text:
Zine Making/Putting pages together

Page Layout on software
In Microsoft Word, go to Page Layout, Page Setup, Pages, Multiple Pages and choose 'Book fold' then print (save to PDF won't combine multiple pages to one sheet or in book fold order). For distribution online but for others to download and print themselves, save (or print to PDF) from your word processor, then open in Adobe Reader then print 'booklet' settings to PDF printer.
 * Scribus
 * LibreOffice Write, Return to Print dialog, and click the Page Layout tab page. Select Brochure.

Different ways to fold a sheet of paper
These are just suggestions of course but they cover some of the main ways people fold sheets into ziney shapes. We'll start off by showing how to fold a single sheet to make multiple pages, but most people need more pages than that so they use multiple sheets of paper...

Folio (folding in half)
This is easy to do, and if you're using a word-processor it's quite straightforward to get the software to do two columns and print out very appropriately. The page numbering in the diagram to the left is for a one-sheet zine. You'll probably want more than four sides to write on so you'll probably need to attach multiple sheets together.

Note that the order of pages is not what your word-processor or your brain is likely to expect, especially if you haven't done this before. It can get even more confusing when you put multiple pages together. The example to the right shows how to fold 4 separate sheets folio-style, to produce a 16-page zine:

Quarto (folding in quarter)

Note that some of the pages are upside-down relative to each other, so you probably can't do this very straightforwardly on a word-processor. But you like cut-and-pasting, yes?

If you want this to become a booklet-style paged thing (a "codex") you'll need to make a couple of cuts after you've attached the pages together.

Folding into six

One nice thing about folding into six is that with standard paper sizes like A4, you get a roughly square zine at the end of it, which is quite nice.

First fold the sheet into a Z-like shape (i.e. fold it 1/3 and 2/3 of the way along, in a zigzag). Then fold it once the other way. This gives 12 approximately square sides.

Cutting the pages
If you're making a big batch of zines then you're probably going to be doing a lot of cutting, either to separate the pages or to trim things or whatever. It can get a bit tedious and slow to do it all with scissors, but if you go to a largeish stationer's you can buy a cheap guillotine which will make things easier.

Not attaching pages together
I've seen a lot of multi-page zines where the pages are not attached to each other, and generally that can work OK. It's certainly easier, but of course the zine is in danger of falling apart. It's up to you, of course.

Stapling

Stapling it yourself is easy to do and nice and cheap. You might find that a normal stapler only-just-doesn't-quite-reach to the middle of your page... argh!

If you go to a largeish stationery shop you can easily find a long-arm stapler which can make life a lot easier. A library or university nearby might also have one you can use if you ask (try bringing your own staples). Or if you don't have the money you can use a normal stapler folded out flat to push the staples though the paper into a soft surface, like carpet or dense foam. Once you have done that you can then fold the staple down with something flat like a ruler or blunt knife - a sharp knife can mark or cut the pages by accident, or you!

If you're doing really big fat zines (more than about 20 pages to attach together, at a guess) then sometimes you can knacker (create technical problems) the stapler by trying to do too much. You can buy heavy-duty staplers if you want to do lots of really big fat zines.

One nice thing about some fancy photocopiers is that they can do automatic stapling, so if you have access to one of those then this can be a nice easy option. You might have to pay more for this of course.

Stitching/binding
You can make holes (often 3 or 5 holes is good) down the spine of the page and use ordinary needle and thread to bind the pages together. For example, if you make three holes, you would create a kind of tight figure-of-eight loop through the holes. This can bind things very nicely.

This is the basis of making a nicely-bound book, so it's useful to know how to do this if you want to self-publish your epic novel. There's at least one reference on DIY book-binding in the other resources section of this book.

String
You can use a hole-punch to make one, or two, holes through the pages, and then tie a loop of string through to connect the pages. Don't make the loop too tight or no-one will be able to turn the pages properly.

Single-page options
If you're printing onto a single page you can use clever folding and/or cutting to make a nice zine layout without needing to bind things.

Almost-cutting-through
If you take a piece of paper and fold it in half, then fold it in half again, you have 8 sides. You'd need to make a cut (along the line of the first fold) to make them into a booklet-like codex, but this gives you two separate pieces. One nice trick you can manage is to not make the cut all the way through - leave a small amount of un-cut paper in the middle, and this lets people turn the pages without completely separating the pieces.

No cutting, just folding
This doesn't give a booklet-like result (more of a thing to be folded out) unless you do some cutting. But it's easy to do and who knows, maybe it suits your purposes.

