Palliser. He was very quickly promoted to Master's Mate.

Cook's First Voyage
In 1766, the Royal Society hired Cook (then a Lieutenant in the R.N.) to travel to the Pacific Ocean to observe and record a transit of Venus across the Sun. In command of HM Bark Endeavour, he sailed from England in 1768, rounded Cape Horn and continued westward across the Pacific to arrive at Tahiti on April 13, 1769, where the observations were to be made. The transit was scheduled to occur on June 3, and in the meantime he commissioned the building of a small fort and observatory.

The astronomer appointed to the task was Charles Green, assistant to the recently-appointed Astronomer Royal, Nevil Maskelyne. The primary purpose of the observation was to obtain measurements which could be used to more accurately calculate the distance of Venus from the Sun. If this could be achieved, then the distances of the other known planets could be worked out based on their relative orbits. On the day of the transit observation, Cook recorded:

 * "Saturday 3 rd This day prov'd as favourable to our purpose as we could wish, not a Clowd was to be seen the Whole day and the Air was perfectly clear, so that we had every advantage we could desire in Observing the whole of the passage of the Planet Venus over the Suns disk: we very distinctly saw an Atmosphere or dusky shade round the body of the Planet which very much disturbed the times of the contacts particularly the two internal ones. D r Solander observed as well as M r Green and my self, and we differ'd from one another in observing the times of the Contacts much more than could be expected..."

Disappointingly, the separate measurements of Green, Cook and Solander varied more than the anticipated margin of error. Their instrumentation was adequate by the standards of the time, but the resolution still could not eliminate the errors. When their results were later compared to those of the other observations of the same event made elsewhere for the exercise, the nett result was not as conclusive or accurate as had been hoped.

Once the observations were completed, Cook then departed in order to execute the secondary purpose of his voyage: namely, to search the south Pacific for signs of the postulated southern continent of Terra Australis. The Royal Society, and especially Alexander Dalrymple, believed that it must exist, however Cook had his own personal doubts on the subject. With the help of a Tahitian named Tupaia, who had extensive knowledge of Pacific geography, Cook managed to reach New Zealand, becoming only the second European in history to do so (behind Abel Tasman over a century earlier, in 1642). Cook mapped the complete New Zealand coastline, making only some minor errors (such as calling Banks Peninsula an island, and thinking Stewart Island/Rakiura was part of the South Island). He also discovered Cook Strait, which separates the North Island from the South Island, and which Tasman had not seen.

Cook sets sail for Australia
He then set course westwards, intending to strike for Van Diemen's Land (present day Tasmania, earlier sighted by Tasman) in order to establish whether or not it formed part of the fabled southern continent. However, they were forced to maintain a more northerly course owing to prevailing gales, and sailed onwards until one afternoon when land was sighted, which Cook named Point Hicks. Cook calculated that Van Diemen's Land ought to lie due south of their position, but having found the coastline trending to the south west, recorded his doubt that this landmass was connected to it. This point was on the south eastern coast of the Australian continent, and in doing so his expedition became the first recorded Europeans to have encountered its eastern coastline. In his journal, Cook recorded the event thus:

 * "the Southermost Point of land we had in sight which bore from us W1/4S I judged to lay in the Latitude of 38°..0' S° and in the Longitude of 211°..07' W t from the Meridion of Greenwich. I have named it Point Hicks, because Leuit t Hicks was the first who discover'd this land".

The ship's log recorded the date as being Thursday April 19, 1770; however, Cook had not made the necessary adjustments when they had earlier crossed the 180th meridian of Longitude, and the actual calendar date was Friday, April 20. The landmark of this sighting is generally reckoned to be a point lying about half-way between the present-day towns of Orbost and Mallacoota on the south eastern coast of the state of Victoria. A later survey done in 1843 ignored or overlooked Cook's earlier naming of the point, giving it the name Cape Everard. On the 200th anniversary of the sighting, the name was officially changed back to Point Hicks.

The Endeavour continued northwards along the coastline, keeping the land in sight and Cook charting and naming landmarks as he went. A little over a week later, they came across an extensive but shallow inlet, and upon entering it moored off a low headland fronted by sand dunes. It was here, on April 29 that Cook and crew made their first landfall on the continent, at a place now known as Kurnell. At first Cook bestowed the name Stingaree (Stingray) Bay to the inlet after the many such creatures found there; this was later changed to Botanist Bay and finally Botany Bay after the unique specimens retrieved by the botanists Banks, Solander and Spöring.

This first landing site was later to be promoted (particularly by Joseph Banks) as a suitable candidate for situating a settlement and British colonial outpost. However, almost eighteen years after this first landing, when Captain Arthur Phillip and the First Fleet arrived in early 1788 to establish an outpost and penal colony, they found that the bay and surrounds did not live up to the promising picture which had been painted. Instead, Phillip shortly thereafter gave orders to relocate to a harbour a few kilometres to the north, which Cook had named Port Jackson but had not further explored. It was in this harbour at a place Phillip named Sydney Cove that the settlement of Sydney was established. The settlement was for some time afterwards still referred to generally as Botany Bay.

At Cook's original landing contact was made with the local Australian Aborigine inhabitants. The expedition's scientific members commenced the first European scientific documentation of Australian fauna and flora.

Cook continued northwards, charting along the coastline. A mishap occurred when the Endeavour ran aground on a shoal of the Great Barrier Reef, on June 11, 1770. The ship was seriously damaged and his voyage was delayed almost seven weeks while repairs were carried out on the beach (near the docks of modern Cooktown, at the mouth of the Endeavour River). While there, Joseph Banks, Herman Spöring and Daniel Solander made their first major collections of Australian flora. The crew's encounters with the local Aboriginal people were mainly peaceable; from the group encountered here the name "kangaroo" was to be entered into the English language, coming from the local Guugu-Yimidhirr name for a Grey Kangaroo, which was gangaroo.

Once repairs were complete the voyage continued, eventually passing by the northern-most point of Cape York Peninsula and then sailing through Torres Strait between Australia and New Guinea, earlier navigated by Luis Vaez de Torres in 1604.

At that point in the voyage, Cook had lost no men to scurvy, a remarkable and practically unheard-of achievement in 18th century long-distance sea-faring. He forced his men to eat such foods as citrus fruits and sauerkraut — under punishment of flogging if they did not comply — although no one yet understood why these foods prevented scurvy. Unfortunately, he sailed on for Batavia, the capital of the Dutch East Indies, to put in for repairs. Batavia was known for its outbreaks of malaria, and, before they returned home in 1771, many in Cook's crew would succumb to the disease and other ailments such as dysentery, including the Tahitian Tupaia, Banks's Finnish secretary and a fellow scientist Herman Spöring, astronomer Charles Green, and the illustrator Sydney Parkinson. Cook had named the Spöring Island on the coast of New Zealand to honour Herman Spöring and his work on the voyage.

Aftermath of the Voyage
The Endeavour, his ship on this first voyage, would later lend its name to the Space Shuttle Endeavour, as well as the Endeavour River.

Cook's journals were published upon his return, and he became something of a hero among the scientific community. Among the general public, however, the aristocratic botanist Joseph Banks was a bigger hero. Banks even attempted to take command of Cook's second voyage, but removed himself from the voyage before it began.

title: Australian History/Captain Cook


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SPM/Normalisation

In order to compare data from several scans and / or research subjects, all the brain images have to be in the same 3D space. In SPM this is accomplished by "normalizing" the images into the space defined by the Montreal Neurological Institute (MNI) template. Different versions of SPM use different algorithms for this process. In general, the closer the images start out to the MNI template orientation, the better the outcome of the normalization.

Links

 * Spatial normalization

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

title: SPM/Normalisation


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Australian History/Pre-Federation

‹ Return to the Contents ‹ Back to Colonialism in Australia

Forward to The Early Years of Federation ›

title: Australian History/Pre-Federation


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Australian History/Federation

‹ Return to the Contents ‹ Back to The Road to Federation

Forward to Australia Before and During World War I ›

title: Australian History/Federation


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Category:Book:Movie Making Manual/Writing movies

Anything to do with writing.

/Developing movies


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Category:Book:Movie Making Manual/Production

Movie production: the actual shooting of the movie (as opposed to pre- and post-production)


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How to Pass a Course/Exams

Going to the exam
Before you do your first test, take a break. You must be a good mental condition before going into an exam. Avoid studying two hours or less before the exam. Arrive on time to the exam, make sure you have as much time as you need. Make sure you have all needed materials, such as pen, pencil, or calculator. Put on a positive attitude, and go in, you are ready to pass the examination, you just have to do some paperwork. Make sure you're adequately rested, and don't consume caffeine unless to stay conscious. Caffeine will scatter your thought, but also keep your eyes open if needed.

Let's begin
If it's a small class and the professor is proctoring the exam, sit as close to him as possible, you'll see why later. Once you get the exam, read it over completely before you begin. Identify the easier questions, and the harder ones. Start with the easier ones. Pay attention to the content that each question is evaluating. Most tests try to cover the material evenly, so this might give you a clue about how solve some of the questions on which you are not sure how to solve.

For example, let's take a Calculus exam where you need to solve several integrals. If you solved one using using substitution, most likely the other ones will require different methods, such as integration by parts. Don't rule out any possibility, but having a mental checklist of material that has been evaluated by the different questions might give you a clue.

Asking questions
If you have a doubt, don't ask a classmate, try to ask the professor directly. That's the one person from whom you can get a reliable answer. Some professors answer questions, some don't; but it's worth a try. In order to get the best possible answer, do as much of the question as possible, even if wrong, and then ask. That will increase your chances of a useful clue. If you are sitting next to the professor, you might be able to hear some answers to other students' questions. Again, that's best source of information.

Don't copy from somebody else. Even if you don't get caught, the person you are copying might be more confused than you. It's not a good chance to take. In the worst case, the person next to you might have a similar but different test. And you might find out only after you get your test back.

Scope out the location
Always scope out the exam location. If it is the room that you take your class in, then this step is probably already done. However, if your college exam is in a different building, it's important to go there, find you seat and see if there's anything wrong with it. If you don't do this you could be taking a final in a broken seat or under a broken light, or simply on a wrong-handed desk. This will help you find your seat on exam day, and familiarizes you with challenges that you might panic about otherwise, like tiny desks or temperature issues.

Practice on the Internet
Depending on your course material, often online tests can be found if you search the web a little. Keywords are U.S. history quizzes or U.S. History tests or Practice Calculus problems. Finding these quizzes online take some time.

If you're interested in U.S. History quizzes: :http://www.funtrivia.com/quizzes/history/us_history.html Other quizzes in different subjects can be found online.

Many people create websites for AP student to practice his or her knowledge on a quiz. Many of these quizzes can be found online. The Internet is a goldmine.

Specific tips and hints
There are several tips that apply to specific types of exams:
 * ../Number based tests/
 * ../Essay based tests/

title: How to Pass a Course/Exams


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Category:Book:Movie Making Manual/Directing

Directing movies


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Category:Book:Movie Making Manual/Scheduling

How to schedule filmmaking

/Pre-production /Production


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Category:Book:Movie Making Manual/Locations

How to organise, find and look after locations for filmmaking

/Pre-production /Production


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Geometry for Elementary School/Conventions

This appendix summarises the conventions used in this book. There is also a British-American English differences table provided.

Language
All the language in this book uses simple British English. Alternative names in American English are listed below.

Notation
This appendix summarises the notation used in the book. An effort was made to use common conventions in the notation. However, since many conventions exist the reader might see a different notation used in other books.

A point will be named by an uppercase letter in italics, as in the point A. In some equations though, it will look like this: $$A$$.
 * Point

We will use the notation $$\overline{AB}$$ for the line segment that starts at A and ends at B. Note that we don't care about the segment direction and therefore $$\overline{AB}$$ is similar to $$\overline{BA}$$.
 * Line segment

We will use the notation $$\angle{ABC}$$ for the angle going from the point B, the intersection point of the segments $$\overline{BA}$$ and $$\overline{BC}$$. Sometimes the angle may also be represented by a lowercase letter or even a number, but this is only used in the main text for ease and not in the exercises.
 * Angles

A triangle whose vertices are A, B and C will be noted as $$\triangle ABC $$. Note that for the purpose of triangles' congruence, the order of vertices is important and $$\triangle ABC $$ and $$\triangle BCA $$ are not necessarily congruent.
 * Triangles

We use the notation $$\circ A,\overline{BC} $$ for the circle whose center is the point A and its radius length equals that of the segment $$\overline{BC}$$.
 * Circles

Note that in other sources, a circle is described by any 3 points on its circumference, ABC. The center, radius notation was chosen since it seems to be more suitable for constructions.

 * External links

If you are interested seeing an example of past notation, you might be interested in Byrne's edition of Euclid's Elements. See for example the equilateral triangle construction. Geometria per scuola elementare/Notazione


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Template:Movie Making Manual/catHeader

This category is part of the Movie Making Manual

title: Template:Movie Making Manual/catHeader


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Category:Book:Movie Making Manual/Developing movies

''The very first thing to happen to a movie is that is gets... you guessed it... developed!''


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Category:Book:Movie Making Manual/Crew

All things concerned with the film crew

title: Category:Book:Movie Making Manual/Crew


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Category:Book:Movie Making Manual/Tools and equipment

Tools and equipment for filmmakers


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Category:Book:Movie Making Manual/Audio

Audio issues for filmmakers

/Production /Post-production

title: Category:Book:Movie Making Manual/Audio


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Movie Making Manual/Cinematography/Crew

Director of Photography
The Director of Photography (or DP) is in charge of the actual image of a film project. They direct the camera/grip/lighting crews as to how the lights should be placed, how the camera should be exposed, and basically anything related to the film image. They will also choose the film stock and processing for the film. Many times the DP will be present during color timing as well. The DP works very closely with the Director to realize his vision of how the film should look.

Camera Operator
The Camera Operator does just that - operates the camera. Many times the DP of a film will also operate on a one camera shoot. In some countries, however, the DP is not allowed to operate the camera, thus the need for a camera operator.

First Assistant Camera
The first assistant Cameraman (or 1st AC) is in charge of the actual camera and related equipment. He/She must always stay with the camera. The 1st AC is also known as the focus puller. The 1st AC's job includes working with the DP and Camera Operator to choose the equipment to be used on the production, unpacking and setting up the camera and related equipment, setting the T-stop, shutter, camera speed, checking the lense, pulling focus, giving the 2nd AC footage readings from the camera at each take, as well as many other camera related jobs.

Clapper/Loader
This person writes the info given to them by the script supervisor then slates it when camera and sound are rolling. Between shots they load 35mm film or put it away. This is an entry level position, often internship.

/Cinematography

title: Movie Making Manual/Cinematography/Crew


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Movie Making Manual/Cinematography

Cinematography is the creation of motion picture images. It can involve the use of film or digital imagery, usually with a movie camera. It is closely related to the art of still photography. Many additional technical difficulties and creative possibilities arise when the camera and elements of the scene may be in motion.

Subtopics
There are many aspects and subtopics of Cinematography, some of these include:

The Camera
The guide referenced above contains features in cameras that you should look for in different price ranges. These ranges include: NB: This is not a complete list of cameras.
 * Low Budget (<$1,200)
 * Mid Budget ($1,200-$10,000)
 * High Budget ($10,000+)

Moving the Camera
Moving the camera can be one of the best ways to portray emotion within cinematography. Some of the ways to move a camera include:
 * Handheld
 * Dolly / Slider
 * Jib / Crane
 * SteadiCam
 * Shoulder Rigs
 * Copters
 * Drones

Filtration
The use of filters or polarizers during filming can be essential or highly recommended to achieve a certain style. Some quick examples include:
 * Neutral Density (Graduated) Filters
 * Linear and Circular Polarizers
 * Ultra Violet Filters

Aspect Ratio
Aspect ratio is the width:length ratio of an image. What aspect ratio is best to shoot in, or is it better to shoot anamorphic? Common aspect ratios include 16:9 and 2.35:1.

Internet Forums

 * See the online resources section for more links.

Books

 * 5 Cs of Cinematography
 * 'New Cinematographers' by Alexander Ballinger.
 * "Principal Photography" by Vincent LoBrut
 * "Matters of Light and Depth" by Ross Lowell
 * "A Man with a Camera" by cinematographer Nestor Almendros
 * "Cinematography: Theory and Practice" by Blain Brown (Focal Press)
 * "Motion Picture and Video Lighting" by Blain Brown (Focal Press)
 * "The Filmmaker's Pocket Reference" by Blain Brown (Focal Press)
 * The ASC manual
 * Reflections
 * Any number of college/university textbooks on Cinematography can be found at used bookstores for a fraction of their original cost..

title: Movie Making Manual/Cinematography


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Category:Book:Movie Making Manual/Sales and exhibition

Selling and exhibiting movies


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Movie Making Manual/Special Effects

Often what people believe to be SPECIAL EFFECTS (SPFX) are computer generated VISUAL EFFECTS (VFX). This confusion results from the final products of both departments looking similar. Visual effects may involve computer animations, green or blue screen compositing or other post effect work. VFX may highlight or multiply the SPFX shots to create a much larger explosion for example.

 * 1) Movie Making Manual/Visual Effects

Introduction to Special Effects for film

SPFX Technician Dean Campbell states that "special effects are basically any on-screen physical effect that is not done by the actor". This can mean atmospheric effects such as smoke, wind, rain, haze or simulated conditions such as boiling pots, exploding cars or campfires.

This also includes any movement of objects in front of camera such as falling dishes, floating furniture or breaking glass.

Often the PROPS DEPARTMENT will claim to do special effects, however under IATSE regulations props are items used or touched by the actor.

Concerning situations that call for department overlap, the above guidelines still apply; for example if a scene calls for an exterior shot of a snow covered street with gently falling flakes it would be the responsibility of the set dresser and greens department to dress in snow, but the responsibility of the special effects department to create the falling snow effect.

title: Movie Making Manual/Special Effects


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Visual Basic/Work in Progress

This is a work area. Short pieces of text, reminders and links that don't warrant a page to themselves but need a temporary home lest they be forgotten start life here.

Miscellaneous

 * http://www.elitevb.com/content/01,0057,01/01.aspx
 * Split Effective Programming into separate pages as it is now over 36K
 * Explain file format of VBP, frm, cls, bas, etc.
 * Registry entries that refer to VB components, how they are structured, what you can do with them.
 * Side by side installation.
 * Windows standard dialogs http://builder.com.com/5100-6371_14-5800282.html, http://www.vbaccelerator.com/home/VB/Code/Libraries/Common_Dialogs/Folder_Browser/article.asp, http://msdn.microsoft.com/library/default.asp?url=/library/en-us/dnima01/html/ima0201.asp, http://www.devx.com/vb2themax/Tip/19255,

Graphics

 * http://www.a1vbcode.com/app-2571.asp

Unicode Support
Unicode Issues with VB , Add Unicode Support, Unicode Custom Controls,

Networks
inet control winsock control comm control

Winsock Control
Visual Basic allows data to be sent via a Point-To-Point (PTP) Connection via Winsock. Once the control is inserted, only a few commands are required to send data between two networked computers. A LAN cable must be connected between the computers.

To allow Winsock to connect to any available computers, the listen command is needed, as shown below

Once this has been done, the other computer's Local IP is required. Your IP can be viewed with the command

Connecting merely requires one line of code, as shown below Port can be any number up to 50,000. The example as shown above is 1234.

To accept a connection you need to create a new sub

Sending data is also pretty simple.

To receive any sent data another new sub is needed

Using the above code it is relatively simple to create a working data exchange between two computers. More information on this topic can be found in the Snippets Section.

Shell Context Menu
Add examples for VBZip etc.