An 8-sided zine from 1 sheet with 1 cut
I've seen quite a few zines made using this trick. It's a really neat way of making a proper little zine out of one sheet - all 8 sides are on one side of your piece of paper, which is convenient for photocopying etc, although you can also put stuff on the reverse side for people to see when they unfold your zine. Here are the steps:

title: Zine Making/Putting pages together


text:
Surgical Procedures/Abdominal Surgery/Choledocholithiasis

 Choledocholithiasis:  (Stones in the common bile duct)

Introduction:

 * In 10% of cases stones are found in the common bile duct.
 * Stones may form within the bile ducts.
 * Known as primary Bile ducts stones.
 * In majority of cases stones migrate from gall bladder.
 * Known as secondary bile duct stones.

Clinical Features:

 * Symptomatic.
 * Rerely asymptomatic.
 * e.g. Vague indigestion.
 * Pain:
 * Biliary Colic.
 * Jaundice:
 * Fever:
 * Chills and fever are usually associated with pain abdomen.

 * Other symptoms:
 * clay color stool.
 * Dark urine.
 * Symptoms associated with Pancreatitis.

Charcot's Triad:
Clasically seen in common-bile-duct-stone.

Fluctuating Jaundice + Pain RUQ + Fever ( with rigors )

Examination:
O/E: P/A:
 * Icterus (+).
 * Febrile.
 * RUQ tenderness.
 * NB ! Gall bladder not palpable.
 * "Courvoisier's Law".

Investigations:

 * Blood:
 * WBC: Normol. (Elevated when Cholangitis.)
 * Alkaline Phosthotase: Very high in Obstructive jaundice.
 * Serum billirubin: High.
 * Serum Alylase: High when associated pancreatitis.

Radiological investigations:

 * USG-Abdomen:
 * Ultra sound Should be done:
 * To know CBD size. (Normol ~8mm)
 * To detect common duct stones.

 * PTC:
 * ERCP is prefered.

 * ERCP:
 * Indication:
 * Sufferer with jaundice.
 * Advantages:
 * Shincterotomy.
 * Papillotomy.
 * stone removal.

Complication:

 * Suppurative Cholangitis:
 * Dangerous condition which will give liver failure and death if not timely *surgical intervention and antibiotic therapy.
 * Impairment of Liver function:
 * White Bile/Surgical Bile:
 * Seen when liver function is seriously depressed.
 * Hydro-Hepatis:
 * Rare condition.
 * Stone may ulcerate:
 * Through the common bile duct to cause biliary peritonitis.
 * Natural cure:
 * Rarely stone may ulcerate through the bile duct into the duodenumto cause natural cure.
 * Acute Panrcreatitis.

PreOperation Treatment:

 * AntiBiotic:
 * Broad Spectrum.
 * Analgesics.
 * AntiCholinergic:
 * Relaxant of Shincter of Oddi.
 * Vitamin K.
 * Glucose Drink.
 * High Carbohydrate with Low fat Diet.
 * Blood Transfusion:
 * To be used during Operation.
 * Mannitol.

Surgery:

 * Operated when Jaundice is not present.

Operation of Choice:

 * Cholecystectomy.
 * Choledochotomy:
 * Supra-duodenal Choledochotomy.
 * Retro-duodenal Cholodochotomy.
 * Trans-duodenal Choledochotomy.

PostOperative Treatment:

 * T-tube/drainage:
 * Regular Bile examination:
 * Color and quantity.
 * If bile was White Bile, it's color should be normol within 2 days.
 * The quantity of drainage Bile should decrease.
 * Tube-Out after 7 to 10 days if:
 * T-Tube Cholangiography/PostOP. Cholangiography:
 * Should be performed before the T-tube removal.
 * When Tube is clamped and if no pain around gallbladder.
 * There is no obstruction in the bile duct.
 * Small silk suture at the edge of the wound and T-Tube pulled out.

 * Color Of faeces:
 * Pale or White:
 * When there is obstruction.
 * Normol yellow hue:
 * When there is no obstruction.

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


text:
Talk:Blender 3D: Noob to Pro/Realistic Water using Fluid Sim and Yafray

(Charybdis)Hey guys, i decided to write this tutorial for wikibooks. i hope you like it, its my first ever so it probably has some mistakes... It just seemed like i couldent find a good tutorial on this, so i made one myself. Perhaps i will try to write another later.