Console Programs
See:
 * http://www.nirsoft.net/vb/console_application_visual_basic.html
 * http://www.flexbeta.net/forums/lofiversion/index.php/t3090.html

A very simple way of creating console programs: http://www.kellyethridge.com/vbcorlib/doc/Console.html

CGI
See:
 * http://www.vbcity.com/forums/faq.asp?fid=10&cat=Web+Development&

Windows management Interface
http://archive.is/20130628221511/http://techrepublic.com.com/5208-11196-0.html?forumID=44&threadID=121079

Sound

 * http://www.unh.edu/music/Visual_Basic_Programs/Visual_Basic.htm
 * http://www.devx.com/vb2themax/Tip/18323
 * http://www.ostrosoft.com/vb/projects/mci_play/index.asp
 * http://vbcity.com/forums/topic.asp?tid=103678
 * http://www.xtremevbtalk.com/archive/index.php/t-237143.html
 * http://www.vbforums.com/showthread.php?t=359612
 * http://www.vbaccelerator.com/home/VB/Code/vbMedia/Audio/Lossless_WAV_Compression/article.asp

title: Visual Basic/Work in Progress


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Category:Book:Movie Making Manual/Short films

All things to do with making short films


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Category:Book:Movie Making Manual/Music videos

All things to do with making music videos


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Category:Book:Movie Making Manual/Low budget filmmaking

''All things to do with making films for very little money... please note that the vast majority of this book contains a lot of useful info about low-budget filmmaking... the following pages are those which talk specifically about low-budget filmmaking''


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File:Gmail-invert.png

License
/Images

title: File:Gmail-invert.png


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User:Utcursch

See w:en:User:Utcursch

title: User:Utcursch


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Movie Making Manual/How to navigate this book

There are several ways to find your way around this book:

 * If you want a fast overview for the entire filmmaking process, look at The Movie Making Manual's Basic Basics.

 * Now there are general overviews which briefly explain all the steps for an area.

 * For Production, the overview is at Movie Making Manual's Production Overview.

 * For Post-Production, the overview is at Movie Making Manual's Post Production Overview.   (Hopefully, overviews will be written for the other sections soon.)

 * To get started learning filmmaking, look at Movie Making Manual's section on Education.

 * You could use the table of contents on the front page. The links on the right in small type are just a selection of the total pages available.  The links on the far left (e.g. Funding and budgeting) will take you to a table of contents for that category.  These lists-of-pages-within-a-category are automatically produced so they are a little ugly but they do have the advantage that they contain every single page within that category (as compared to the manually-produced front page which only contains a small selection of the complete set of pages)
 * Alternatively, you could use the |hierarchically organised contents page. By following the links to the sub-categories, you can access every single page in the book.

Please be aware that Wikipedia has a lot of film related information. Useful Wikipedia categories are:
 * Video and movie technology
 * Film techniques
 * Film production

Also be aware that Wikiversity has a section on learning filmmaking which is just getting started. The first course in filmmaking is at:
 * Wikiversity Course #01 – ''Learning the Basics of Filmmaking


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Talk:Blender 3D: Noob to Pro/Softbody functions

Hi, I am Muffy a very dedicated newbie user of this great software,(Blender 3d).I actually will like to commend and thank you for writing this tutorials on Softbody functions.Just though, I get to see that this tutorial is on its way to being finished.You can help us Newbies to be just like you pros out there by finishing this wonderful tutorial. Thank you Muffy. muffycompo@gmail.com --213.181.87.26 12:15, 21 September 2005 (UTC)

The tutorial has changed since the first comment.


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Category:Book:Movie Making Manual/Case studies

Film making case studies


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Category:Book:Movie Making Manual/Local resources

Local resources for filmmakers

/Tools and equipment


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Category:Book:Movie Making Manual/Effects

''Special effects, visual effects, sound effects... you name it... all the best tips for making effects for filmmaking''

/Production /Post-production /Editing


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Statistics/Displaying Data/Scatter Graphs

Scatter Plots
Scatter Plot is used to show the relationship between 2 numeric variables. It is not useful when comparing discrete variables versus numeric variables. A scatter plot matrix is a collection of pairwise scatter plots of numeric variables.

External Links
 * Interactive Java-based Bar-Chart Applet


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Latin/Lesson 9-Revision

Passive/Subjunctive Tenses

Passive is used to describe something like an indirect action affects you - an example is "I was being held". In Latin, it is conjugated through six parts - the present set (present, imperfect, future), and the perfect set (perfect, pluperfect, future perfect). Below is a chart you can use for endings and such.

The present tense through future tenses use the present stem. I'm using the word amo, amare, amavi, amatus - to love, so the present stem is "am".

Hope this is all correct and helps!

title: Latin/Lesson 9-Revision


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Talk:C Programming/Preliminaries

Functions can be within functions
All functions are global (i.e. a function cannot contain another function. This is why C is not a traditional block-structured language).

That's not true. Try compiling: int main (void) { 	void hw (void) { printf ("Hello World!\n"); } 	hw; { 		return 0; } }
 * 1) include

A thing 23:43, 26 December 2005 (UTC)

 * It is true for Standard C (i.e. ANSI/ISO C). Try compiling your code with gcc using  and you will get:

In function `main': warning: ISO C forbids nested functions

Don't teach the wrong usage of printf
This page uses the famous  which is the source of all trouble with format string bugs. Please do not teach people that printf is a "function that prints its argument". Use something like. If you don't want to explain printf at this point, use. -- 131.130.38.57 15:03, 21 September 2005 (UTC)

 * I'm not sure of your point here. Why is the example the "source of all trouble with format string bugs"? The specification says that  writes output to , under control of the string pointed to by its first argument that specifies how subsequent arguments are converted for output. In the "Hello, world\n" case, the only formatting required is the translation of   into a newline, all other characters are copied to  . -- Mickraus 12:51, 29 October 2007 (UTC)

Scope
The concept of scope can be a little confusing at first, perhaps this should be moved to a later section? I'm going to add in some examples to help people understand the idea now, but someone might want to move the section somewhere else. CharmlessCoin (discuss • contribs) 01:27, 19 February 2013 (UTC)

wiki breaks appear in pdf e-book
In the third example of white space there are three occurrences of , all appear in the pdf e-book and can easily confuse readers. --Mfillpot (discuss • contribs) 04:30, 5 May 2013 (UTC)

title: Talk:C Programming/Preliminaries


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Rhetoric and Composition/Description

What is Description?
The goal of description is to convey a person, place or thing in such a way that a picture is formed in the reader’s mind. Capturing an event through descriptive language involves paying close attention to details by using all of your five senses (touch, sight, smell, taste, and sound). These senses are important to descriptive writing because they help the reader understand what the author is trying to say. As a descriptive writer, the more vividly you are able to describe what you have sensed, the more engaged the audience will be with your text.

Grammatically speaking, descriptive language is the use of nouns and adjectives in order to most specifically describe the experiences of a particular sense. By making the language you use more powerful, you may use description in order to allow your reader to truly sense what you are writing about. To this end, one of description's main goals is making the abstract seem more concrete.

Specific descriptive language has uses outside of describing sensory experience. For example, the abstract idea of freedom may help many evoke different definitions and feelings for different readers, but when the idea of freedom is described to slaves through the Emancipation Proclamation, it becomes much more concrete and more uniform among readers. Description is used by writers in order to encourage their audiences to have a more specific reading of a text.

Why Write a Descriptive Essay?
A descriptive essay allows writers to engage their reader through the use of specific language and imagery. If the writer is trying to convey something that is scary or exciting, a concrete description is usually more effective than a vague or abstract one. These concrete descriptions create specific, vivid images in readers' imaginations. Think of a descriptive essay as being similar to writing a movie. At no time can a movie show beautiful. It must show what 'beautiful' is through the use of images.

A writer usually begins an essay with an objective. If a writer wanted to persuade the reader that ice cream is a tasty treat, what are descriptions that could cause the reader to want to eat ice cream? Would sweet sound appetizing? Would comparisons to other foods, such as a cherry, be used to convince the reader that the ice cream is worth trying? When you have begun to think in this fashion, then you are ready to start your essay.

Abstract Descriptions Versus Concrete Descriptions
Try to avoid vague, abstract descriptions. For example, a writer may write beautiful to describe a tree. However, beautiful is too vague. Instead, a concrete adjective or modifier would be stronger and gives greater impact. The reader needs details for a picture to form in their heads, abstract concepts like beautiful lack a real-world analog. Here's a reworked description of the tree: "the sun's rays glistened off the rain-slick leaves, even as the afternoon sky dipped towards evening." The beautiful qualities of the tree are "shown" through concrete details instead of merely told through abstraction. This gives the reader the illusion of immediate experience, as opposed to the dictionary variety

Abstract Descriptions

Abstractions are often ideas that cannot be seen, heard, touched, or smelled.

Examples of abstract descriptions:
 * the sad man
 * the happy woman
 * the beautiful dog
 * a lovely house
 * an amazing sight

Concrete Descriptions
A concrete description can be seen, heard, touched, or smelled.

Examples of concrete details:
 * the crunching sound
 * the melted candy cane
 * the burnt toast
 * the flashing light
 * the smooth butter

There are appropriate times to use abstractions. For instance, if the reader is already aware of the circumstances (i.e., a writer is referring to a passage from a novel, in which the audience knows of a certain event) then the writer can generalize the emotion. However, especially in creative works such as fiction and poetry, it is best to turn the abstract into the concrete.

Similes and Metaphors
Another way to add descriptive language is to use similes and metaphors, creating a picture in readers' heads by comparing two objects to one another. Similes and metaphors help to make connections between two ideas, concepts, or objects that clarify or give new meaning.

A simile is a comparison using the words like or as. It usually compares two dissimilar objects. For example, the bread was as dry as a bone. The comparison links a piece of bread that has become hard and white to a bone that is also hard and white. Bones often dry out, and so does bread. These similar characteristics are what make the simile effective.

A metaphor states that one thing is something else. It is a comparison, but it does NOT use like or as to make the comparison. For example, the athlete's stomach was a bottomless pit. The comparison implies that the athlete's stomach will not fill up easily or quickly. The athlete can eat lots of food.

To make a simile or metaphor, identify an object like a sunset, tree, or river, or a concept like love, peace, or anger. Then think of another object that has some similar traits. Decide whether the words "like" or "as" will help make the connection more understandable. A good simile or metaphor will make the reader look at both objects in a new perspective.

By adding similes and metaphors to a description paper, the writer can appeal to the readers' imagination and make the writing more interesting to read. Similes and metaphors add spark to descriptions.

How to Write Description
In order to write descriptively, you must take a topic and decide how to make that topic vivid for your audience. If the topic of the piece is merely to describe a particular place, you must decide what elements of that place, when described in text, will become most vivid for your audience. The first step in any descriptive writing is to choose a topic and begin to work out a thesis statement. As was suggested in the previous sections, you may choose to describe a particular place.

Thesis
Sample Thesis Statement: Although Minnesota may seem drab and cold to outsiders, natives of the state find it a wonderful place to live.

We can see in this thesis statement that the writer will attempt to show the aspects of Minnesota that make it a great place to live. After detailing a thesis statement, you should come up with a list of sensory words that provide vivid detail and support the thesis. You may start by thinking about the five senses. How does your particular place look, smell, feel, taste, and sound like? How can you best describe these senses so the reader feels what you feel? By organizing the elements of descriptive language into easier to handle sections, like the five senses, you are able to more specifically engage in what elements of the description are most useful.

Examples of Sound Imagery

 * Quiet solitude
 * Grasshoppers chirping at night
 * Trees rustling in the wind
 * The howl of a wolf
 * Birds singing
 * Leaves crunching
 * Fire crackling

Examples of Smell Imagery

 * Chlorine at a pool
 * Freshly cut grass
 * Flowers in spring
 * Morning dew,
 * Freshly baked banana bread,
 * Acrid-campfire smoke.

Examples of Touch Imagery

 * Cold, wet snowflakes falling on your nose
 * Coarse sandpaper
 * Rough, dry tree bark
 * Wet sand beneath your feet
 * Hot pan on the stove

Example of Visual Imagery

 * The brilliant rays of sunset
 * The churning blue waterfall
 * Powerful deer racing across the field
 * Clean snow falling softly in the sun
 * Corn stalks rustling in the breeze

Examples of Taste Imagery

 * Lutefisk or lefsa during the holidays
 * Steaming, bitter, black coffee
 * Fresh, succulent strawberries
 * Crunchy chocolate chip cookies
 * Cotton candy, sweetly melting in your mouth

After deciding what senses you wish to invoke, make a list of all the words you wish to include. You should also begin to plan a way to present the information that will drive home the thesis statement in the most profound way.

Order of Presentation
The writer in this case could choose to present the positive aspects of Minnesota in terms of the seasons and weather changes. The details could be presented linearly, starting with spring and going through the winter, highlighting the aspects of each season that most closely support the thesis, that Minnesota is a great place to live.

Prior to starting the essay, give some thought as to whom the audience of your piece will be. Who is going to read the essay, and what effect would you like it to have upon them? An awareness of audience is important to choosing the level of formality you take with your writing. Knowing your audience will also help you distinguish which details to include throughout your essay. Assume that your audience knows very little or nothing about your subject matter, and include details that may seem very obvious to you.

Audience
Example Audience: In this particular essay, the writer wants to show an outsider to the state why Minnesota natives are so happy to live there. The essay should help break down stereotypes for those outsiders about Minnesota's cold weather and apparent drabness. Because the essay is designed for those who do not live in Minnesota, and maybe have never been there, it is important to include details about the state that may seem obvious to a native.

With the preparatory work complete, it is time now to begin writing your essay. Use your thesis statement to begin to construct an introductory paragraph. The introduction should set up the basis for your essay, and the thesis statement should state its purpose.

Introduction
Example Introduction: ''Many who have not traveled to the state of Minnesota only hear of its cold weather and boring reputation. They are sure missing out on the great opportunities that Minnesota affords. Each season offers different senses that native Minnesotans and tourists know and love. Although Minnesota may seem drab and cold to outsiders, natives of the state find it a wonderful place to live.''

With the introduction complete, it is time to start constructing the body paragraphs of your essay. Each body paragraph should have a central theme in itself, and that theme should be represented in a topic sentence. Consequently, each sentence of the paragraph should relate to and support the topic sentence. The body paragraphs are where the majority of the details should be given. When writing the first draft of your descriptive essay, include as many details as is reasonably possible. You can always eliminate the ones that do not serve the essay as well when you are revising your draft. In the case of the Minnesota nature essay, we have decided to set up the body paragraphs in terms of season, starting with spring.

Body
Example Body Paragraph:

''Spring in Minnesota brings new life to the state after the long winter season. The rain washes the landscape clean, leaving its fresh aroma for all to enjoy. The flowers soak up the golden sun's rays and begin to show their vibrant colors. The first birds can be seen and heard throughout the woods and fields, telling their stories in beautiful songs. The lakes begin to show their glossy finish as the ice melts away slowly under the heat of the season.''

With the body paragraphs complete, it is time to bring the essay to a close with the conclusion. The conclusion should return back to the thesis and provide coherence to the essay. The conclusion should restate the main points of the essay in order to give the reader a final sense of what the essay was meant to portray. There should not be any new material introduced in the conclusion, and the way it is worded should give the reader a sense of finality.

Conclusion
Example Conclusion:

''By examining what each of the seasons in Minnesota has to offer, it becomes clear that the state is a truly wonderful place to live or visit. Minnesota is much more than the cold and drab state that many people give it credit for. One visit to the state and anyone can see the great things about Minnesota.''

With the essay complete, it is time to reread and revise your essay (also see revision sections of this textbook). Read your first draft and pinpoint all of the descriptor words you used. If possible, go back and add more after the ones you already used in the essay. If you can, read your essay out loud to a friend and have them tell you what images are vivid for them and what images are a little more cloudy. Rework any images that are cloudy with more descriptions. Also check to see if your descriptions have made use of all of the five senses: sound, smell, texture, sight, and taste. Repeat these steps as many times as necessary until you are happy with your product.

title: Rhetoric and Composition/Description


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Talk:X86 Disassembly/Branches

We can't give this chapter a rating of 50% at least until we give some good discussion of switch statements. Unfortunately, that's the most complicated topic in the chapter. I'm not too concerned with ternary operators, because they dont arise too too often in practice.--Whiteknight 19:01, 21 September 2005 (UTC)

title: Talk:X86 Disassembly/Branches


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Old English/Adjectives

What are adjectives? They are words used to describe either nouns or pronouns. Like nouns and pronouns, they are declined according to number, gender, and case; and their number, gender, and case must always agree with the noun or pronoun that they are modifying. In addition, adjectives are also declined in either of two ways: strong or weak. This is governed by certain factors, for which see the section on the question "Strong or Weak?" below.

Strong Declension
Adjectives in Old English agree with the noun they describe in case, gender, and number. There are several variations on the general declension, but overall, adjectives decline thus:

Notice that the genitive, dative, and instrumental feminine are all -re, the masculine and neuter genetive are both "-es", and masculine and neuter dative are both "-um", and masculine and neuter instrumental are both "-e". Also, the neuter adjective adds no ending in the nominative/accusative case, just like neuter nouns themselves. Basically, you can see that the adjective ending will roughly correspond to the article ending (þæs and -es, þǣm and -um, þǣre and ''-re', etc.).

Here's an example:

In the plural, we find:

Notice that genitive and dative are the same in all genders, respectively, in the plural. Note also the instrumental is exactly the same as the dative. Note that -a is found in the nominative and accusative plural for the feminine declension in a few early texts, but -e was present for most of the idiomatic Old English corpus. -an is often found instead of -um in late Old English. In late Old English, the declension had become uniform across genders, including neuter, taking -e in nominative and accusative.

Here's an example of the plural:

Adjectives with æ in the stem
If an adjective has a monosyllabic stem and has æ for its vowel, and the æ is followed by a single consonant, as in the words "glæd" ("glad") and "blæc" ("black), then an extra rule comes into play: the æ changes to an a whenever the adjective acquires a suffix which begins with a vowel.

For example, here is the strong declension of "glæd".

There is no need to supply the weak declension, since in the weak declension every suffix begins with a vowel, hence all forms take the "glad-" version.

Adjectives with -ƿ
We shall give ġearu ("ready") as an example of this type of adjective. Here is the strong declension:

This again can be explained in terms of a few simple rules:

 * Where the ordinary strong declension has no suffix, -ƿ adjectives end in -u. In these words, this is an inherent part of the stem, and not a declensional suffix.
 * Where the ordinary strong declension has a suffix beginning with a consonant, -ƿ adjectives have an o followed by the appropriate suffix.
 * Where the ordinary strong declension has a suffix beginning with a vowel, -ƿ adjectives have a ƿ followed by the appropriate suffix.
 * -ƿ words do not take an additional -u in feminine singular nominative, and neuter plural nominative and accusative

There is no need to give the weak declension, since in the weak declension every number and case has a suffix beginning with a vowel; -ƿ adjectives will therefore uniformly precede this suffix with a ƿ.

Adjectives with -e
Adjectives such as sƿēte ("sweet") follow a very simple rule: the e at the end is displaced by any suffix, but stays where it is if there is no suffix. Hence the strong declension looks like this:

Again, there is no real need to give the weak declension. You can easily predict it based on the stated rule.

Weak Declension
Here's the singular weak declension:

Notice that the weak declension is much more uniform and simple than the strong declension. Notice also that it is exactly the same as the weak noun declension.

Here's an example of the singular:

Here's the plural weak declension:

Notice again that: It is simpler than the strong declension; it is exactly the same as the weak noun declension; and it is exactly the same for all genders.

Here's an example of a weak plural adjective:

Strong or Weak?
You can tell when to use the strong or weak declension of adjectives.