 * I am quite new to Blender and I have just done a few tutorials. I like them all but this one made me extra happy as the result looked so cool and it was easy to follow. Thanks! 217.116.235.64 19:40, 14 October 2007 (UTC)

(Charybdis) thank you, I am glad to see my time was not wasted :)

Removed end result image at top of page because it was at the bottom too. - Sergeant Oreo December 14 2007

Wenever I enable Domain FS for the Box, after I do that two cylider-like things appear, which of course, is the water. But they are uneven, so wen they bake, then fluid hits the floor at diff times.

sounds like your cylinders got off the same z axis. --Charybdis (talk) 03:25, 27 September 2008 (UTC)

(djmorrsee) i love this, i think the results are awesome. except the fact that it takes 7 hours to render the complete animation on my machine. but oh well

i was wondering if theres a way to make the fluid bounce around in a shape other than a cube?

when I render under YafRay the rendering window shows nothing. Also, under normal render, the fluid doesn't show up! Help!!!74.185.212.232 (talk) 22:22, 12 April 2009 (UTC)


text:
Embedded Systems/Cypress PSoC Microcontroller/Application Notes

The Cypress application notes are a good start, but they often do not have all the information required, have bugs, are out of date for more recent microcontrollers or are otherwise inadequate. This is meant to be a fix to //add to// the existing documentation, not a wholesale copy-and-paste of the existing application notes.

Application Notes

 * Embedded Systems/Cypress PSoC Microcontroller/Application Notes/AN2100 - A Serial Bootloader
 * Implementing FFT Algorithms on PSoC(R) System - AN42877 : (where is the code?) ... also see Embedded Systems/Floating Point Unit

First you must read the Data sheet then you have to comment on the product many engineers had been worked, and even though if they want to release the product they will be checking 1000 times in 1000 ways please think and command to anyone Thanx and Regrads

MANJUNATH D L manjunathdl@yahoo.com

ADC
Q: These PSoC chips can be set up to do 14 bit ADCs and 9 bit DACs. But what is the (maximum) sampling frequency at 14 bits and 2 analog inputs? What is the maximum sampling frequency if I'm happy with only 12 or 8 bits of resolution?

If I feed the signal to the on-chip PGA, crank its gain all the way up, and feed the PGA output to a ADC ... will I get 10 real bits of signal data, or am I getting nothing but noise?

A: See Analog - ADC Selection - AN2239 by Dennis Seguine. It discusses the trade off between sampling rate and resolution. It specifically mentions "DELSIG8 ... output rate of 31 ksps ... (when) column clock equal to 2.0 MHz" and "DELSIG11 ... output rate of 7.8 ksps ... (when) column clock equal to 2.0 MHz".

You may also find these app notes useful:
 * Lower Noise Continuous Time Signal Processing with PSoC - AN2224
 * Data Acquisition and Control System - the PSoC(R) Way - AN2335


text:
User talk:70.73.216.199

You have been temporarily blocked from Wikibooks for vandalism. -- Jomegat

title: User talk:70.73.216.199


text:
Cookbook:Jersey Breakfast Dog

 * American cuisine

Ingredients

 * 1 beef hot dog
 * 1 strip bacon
 * 1 large egg
 * 1 slice American or cheddar cheese
 * 1 bun

Procedure

 * 1) Preheat deep fryer to 355°F.
 * 2) Wrap bacon around the hot dog, securing at each end with a toothpick.
 * 3) When oil reaches 355°F, lower wrapped hot dog into fryer.
 * 4) Heat frying pan and fry one egg.
 * 5) Place cooked egg on a small plate.
 * 6) Open bun and place onto frying pan on low heat or in toaster oven to lightly toast.
 * 7) When bacon is firm and crispy, remove hot dog from oil.
 * 8) Place slice of cheese onto egg and microwave for 7-10 seconds.
 * 9) Place egg and cheese on to bun.
 * 10) Remove toothpicks from hot dog, and add to bun.
 * 11) Add condiments and serve.

title: Cookbook:Jersey Breakfast Dog


text:
General Astronomy/Formation of the Moon

One theory is that the Moon came from the Earth. It is theorized that a Mars sized object struck the Earth tossing huge amount of the mantle up into space. While much of this fell back to Earth some of the matter collected together and formed the Moon. This theory is supported by evidence that the Moon has the same composition of Earth's mantle and the same three isotopes of oxygen that Earth has.

title: General Astronomy/Formation of the Moon


text:
General Astronomy/The Photosphere

The photosphere is the layer that we see when we look directly (foolishly) at the Sun. It is the sphere of light. It sometimes is referred to as the Sun's surface, but in fact the Sun has no solid surface such as that of the Earth. The photosphere merely represents the outer boundary of the region in which most solar energy has been converted into visible light.