An adjective would be declined weak if:
 * 1) That particular adjective was always declined weak (like most ordinal numbers ("forma" ("first"), "þridda" ("third"), and so forth), and all comparative adjectives: "betera" - "better", "lengra" - "longer", "māra" - "larger, more"
 * 2) It was preceded by the definitive article ("sē/sēo/þæt" and all its declined forms), either of the demonstratives ("sē/sēo/þæt" and all its declined forms and "þes/þis/þēos" and all its declined forms), or any possessive personal pronoun (mīn, þīn, sīn) - unless the adjective was one of the few adjectives that were always declined strong, like ōðer - "second"
 * 3) It was used in a nickname and came after the personal name it modified (for more info see: Old English/Titles and Nicknames
 * 4) It was used in direct address, for example, "lēofan menn" - "(O,) dear people"

In all other cases, the adjective was declined strong, including if it came after a linking verb:
 * Iċ eom miċel - "I am great"
 * Þā ƿihta ƿǣron fǣtte - "The creatures were fat").

Comparatives and Superlatives
The comparative and superlative forms are like Modern English "more" and "most", as is "more intelligent" and "most intelligent" or "better" and "best".

In Old English, all comparative adjectives were declined according to the weak declension - no matter what. The comparative degree was usually formed with the suffix "-ra" (the "a" being the weak masculine singular ending - so it should be replaced by other grammatical endings when it is declined). The superlative degree ("most") was usually formed by adding the suffix "-ost/-est" to an adjective; but like the normal positive degree, it was sometimes declined weak and sometimes declined strong (see the Strong or Weak? section above for more information). For example:

 * ƿīs ("wise") - ƿīsra ("wiser") - ƿīsost ("wisest")
 * cræftiġ ("crafty, skilled") - cræftiġra ("craftier, more skilled") - cræftigost ("craftiest, most skilled")
 * hefiġ ("heavy, important") - hefiġra (""heavier, more important") - hefigost ("heaviest, most important")

The superlative adjective mostly take the weak declension however for the nominative, accusative and the neuter case can take the strong.

Some common adjectives undergo i-mutation in the comparative and superlative, and have -est instead of -ost as the superlative suffix. Examples are:

 * eald ("old") - ieldra ("older") - ieldest ("oldest") (Note the same mutation in archaic Modern English "elder"/"eldest".)
 * ġeong ("young") - ġingra ("younger") - ġingrest ("youngest")
 * hēah ("high") - hīerra ("higher") - hīehst ("highest")
 * strang ("strong") - strengra ("stronger") - strengest ("strongest")
 * lang ("long") - lengra ("longer") - lengest ("longest")

Some adjectives formed their comparative and superlative degrees irregularly, and need to be memorized:

 * gōd ("good") - betera ("better") - betst ("best")
 * yfel ("bad, evil") - ƿirsa ("worse") - ƿirst ("worst")
 * lytel ("little, small") - læssa ("smaller, less") - læst
 * miċel ("much, great") - māra ("more, greater") - mǣst ("most, greatest")

Adjectives and Cases
Sometimes adjectives in Old English can govern cases, like prepositions. We do a similar thing in Modern English, but we usually use prepositions instead of cases; for example, the adjective "full" can be followed by the preposition "of", plus whatever something is "full of" - "The swimming pool was full of slime".

Adjectives Governing the Dative

 * Ġelīċ - like, similar to
 * Hē þūhte ȝelīċ hunde - "He seemed similar to a dog"
 * Midsprecende - speaking on behalf of
 * þū þe ƿǣre midsprecende þǣm Hǣlende - "you who were speaking on behalf of the Lord"

Adjectives Governing the Genitive

 * Full - full (of)
 * Þæt fæt ƿæs full ƿæteres - "The container was full of water"

title: Old English/Adjectives


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Old English/Verbs/List of verbs with dative or accusative objects

Verbs which may take either dative or accusative objects.

 * 1) metgian
 * 2) w.dat. - to assign due measure
 * 3) þonan metgaþ ǣlcum be his geƿyrhtum - thence assigns to each due measure according to his deserts
 * 4) w.acc.
 * 5) to moderate, regulate
 * 6) se ilca God sē þæt eall metgaþ - the same God who regulates all that
 * 7) to measure in the mind, consider, meditate upon
 * 8) ic on þīnre sōþfæstnesse symble metgode - I continually meditate on your truth


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Rueda de Casino/Arriba

The leaders walk forwards and the follower walks backwards, in normal salsa timing, keeping within the circle. This is done in the initial position (men facing anti-clockwise).

Arriba can also be used (like abajo can) to affect other moves.

For example, enchufa de arriba means that when you change partners, you move one forwards instead of backwards (more specifically, you move to the follower who is next, anti-clockwise).

Another obvious example is adios de arriba.

title: Rueda de Casino/Arriba


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Rueda de Casino/Tarrito

This move is from the initial position (leaders facing anticlockwise).

The leader lifts his left arm and passes underneath it to the next follower, anticlockwise. After un tarrito, continue with the move you were doing before, e.g., para el medio, arriba or abajo.

It can often help if the caller calls out the previous move again, just so that leaders don't forget.

title: Rueda de Casino/Tarrito


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Guitar/Effects Pedals

Effects pedals are electronic or digital devices that modify the tone, pitch, or sound of an electric guitar. Effects can be housed in effects pedals, guitar amplifiers, guitar amplifier simulation software, and rackmount preamplifiers or processors. Electronic effects and signal processing form an important part of the electric guitar tone used in many genres, such as rock, pop, blues, and metal. All these are inserted into the signal path between an electric instrument and the amplifier. They modify the signal coming from the instrument, adding "effects" that change the way it sounds in order to add interest, create more impact or create aural soundscapes.

Guitar effects are also used with other instruments in rock, pop, blues, and metal, such as electronic keyboards and synthesizers. Electric bass players use bass effects, which are designed to work with the low-frequency tones of the bass.

Distortion-related effects
Distortion is an important part of an electric guitar's sound in many genres, particularly for rock, hard rock, and metal. A distortion pedal takes a normal electric guitar signal and combine harmonic multiplication and clipping through the use of analog circuitry to create any number of sounds ranging from a mild vintage blues growl to a 1960s psychedelic fuzz sound to the sound of an highly overdriven tube amp in a metal band. Distortion is essential to the powerful sound of heavy metal music.

There are several different types of distortion effects, each with distinct sonic characteristics. These include overdrive/distortion (or vacuum tube-style distortion), overdrive/crunch, fuzz, and hi-gain.

Overdrive Distortion
Overdrive distortion is the most well known of all distortions. Although there aren't many electronic differences between a distortion an overdrive, the main audible one is that a distortion does exactly as the name suggests; distorts and clips the signal no matter what volume is going through it, the amount of distortion usually remains relatively the same. This is where an overdrive differs. Most overdrives are built to emulate the sound of a tube amp overdriving and therefore give the player control of the clipping through dynamics. This simply means that the effect gives a clean sound for quieter volumes and a more clipped or distorted sound for louder volumes.

While the general purpose is to emulate classic "warm-tube" sounds, distortion pedals such as the ones in this list can be distinguished from overdrive pedals in that the intent is to provide players with instant access to the sound of a high-gain Marshall amplifier such as the JCM800 pushed past the point of tonal breakup and into the range of tonal distortion known to electric guitarists as "saturated gain." Although most distortion devices use solid-state circuitry, some "tube distortion" pedals are designed with preamplifier vacuum tubes. In some cases, tube distortion pedals use power tubes or a preamp tube used as a power tube driving a built-in "dummy load." Distortion pedals designed specifically for bass guitar are also available. Some distortion pedals include:

 * MXR Distortion+: A distortion which is capable of having a very subtle, soft clipping, right through to a heavily overdriven sound favoured by many modern day heavy and death metal guitarists.
 * Pro Co Rat
 * Boss DS-1 Distortion
 * Marshall Guv'nor
 * Line 6 Dr. Distorto
 * T-Rex Engineering|T-Rex Engineering's Bloody Mary
 * Digitech Hot Head
 * Danelectro FAB Distortion

Overdrive/Crunch

Some distortion effects provide an "overdrive" effect. Either by using a vacuum tube, or by using simulated tube modeling techniques, the top of the wave form is compressed, thus giving a smoother distorted signal than regular distortion effects. When an overdrive effect is used at a high setting, the sound's waveform can become clipped, which imparts a gritty or "dirty" tone, which sounds like a tube amplifier "driven" to its limit. Used in conjunction with an amplifier, especially a tube amplifier, driven to the point of mild tonal breakup, short of what would be generally considered distortion or overdrive, these pedals can produce extremely thick distortion sounds much like those used by Carlos Santana or Eddie Van Halen. Today there is a huge variety of overdrive pedals, and some of them are:
 * Ibanez Tube Screamer (TS-9 and TS-808): an overdrive which was built to work with the harmonics of a push-pull tube amp. This effect was made famous by blues guitarist Stevie Ray Vaughan but was and is used by hundreds of prominent guitarists since it's invention.
 * BOSS SD-1 Super Overdrive
 * BOSS BD-2 Blues Driver
 * BOSS OD-3 Overdrive
 * Line 6 Crunchtone
 * DigiTech Bad Monkey
 * N-audio Firesound V3
 * Danelectro FAB Overdrive

Fuzz
Fuzz was originally intended to recreate the classic 1960's tone of an overdriven tube amp combined with torn speaker cones. Oldschool guitar players (like Link Wray) (citation needed) would use a screwdriver to poke several holes through the paperboard part of the guitar amp speaker to achieve a similar sound. Since the original designs, more extreme fuzz pedals have been designed and produced, incorporating octave-up effects, oscillation, gating, and greater amounts of distortion.

Some classic fuzzbox pedals include:
 * Sola sound MK 2 tonebender
 * Univox supa-fuzz
 * Mosrite fuzzrite
 * Dallas Arbiter Fuzz Face: This was a favorite of Psychedelic rocker Jimi Hendrix who shot this pedal to stardom as he did himself.
 * Electro Harmonix Big Muff: Probably the most popular fuzz effects ever designed, the Big Muff is also often used as a sustain pedal and sounds excellent in combination with a wah wah.

Hi-Gain
Hi-Gain (descended from the more generic electric guitar amplification term high-gain) is the sound most used in heavy metal. High gain in normal electric guitar playing simply references a thick sound produced by heavily overdriven amplifier tubes, a distortion pedal, or some combination of both--the essential component is the typically loud, thick, harmonically rich, and sustaining quality of the tone. However, the Hi-Gain sound of modern pedals is somewhat distinct from, although descended from, this sound. The distortion often produces sounds not possible any other way. Many extreme distortions are either hi-gain or the descendents of such. The Mesa Boogie Triple Rectifier Series of amps are an example.

Some Hi-Gain Pedals Include:
 * BOSS MT2 Metal Zone
 * DigiTech Death Metal
 * Danelectro FAB Metal
 * Electro Harmonix Metal Muff with Top Boost
 * MXR Dime Distortion: Used by Dimebag Darrell.
 * Suhr Riot

Power-tube pedal
A Power-Tube pedal contains a power tube and optional dummy load, or a preamp tube used as a power tube. This allows the device to produce power-tube distortion independently of volume; therefore, power-tube distortion can be used as an effects module in an effects chain.

Power attenuator
A Power attenuator enables a player to obtain power-tube distortion independently of listening volume. A power attenuator is a dummy load placed between the guitar amplifier's power tubes and the guitar speaker, or a power-supply based circuit to reduce the plate voltage on the power tubes. Examples of power attenuators are the Marshall PowerBrake and THD HotPlate.

Equalizer

An equalizer adjusts the frequency response in a number of different frequency bands. A graphic equalizer (or "graphic EQ") provides slider controls for a number of frequency region. Each of these bands has a fixed width (Q) and a fixed center-frequency, and as such, the slider changes only the level of the frequency band. The tone controls on guitars, guitar amps, and most pedals are similarly fixed-Q and fixed-frequency, but unlike a graphic EQ, rotary controls are used rather than sliders.

Most parametric EQ pedals (such as the Boss PQ-4) provide semi-parametric EQ. That is, in addition to level control, each band provides either a center frequency or Q width control. Parametric EQs have rotating controls rather than sliders.

Placement of EQ in a distortion signal processing chain affects the basic guitar amp tone. Using a guitar's rotary tone control potentiometer is a form of pre-distortion EQ. Placing an EQ pedal before a distortion pedal or before a guitar amp's built-in preamp distortion provides preliminary control of the preamp distortion voicing.

For more complete control of preamp distortion voicing, an additional EQ pedal can be placed after a distortion pedal; or, equivalently, the guitar amp's tone controls, after the built-in preamp distortion, can be used. An EQ pedal in the amp's effects loop, or the amp's tone controls placed after preamp distortion, constitutes post-distortion EQ, which finishes shaping the preamp distortion and sets up the power-tube distortion voicing.

As an example of pre-distortion EQ, Eddie Van Halen places a 6-band MXR EQ pedal before the Marshall amplifier head (pre-distortion EQ). Slash places a Boss GE-7, a 7-band EQ pedal, before his Marshall amp. This technique is similar to placing a Wah pedal before the amp's preamp distortion and leaving the Wah pedal positioned part-way down, sometimes mentioned as "fixed wah," (pre-distortion EQ), along with adjusting the amp's tone controls (post-distortion EQ).

If a dummy load guitar-amp configuration is used, an additional EQ position becomes available, between the dummy load and the final amplifier that drives the guitar speaker. Van Halen used an additional EQ in this position. This configuration is commonly used with rackmount systems.

Finally, an EQ pedal such as a 10-band graphic EQ pedal can be placed in the Insert jack of a mixer to replace the mixer channel's EQ controls, providing graphical control over the miked guitar speaker signal.

Equalization-related effects pedals include Wah, Auto-Wah, and Phase Shifter. Most EQ pedals also have an overall Level control distinct from the frequency-specific controls, thus enabling an EQ pedal to act as a configurable level-boost pedal. Some EQ pedals include:
 * MXR M-108 10-band Equalizer
 * BOSS GE-7 Equalizer

Wah-wah

A wah-wah pedal is a moving bandpass filter whose frequency center is controlled by the musician via a rocker pedal. This filter boosts the frequencies in the instrument signal around the moving frequency center, allowing the musician to emphasize different areas of the frequency spectrum while playing. Rocked to the bass end of the spectrum, a wah-wah pedal makes a guitar signal sound hollow, without upper harmonics. On the other end of the sweep, the filter emphasizes higher-end harmonics and omits some of the low-end "growl" of the natural instrument sound. Rocking the pedal while holding a note creates a sound that goes from growl to shriek, and sounds like a crying baby, which is how the effect got its name and also the reason behind the Crybaby line of wah-wah pedals. The wah-wah pedal, used with guitar, is most associated with 1960s psychedelic rock and 1970s funk. During this period wah-wah pedals often incorporated a fuzzbox to process the sound before the wah-wah circuit, the combination producing a dramatic effect known as fuzz-wah.

Some wah-wah pedals include:
 * Dunlop Cry Baby
 * VOX V847 Wah Wah
 * Danelectro Trip-L Wah

Auto-Wah / Envelope Filter
An Auto-Wah is a Wah-wah pedal without a rocker pedal, controlled instead by the dynamic envelope of the signal. An auto-wah, also called more technically an envelope filter, uses the level of the guitar signal to control the wah filter position, so that as a note is played, it automatically starts with the sound of a wah-wah pedal pulled back, and then quickly changes to the sound of a wah-wah pedal pushed forward, or the reverse movement depending on the settings. Controls include wah-wah pedal direction and input level sensitivity. This is an EQ-related effect and can be placed before preamp distortion or before power-tube distortion with natural sounding results. Auto-Wah pedals include:
 * Electro-Harmonix Q-Tron
 * MXR M-120 Auto Q
 * Keeley Electronics Nova Wah
 * Danelectro French Fries Auto-Wah
 * Mu-Tron III

Talk Box
Early forms of the talk box, such as the Heil Talk Box, first appeared in Country Music circles in Nashville in the 1940',s 1950's, and 1960's, by artist like swing band pedal steel player Alvino Rey, Link Wray ("Rumble"), Bill West, a Country Music steel guitar player and husband of Dottie West, and Pete Drake, a Nashville mainstay on the pedal steel guitar and friend of Bill West. Drake used it on his 1964 album Forever, in what came to be called his "talking steel guitar." The device used the guitar amplifier's output to drive a speaker horn that pushed air into a tube held in the player's mouth, which filters and thereby shapes the sound leading to a unique effect. The singer and guitarist Peter Frampton made this effect famous with hit songs such as "Do You Feel Like We Do" and "Show Me the Way," as did Joe Walsh on "Rocky Mountain Way." On Van Halen's cover of "You Really Got Me" Eddie Van Halen uses a talk box after the guitar solo to make a sound similar to a person having sex. Newer devices, such as Danelectro's Free Speech pedal, use a microphone and vocoder-like circuit to modulate the frequency response of the guitar signal. Some Talk Boxes include: The Dunlop Heil Talk Box, Rocktron Banshee, and Peter Frampton's own company,Framptone.

Volume pedal
A Volume pedal is a volume potentiometer that is tilted forward or back by foot. A volume pedal enables a musician to adjust the volume of their instrument while they are performing. Volume pedals can also be used to make the guitar's notes or chords fade in and out. This allows the percussive plucking of the strings to be softened or eliminated entirely, imparting a human-vocal sound. Volume pedals are also widely used with pedal steel guitars in country music. It has also been used to great effect in rock music; the Pat McGee Band's live version of "Can't Miss What You Never Had" on General Admission illustrates what the pedal is capable of. Some volume pedals are:
 * Ernie Ball Stereo Volume Pedal
 * Boss FV-50H Foot Volume
 * VOX V850 Volume Pedal

Auto-Volume/Envelope Volume
Just as an Auto-Wah is a version of a Wah pedal controlled by the signal's dynamic envelope, there is an envelope-controlled version of a volume pedal. This is generally used to mimic automatically the sound of picking a note while the guitar's volume knob is turned down, then smoothly turning the knob up, for a violin-like muted attack. An example is:
 * Boss SG-1 Slow Gear

Tremolo
Tremolo is a regular and repetitive variation in gain for the duration of a single note, which works like an auto-volume knob; this results in a swelling or fluttering sound. This effect is very popular in psychedelic and trip-hop music. The speed and depth of the flutter are usually user-controlled.This is a volume-related effects pedal. This effect is based on one of the earliest effects that were built into guitar amplifiers. Examples include:
 * Demeter TRM-1 Tremulator
 * Boss TR-2 Tremolo
 * Electro-Harmonix Worm
 * Line 6 Tap Tremolo
 * Danelectro Cool-Cat Tremolo

Compressor
A compressor acts as an automatic volume control, progressively decreasing the output level as the incoming signal gets louder, and vice versa. It preserves the note's attack rather than silencing it as with an Envelope Volume pedal. This adjustment of the volume for the attack and tail of a note evens out the overall volume of an instrument. Compressors can also change the behaviour of other effects, especially distortion. when applied toward the guitar, it can provide a uniformed sustained note; when applied to instruments with a normally short attack, such as drums or harpsichord, compression can drastically change the resulting sound. Another kind of compressor is the optical compressor which uses a light source (LED or lamp) to compress the signal. Some compressor pedals are:
 * Boss CS-3 Compression Sustainer
 * MXR M-102 DynaComp
 * Diamond Compressor (optical compressor)
 * Line 6 Constrictor
 * T-Rex Engineering's CompNova
 * Electro-Harmonix Black Finger (optical compressor)
 * Aphex Punch Factory Optical Compressor
 * TC Electronic Hypergravity Compressor (parallel compressor)

Delay/Echo
A Delay or Echo pedal creates a copy of an incoming sound and slightly time-delays it, creating either a "slap" (single repetition) or an echo (multiple repetitions) effect. Delay pedals may use either analog or digital technology. Analog delays often are less flexible and not as "perfect" sounding as digital delays, but some guitarists argue that analog effects produce "warmer" tones. Early delay devices actually used magnetic tape to produce the time delay effect. U2's guitarist, The Edge, is known for his extensive use of delay effects. Some common Delay pedals are:
 * Boss DD-6 Digital Delay
 * Boss DD-20 Giga Delay
 * Line 6 DL-4 Delay Modeler
 * Line 6 Echo Park
 * T-Rex Engineering's Replica
 * TC Electronic Flashback Delay
 * Danelectro FAB Echo

Another technology that is used in Delay units is a feedback circuit, consisting of a tracking oscillator circuit to hold a note of the last interval, and after amplifying the signal, send it back to the input side of the delay. While it was first associated with Boss DF-2 Super Feedbacker & Distortion, currently, the signal feedback circuit is employed by Delay pedals, and if used under "hold" mode (As in Boss DD-3) it will provide a sustain effect instead of a simply delay effect.