Beneath the photosphere is the convective zone, a region in which huge columns of hot plasma rise and fall much like water boiling in a pot. On close inspection with properly filtered instruments, the photosphere appears as a great cauldron with the tops of these convective currents bubbling up in a seething sea. In certain wavelengths of light, the many convective columns give the Sun a slightly grainy appearance, sometimes referred to as granules or "rice grains," for its similarity to rice boiling in a pot.

Much cooler than the core of the Sun, the photosphere has a temperature of about 10,500 degrees F, or about 5800 K.

Immediately above the photosphere is a relatively thin layer called the chromosphere (sphere of color) and beyond that a large and very rarified outer atmosphere called the corona (crown). The photosphere is so vastly brighter than these two regions that they cannot be seen except with special instrumentation or during a total solar eclipse when the photosphere itself is blocked out.

title: General Astronomy/The Photosphere


text:
User talk:Fort.GM

Hello, and welcome to Wikibooks!

Here are some tips to help you get started:
 * To learn the wiki-markup-language syntax, see Help:Editing.
 * You should sign your name on Talk and vote pages using four tildes, like this: ~~~~
 * There is a box at the top of the edit window that will insert this, too; it looks like part of a signature.
 * Remember to conduct any editing experiments in the sandbox.
 * You can tell the community something about yourself in your userpage.
 * You can get to this page by clicking the tab at the top of the page labeled with your registered username.
 * If you are a Wikipedian, see Wikibooks for Wikipedians for a primer on how things work here (it's a little different).
 * If you want to base your work here on materials from Wikipedia, please use WB:RFI (requests for importation) to bring the material over in compliance with the GFDL.
 * If you're an instructor and plan on using Wikibooks for a class project, see Guidelines for class projects
 * Please say hello at the Staff Lounge with any questions or ideas.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Please take a look at Naming policy before starting a new book.
 * Remember to maintain a Neutral point of view.
 * Explore, be bold in editing pages, and have fun!

You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, IRC channel or ask me personally on my talk page. For site news, see the Bulletin board. It might be a good idea to add this page to your "watchlist" so that you can see when any new information is posted there. You can do that by clicking the tab labeled "watch" at the top of the page.

Good luck!.

Galactic magnate
Hi. I have deleted the page Galactic magnate because it does not appear to be a textbook. If you do wish to write a textbook on the subject, then please recreate the page after reading WB:WIW and WB:NEW. Thanks. Az1568(Talk) 08:28, 22 April 2007 (UTC)

title: User talk:Fort.GM


text:
Zine Making/Print version

 * Note: the latest version of this book can be found at http://en.wikibooks.org/wiki/Zine_making

=Writing the pages=

=Putting pages together: stapling, stitching, folding, etc=

=Making copies=

=Selling/giving copies to people=

=Other resources about zine making=

=Authors=

title: Zine Making/Print version


text:
Zine Making/Authors

Presentation

 * Dan Stowell

Incorporating (with permission) some material by P Law

title: Zine Making/Authors


text:
Horticulture/Papaipema nebris

The Common Stalk Borer, Papaipema nebris, is a pest of a very wide range of host plants.

Description
Caterpillars are brown with a white dorsal stripe, primarily living inside the stalks or twigs of host plants, but migrating between hosts as they grow. Adults are gray moths.

Symptoms and Signs
Tunnelling of stalks and twigs.

Ecology
Overwintering as pupae in weedy areas. More problematic in no-till systems, since plowing under provides good control.

Host plants

 * ../Acer/
 * ../Alcea/
 * ../Ambrosia/
 * ../Asparagus/
 * ../Aster/
 * ../Bellis/
 * ../Beta/
 * ../Catalpa/
 * ../Calendula/
 * ../Capsicum/
 * ../Centaurea/ (Bachelor’s Buttons)
 * ../Chrysanthemum/
 * ../Cirsium/
 * ../Cucumis/
 * ../Dahlia/
 * ../Delphinium/
 * ../Dendranthema/
 * ../Fragaria/ (Strawberry)
 * ../Fraxinus/
 * ../Gladiolus/
 * ../Gossypium/
 * ../Hordeum/
 * ../Iris/ (Iris)
 * ../Lilium/
 * ../Lycopersicon/
 * ../Medicago/
 * ../Monarda/
 * ../Paeonia/
 * ../Phaeseolus/
 * ../Phlox/
 * ../Pisum/
 * ../Poa/
 * ../Prunus/
 * ../Rheum/ (Rhubarb)
 * ../Ribes/
 * ../Rosa/
 * ../Rubus/
 * ../Rudbeckia/
 * ../Salix/
 * ../Salvia/ (Sage)
 * ../Sambucus/
 * ../Secale/
 * ../Solanum/
 * ../Spinacia/
 * ../Verbena/
 * ../Zea/
 * ../Zinnia/