Looping
Extremely long delay times form a looping pedal, which allows performers to record a phrase or passage and play along with it. This allows a solo performer to record an accompaniment or ostinato passage and then, with the looping pedal playing back this passage, perform solo improvisations over the accompaniment. The guitarist creates the loop either on the spot or it is held in storage for later use (as in playback) when needed. Some examples of loops effects are:
 * Boss RC-1 & RC-3 Loop Stations
 * Boss RC-300 Loop Station
 * DigiTech JamMan Looper
 * Boomerang Looper
 * TC Electronic Ditto

Reverb
Reverb is the persistence of sound in a particular space after the original sound is removed. When sound is produced in a space, a large number of echoes build up and then slowly decay as the sound is absorbed by the walls and air, creating reverberation, or reverb. A plate reverb system uses an electromechanical transducer (actuator), similar to the driver in a loudspeaker, to create vibration in a plate of sheet metal. A pickup captures the vibrations as they bounce across the plate, and the result is output as an audio signal. A spring reverb system uses a transducer at one end of a spring and a pickup at the other, similar to those used in plate reverbs, to create and capture vibrations within a metal spring. Guitar amplifiers frequently incorporate spring reverbs due to their compact construction. Spring reverberators were once widely used in semi-professional recording due to their modest cost and small size. Due to quality problems and improved digital reverb units, spring reverberators are declining rapidly in use. Digital reverb units use various signal processing algorithms in order to create the reverb effect. Since reverberation is essentially caused by a very large number of echoes, simple DSPs use multiple feedback delay circuits to create a large, decaying series of echoes that die out over time.

Examples of reverb pedals include:
 * DigiTech DigiDelay
 * Electro-Harmonix Holy Grail
 * Boss RV-5 Digital Reverb
 * Line 6 Verbzilla

Rotary Speaker
Before such effects are available electronically, these are accomplished by the use of Rotary speakers, by spinning the speakers and/or place a rotating baffle in front of it. This creates a doppler effect, and depend on the speed of the rotation, translate into phasing, flanging, chorus, vibrato, or even tremolo. All the electronic-based effects can duplicate the sound of a rotating speakers, as all the following effects differ based on speed, volume, and modulation. In fact, it is not uncommon for a pedal to be capable of doing two or more of modulation effects.
 * Leslie Speakers: This is a unit that contains a bass speaker that blare into a rotating baffle, and a horn speaker that rotate like a siren. Originally designed for Hammond organs, they are also favored by guitarist; some say that no electronic effects can duplicate its sounds.
 * Fender Vibratone: This is a simplified version of Leslie Speaker, containing only a 10" speaker that blare into a rotating baffle.

Phase Shifter (Phaser)

A Phase Shifter creates a complex frequency response containing many regularly-spaced "notches" in an incoming signal by combining it with a copy of itself out of phase, and shifting the phase relationship cyclically. The phasing effect creates a "whooshing" sound that is reminiscent of the sound of a flying jet. This effect dominates the sound in the song Star Guitar by Chemical Brothers. The song was not played with any guitars but you can hear the phasing effect. The instrument being phased was actually a synthesizer. Some electronic "rotating speaker simulators" are actually phase shifters. Phase shifters were popular in the 1970s, particularly used with electric piano and funk bass guitar. The number of stages in a phase shifter is the number of moving dips in the frequency response curve. From a sonic perspective, this effect is equalization-oriented. However, it may be derived through moderate time-based processing. Some phaser pedals include:

 * MXR M-101 Phase 90
 * BOSS PH-3 Phase Shifter
 * Electro-Harmonix Small Stone
 * Moog] MF-103 12 Stage Phaser
 * DigiTech Hyper Phase

Vibe (Univibe)
A Vibe or Univibe pedal reproduces the sound of a rotating speaker by synchronizing volume oscillation, frequency-specific volume oscillation, vibrato (pitch wavering), phase shifting, and chorusing in relation to a non-rotating speaker. The modulation speed can be ramped up or down, with separate speeds for the bass and treble frequencies, to simulate the sound of a rotating bass speaker and a rotating horn. This effect is simultaneously a volume-oriented effect, an equalization-oriented effect, and a time-based effect. Furthermore, this effect is typically related to chorus. Some vibe pedals also include an overdrive effect, which allows the performer to add "tube"-style distortion. This effect is the most closely related to a rotary speaker. Some Vibe-only pedals include: Some vibe-chorus pedals include
 * BBE Soul Vibe
 * Voodoo Lab Microvibe
 * Dunlop Univibe
 * Dunlop Rotovibe
 * BBE Mind Bender

Vibrato
A vibrato pedal cyclically changes the pitch of the signal, giving the impression that the guitar is out of tune. The depth of the effect, the speed and the overall level of the effect can be controlled by potentiometers. Although similar in name and able to achieve similar sounds at high speed settings, a vibrato is different from a Vibe pedal.

Examples of vibrato-only pedals: Some chorus and modulation pedals inclue a vibrato section that can be combined with chorus, vibe or rotary.
 * TC Electronic Shaker Vibrato
 * Malekko Omicron vibrato
 * Subdecay Siren pitch vibrato
 * Zvex Verter Instant LoFi Junky
 * Boss VB-2w Vibrato

Flanger
A Flanger simulates the sound effect originally created by momentarily slowing the tape during recording by holding something against the flange, or edge of the tape reel, and then allowing it to speed up again. This effect was used to simulate passing into "warp speed," in sci-fi films, and also in psychedelic rock music of the 1960s. Flanging has a sound similar to a phase-shifter, but different, yet is closely related to the production of chorus.

The first pedal-operated flanger designed for use as a guitar effect was designed by Jim Gamble of Tycobrahe Sound Company in Hermosa Beach, CA, during the mid 1970s. Last made in 1977, the existing "Pedalflangers" appear occasionally on eBay and sell for several hundred dollars. A modern "clone" of the Tycobrahe Pedalflanger is sold by Chicago Iron.Famous users of this Flanger effect include Randy Rhoads and Eddie Van Halen, coincidentally they both used the MXR M-117R flanger and Eddie Van Halen even has his own signature model now.

Examples:
 * Boss BF-3 Stereo Flanger
 * Line 6 Liqua Flange
 * MXR M-117R Flanger
 * Danelectro FAB Flange
 * Electro Harmonix Deluxe Electric Mistress

Chorus
Chorus splits your guitars signal in two, then second signals pitch is then delayed and/or modulated in pitch and mixed back in with the dry signal. The effect sounds like several guitarists playing the same thing at the same time resulting in a wide swelling sound. Some common chorus pedals are:
 * Boss CE-1 Chorus Ensemble (the original chorus effect pedal, and first device released by Boss)
 * Boss CH-1 Super Chorus
 * Electro-Harmonix Small Clone
 * Ibanez CF-7 Chorus/Flanger
 * Line 6 Space Chorus
 * MXR M-134 Stereo Chorus
 * TC Electronic Stereo Chorus /Flanger /Pitch Modulator
 * Danelectro FAB Chorus

Rotary Speaker Simulator
Despite the numerous different analog devices, it is very rare for them to be able to duplicate all aspects of a Leslie speaker. Thus, Rotary Speaker Simulator are always going to be digital, utilizing modelling algorithms to model the relations between the rotating horns and bass baffle. And how the sound bounce around the cabinet. As Leslie also have an amplifier section, most of these typically have overdrives to simulate that aspect. Some of these pedals can even accept keyboard's input.
 * Boss RT-20 Rotary Ensemble Pedal: This is one of the few pedals that is capable of modelling all aspect of a Leslie Speaker.
 * Line 6 Rotomachine: Also a modelling pedal, it is available in a compact pedal size.
 * DLS Roto-Sim: Hybrid of analog with DSP modelling.

Pitch Shifter/harmonizer
Pitchshifters change the pitch of the note played via a user-specified amount. The range of pitch deviation depends on the equipment used, but many pedals are capable of raising and lowering the pitch two octaves above and below the fundamental pitch. The amount of pitch deviation can be set or controlled via a foot pedal (which typically offers smooth, continuous pitch control). Typically, such function will be used with the original signal, resulting in a Harmonizer: the pitch is altered and combined with the original pitch to create two or more note harmonies. These harmonies are typically programmed in discrete integer multiples of the fundamental tone. When used with an expression pedal, it provides a smooth, abeit slightly digital, bend-like effect. Pitch shifters can also be used to electronically "detune" the instrument. Some examples are:
 * Digitech Whammy
 * Boss PS-5 Super Shifter
 * Electro Harmonix Harmonic Octave Generator

Octaver
An Octaver mixes the input signal with a synthesised signal whose musical pitch is an octave lower or higher than the original. Effects that synthesize intervals besides octaves are referred to as harmonizers or pitch shifters. These are frequently used in bands without a bass player. Octave Up pedals include:
 * Ampeg Scrambler
 * Electro Harmonix POG (Polyphonic Octave Generator)

Octave Down pedals include:
 * Boss OC-3 Super Octave
 * Electro-Harmonix Octave Multiplexer

Octave fuzz
An Octave fuzz is a fuzz with an analog octave (up or down). The Octavia is one of the first octave pedals ever produced. Unlike octavers, the level of the octave cannot be controlled separately from the fuzz: increasing the gain makes the octave louder.

Octave up fuzzes include: Octave down fuzzes include:
 * Roger Mayer Octavia
 * Chicago Iron Tycobrahe Octavia
 * Catalinbread Octapussy
 * Electro Harmonix Octavix
 * Fender Blender
 * Foxx Tone Machine
 * MXR M-103 Blue Box

Feedbacker/Sustainer
While audio feedback in general is undesirable due to the high frequency overtone, when controlled properly, it can provide true sustain of the sound (instead of using a distortion/compressor to make quiet notes louder, or a feedback of a signal in a circuit as in a delay unit). Several approaches have been used to produce guitar feedback effects, which sustain the sound from the guitar:
 * The most primitive form, as used by Jimi Hendrix, is to use the feedback created when the guitar is played in front of a loudspeaker.
 * The neck pickup is used as a driver to push the strings based on the bridge pickup, such as the Sustainiac Sustainer and Fernandes Sustainer.
 * A string driver can be mounted on a stand as in the Vibesware Guitar Resonator, which is driven by the selected guitar pickup(s). Feedback start, stop and harmonics can be controlled here by positioning the drivers distance to the strings and the position along the guitar neck while playing.
 * A signal amplifier that powers a headstock transducer, which in turn send feedback vibration down the string, as in Sustainiac's Model C.
 * A handheld string driver can contain a pickup and driver, as in the EBow.
 * A dedicated high-gain guitar amp can be used in the control room, without a microphone, as a footswitch-controlled string feedback driver. The microphone is placed on the speaker cabinet of the main guitar amp in the isolation booth or live room.

Switcher/Mixer (or "A/B" pedal)
A switcher pedal (also called an "A/B" pedal) enables players to run two effects or two effects chains in parallel, or switch between two effects with a single press of the pedal.

Some switcher pedals also incorporate a simple mixer, which allows mixing the dry guitar signal to be mixed with an effected signal. This is useful to make overly processed effects more mild and natural sounding. Examples of the use of the mixer function include:
 * A wah can be mixed with dry guitar to make it more mild and full-bandwidth, with less volume swing.
 * A compressor can be mixed with dry guitar to preserve the natural attack of the dry signal as well as the sustain of the compressor.
 * Two overdrive pedals can be blended together.
 * A strong phaser effect can be mixed with dry guitar to make it more subtle and musical.

Some examples of switcher pedals include:
 * Dunlop A/B pedal
 * Loop Master

Some examples of Switcher/mixer pedals include:
 * BOSS LS-2 Line Selector

Noise Gate
A noise gate allows a signal to pass through only when the signal's intensity is above a set threshold, which opens the gate. If the signal falls below the threshold, the gate closes, and no signal is allowed to pass. A noise gate can be used to control noise. When the level of the 'signal' is above the level of the 'noise', the threshold is set above the level of the 'noise' so that the gate is closed when there is no 'signal'. A noise gate does not remove noise from the signal: when the gate is open, both the signal and the noise will pass through. Noise gates are also used as an effect to modify the envelope of signals, removing gradual attacks and decays.

Examples of noise gate pedals include:
 * BOSS NS-2 Noise Suppressor
 * MXR M-135 Smart Gate

Boosters
There are three types of boosters. A boost pedal can be used to make the guitar louder (set up last in the effect chain, often in the effects loop of a distorted amp), or to increase the gain of an overdriven amplifier. Before distortion, a booster only increases the saturation, not the volume.
 * The first are signal boosters. These give a gain boost to the signal running through it and appear to make the guitar louder. They are known as clean boosts.
 * The second are frequency boosters. These are similar to the signal boosters but instead of boosting the whole signal, they boost one specific frequency range. These include treble boosters.
 * The third are harmonic boosters. These boost certain harmonics within the wave and can sometimes give a gritty, octave sound (in either direction)

Sound conditioner
Bass effects that condition the sound, rather than changing its character are called "sound conditioners." Gain booster effects pedals and bass preamplifier pedals increase the gain (or volume) of the bass guitar signal. Bass preamplifiers for double basses are designed to match the impedance of piezoelectric pickups with the input impedance of bass amplifiers. Some double bass preamplifiers may also provide phantom power for powering condenser microphones and anti-feedback features such as a notch filter (see "Filter-based effects" section below).

Volume pedals are volume potientiometers set into a rocking foot treadle, so that the volume of the bass guitar can be changed by the foot. Compression pedals affect the dynamics (volume levels) of a bass signal by subtly increasing the volume of quiet notes and reducing the volume of loud notes, which smooths out or "compresses" the overall sound. Limiters, which are similar to compressors, prevent the upper volume levels (peaks) of notes from getting too loud, which can damage speakers. Noise gates remove hums and hisses that occur with distortion pedals, vintage pedals, and some electric basses.

Bass Distortion
Bass distortion effects preamplify the signal until the signals' waveform "clips" and becomes distorted, giving a "growling", "fuzzy" or "buzzing" sound. Until the late 1980s, distortion effects designed specifically for electric bass' low range were not commonly available in stores, so most electric bass players who wanted a distortion effect either used the natural overdrive that is produced by setting the preamplifier gain to very high settings or used an electric guitar distortion pedal. Using the natural overdrive from an amplifier's preamplifier or a guitar distortion effect has the side effect of removing the bass' low range (low-pitched) sounds. When a low-range note is amplified to the point of "clipping", the note tends to go up an octave to its second harmonic, making deep bass notes sound "tinny".

In the 1990s and 2000s, bass distortion effects became widely available. These effects contained circuitry which ensured that the low-range bass signal was maintained in the distorted bass tone. Bass distortion is used in genres such as metal, thrash, hardcore, and punk.

Bass "overdrive" effects use a vacuum tube (or digitally-simulated tube modelling techniques) to compress the top of the signal's wave form, giving a smoother distorted signal than regular distortion effects. Regular bass distortion effects preamplify the signal to the point that it develops a gritty or "dirty" tone.

Fuzz bass effects are sometimes created for bass by using fuzzbox effects designed for electric guitars. Fuzzboxes boost and clip the signal sufficiently to turn a standard sine wave input into what is effectively a square wave output, giving a much more distorted and synthetic sound than a standard distortion or overdrive. Paul McCartney of The Beatles used fuzz bass on "Think for Yourself" in the 1966 album "Rubber Soul"

Filtered based effects
Filter based effects for bass include equalizer, phase shifter, wah and auto-wah.

A bass equalizer is the most commonly used of these three effects. It adjusts the frequency response in a number of different frequency bands. While its function is similar to a tone controls on an amplifier, such as rudimentary "bass" and "treble" frequency knobs, it allows for more precise frequency changes. A rack-mounted bass equalizer, for example, may have ten sliders to control the frequency range encompassed by a regular "bass" frequency knob.

In comparison with an electric guitar equalizer, a bass equalizer usually has a lower frequency range that goes down to 40 Hz, to accommodate the electric bass' lower range. Some bass equalizers designed for use with extended range basses go even lower, to 20 Hz. Equalizers can be used to change the tone and sound of the electric bass. If the instrument sounds too "boomy", the bassist can lower the frequency which is overly resonant, or if there is too much fingernail or pick noise, the higher frequencies can be reduced.

Notch filters (also called band-stop filters or band-rejection filters) are sometimes used with double basses. Notch filters are filters that allow most frequencies to pass through unaltered, while attenuating those in a specific range to very low levels. Notch filters are used in instrument amplifiers and preamplifiers for acoustic instruments such as acoustic guitar, mandolin, and bass instrument amplifiers to reduce or prevent feedback. While most notch filters are set manually by the user, there are also automatic notch filters which detect the onset of feedback and notch out the frequency before damaging feedback begins.

Bass Phase Shifters create a complex frequency response containing many regularly-spaced "notches" in an incoming signal by combining it with a copy of itself out of phase, and shifting the phase relationship cyclically. The phasing effect creates a "whooshing" sound that is reminiscent of the sound of a flying jet.

Bass chorus
Bass chorus effects use a cycling, variable delay time that is short so that individual repetitions are not heard. The result is a thick, "swirling" sound that suggests multiple instruments playing in unison (chorus) that are slightly out of tune. Bass chorus effects were more common in the late 1980s, when manufacturers such as Peavey included chorus effects in its bass amplifiers. In the 1990s and 2000s, more sophisticated bass chorus effects devices were created which only apply the swirling chorus effect to the higher parts of the bass tone, leaving the instrument's low fundamental untouched.[5]

Multi-Effects unit
A multi-FX unit is a single effects device that can perform several guitar effects simultaneously. Such devices generally use digital processing to simulate many of the above-mentioned effects without the need to carry several single-purpose units. In addition to the classic effects, most have amplifier/speaker simulations not found in analog units. This allows a guitarist to play directly into a recording device while simulating an amplifier and speaker of his choice.

A typical digital multi-effects pedal is programmed, with several memory locations available to save custom user settings. Many lack the front-panel knobs of analog devices, using buttons instead to program various effect parameters. Multi-effects devices continue to evolve, some gaining MIDI or USB interfaces to aid in programming. Examples include:
 * Tech 21 Sans Amp - A line of analog effects with distortion and speaker simulation capability.
 * Line 6 POD XT Live
 * Behringer V-Amp Pro
 * DigiTech RP series
 * DigiTech GNX series
 * Boss ME-20, ME-50, GT-6, GT-8
 * Zoom G2, G3, G5 series
 * Vox Tonelab series
 * Roland VG series
 * Korg AX series

The quality of sound that is a major feature of separate pedals can never be matched by a multi-effects unit but they are ideal for a guitarist on a budget.

title: Guitar/Effects Pedals


text:
Cookbook:Yeast Extract

Common yeast extracts:

 * Marmite is a yeast extract, extremely popular in Britain. It has a very strong, rich flavor, tasting slightly like beef stock, with a hint of salt. It is most commonly eaten spread very thinly over buttered toast.
 * Vegemite is a yeast extract popular in Australia. It is made from yeast scraped out of beer barrels. This extract has a salty, slightly bittersweet flavor similar to beef bouillon.
 * Bovril is not actually yeast extract, but a cow extract; it tastes quite a bit like Marmite and has a lot of the same texture properties. It is enough like the yeasty spread that a good number of websites that have information about either Marmite or Vegemite also make it a point to mention Bovril.

title: Cookbook:Yeast Extract