title: Horticulture/Papaipema nebris


text:
Horticulture/Berberis thunbergii

Berberis thunbergii (Japanese barberry or Thunberg's Barberry) is a species of ../Berberis/, native to Japan and eastern Asia. It is widely grown as an ornamental plant, both in Japan and elsewhere in the temperate Northern Hemisphere. Numerous cultivars have been selected, including plants selected for yellow, dark red to violet, or variegated foliage, erect growth, and dwarf size.

Description
It is a densely branched, deciduous, spiny, suckering shrub which grows 1-2 (3) m high, with a "fountain-like" form when unpruned, though cultivars may be fastigiate to nearly prostrate. It has deeply grooved, brown, spiny branches with a single (occasionally tridentine) spine (actually a highly modified leaf) at each shoot node. The leaves are green to blue-green, very small, spatula to oval shaped, 12–24 mm long and 3–15 mm broad; they are produced in clusters of 2-6 on a dwarf shoot in the axil of each spine. The flowers are pale yellow, 5–8 mm diameter, produced in drooping 1-1.5 cm long umbrella-shaped clusters of 2–5; flowering is from mid spring to early summer. The fruit is a glossy bright red to orange-red, ovoid berry 7–10 mm long and 4–7 mm broad, containing a single seed. They mature during late summer and fall and persist through the winter.

It is sometimes confused with Berberis canadensis (American Barberry), Berberis vulgaris (European Barberry), and other deciduous Berberis species; it is most readily distinguished by the flowers being produced in umbels, not racemes.

Growing Conditions
Well-drained soils in full sun to shade.

Ecology
In recent years it has become an invasive species in parts of the eastern United States; in Canada its cultivation is prohibited as the species can act as a host for ../Puccinia graminis/ (black rust), a rust disease of wheat. Currently there are breeding and selection programs aimed at producing cultivars that are either sterile or produce relatively little seed.

Varieties

 * ‘Argenteo-marginata’: Young foliage with white margins.
 * forma Atropurpurea: foliage purple or red.
 * ‘Atropurpurea-nana’: Foliage purplish red, semidwarf to 60 cm, dense habit, slow growing.
 * ‘Aurea’ Foliage bright yellow when emerging in spring, fading to yellowish green.
 * ‘Bagatelle’: Foliage reddish purple, dwarf to 30 cm.
 * ‘Crimson Pygmy’: see ‘Atropurpurea-nana’, above.
 * ‘Dart’s Red Lady’: Foliage dark purple, fall color red.
 * ‘Erecta’: Truehedge Barberry: Upright form, but not tight with age.
 * ‘Golden Ring’: Foliage purple with yellow margins. Fall color red.
 * ‘Green Ornament’: Foliage purple, upright form, heavy fruit set.
 * ‘Helmond Pillar’: Foliage dark red to purple, fastigiate.
 * ‘Kobold’: Dwarf to 40 cm, dense, heavy fruit set.
 * ‘Little Favorite’: see ‘Atropurpurea-nana’, above.
 * ‘Maximowiczii’: Leaves narrow, green beneath.
 * ‘Minor’: semidwarf, to 60 cm.
 * ‘Pink Queen’: Foliage reddish purple, variegated with pink.
 * ‘Pluriflora’: Corymbs dense, with 5-12 flowers.
 * ‘Red pillar’: Foliage purple, erect form.
 * ‘Rose Glow’: Foliage purple, but emerging leaves variegated with pink.
 * ‘Silver Glow’: Foliaged with mottled white variegation. Semidwarf to 60 cm.
 * ‘Sparkle’: Dense habit, heavy fruit set.

Uses
As specimens, hedges, or barrier plants. The flowers are an excellent nectar source.

Maintenance
Pruning is a rather hazardous undertaking. Fine-pruning is best done in winter, shearing better in spring when clippings can fall into the plant. Branches are somewhat fragile, so care should be taken when raking off clippings.

Readily transplants, but again transplanting is difficult due to the spines.

Propagation
Self-seeds readily. Cultivars propagated by cuttings.

Pests and Diseases
See ../Berberis/ for a list of pests and diseases.

title: Horticulture/Berberis thunbergii


text:
JET Database/Data definition language

Create Table
Tables are created by issuing the  statement. The statement must specify the table name, and any columns in the table.

Drop Table
Tables are dropped by issuing the  statement.

Alter Table
Tables can be altered by issuing one or more  statements. New columns can be added, existing columns can be dropped, and existing columns can be altered

Primary Keys
There are several ways to create primary keys in JET SQL. One can use the  directive in the   statement, as shown below:

The same table, with the same primary key, can be created using the  directive, either as part of the   statement:

or afterwards, in an  statement:

If the table has only one column in its primary key, the constraint can be added to the column specification:

All but the last example, above, support multiple columns in the primary key, e.g.:

Unique Constraints
Unique constraints can be added in the same way, either in the  statement (shown) or with an   statement.

Foreign Key Constraint
A foreign key constraint can be added to a table in the  statement, as show below, or via an   statement.

JET 4.0 introduced cascading updates and deletes to foreign keys. When a foreign key is created with, the foreign keys are updated if the referenced columns are changed. causes the referencing rows to be deleted if the referenced row is deleted, and  sets the foreign keys to Null if the referenced row is deleted.

Check Constraints
Check constraints can be added in much the same way. Note that even though a check constraint may pertain to only one specific column, the constraint is declared at the table level, not the column level:

Indexing
Table indexes help to improve the performance of queries made against a table, including implicit queries within other statements such as updates, deletes, and foreign key verification. Table indexes are created by issuing the  statement.

Indexes can be created with values in each column either ascending or descending, meaning least-first or greatest-first. If not specified, an index will be created with ascending values in each indexed column.

The following statements create a table with two indexes. The first index only covers column b, but the second index covers both columns c and d.

Table indexes can be dropped by issuing the  statement.

Unique indexes
Normally, an index will allow duplicate values. Where each row must have a unique value in the indexed column, or a unique combination of values in the set of columns being indexed, the index can be specified as being unique. This has a similar effect to adding a unique constraint (and is in fact how JET implements a unique constraint). NB: Nulls are not considered values, so if a column in a unique index or unique constraint is allowed to be Null, then multiple rows may have Null in that column.

With Disallow Null
Null handling is generally best specified on the table column. However, the  statement also supports an option to disallow any Null values in the indexed columns.

With Ignore Null
Rows with Nulls in the indexed columns can also be completely excluded from the index, making the index physically smaller on disc and thus faster to search through.

With Primary
The primary key columns of a table can be specified by creating an index with the special  option.

It is generally better to create the primary key with the  constraint directive, unless other options are required when creating the index on the primary key columns. One such example might be when one or more columns in the primary key should be indexed descending rather than ascending, for performance reasons.

Dropping indexes
Dropping an index when it is no longer required is easy too. Specify the index name, and which table the index is on:

Security
When multiple database users, and optionally groups, have been added to the database, restrictions on what those users have access to in the database can be made by granting or revoking privileges on individual objects.

The following basic table privileges from the ANSI SQL standard are supported by JET (the basic "CRUD" privileges – Create, Read, Update, Delete):

In addition, the following table privileges are supported by JET:

title: JET Database/Data definition language


text:
User talk:80.136.191.215

Please also note that the single character '°' is preferable to the multi-character '&deg;', so please don't replace any more. Webaware talk 13:38, 22 April 2007 (UTC)

title: User talk:80.136.191.215


text:
Talk:Consciousness Studies/Introduction

The summary section has been commented out for the time being. This is such a broad subject that the existing summary may be doint it a disservice. RobinH 13:53, 22 April 2007 (UTC)

Unwaranted assumptions
Defining Consciousness

The contributors should be applauded for recognizing that “Everyone has their own view of the nature of consciousness based on their education and background.”. However, concerning the definition of consciousness there are people who do not subscribe to the phenomenological/access difference (eg. Dennett, 1997).

Further unwaranted assumptions are made in the introduction. I quote:

 * Phenomenal consciousness is much like the “perceptual space” of psychological and physiological research. It is the many simultaneous events that become the space of experience in general and it is now a legitimate target of scientific research.

What is here (above) taken to be a perceptual space I assume to be equivalent to “phenomenal space” (eg. Dainton, 2007). However, Dainton's concept of phenomenological space builds on neutral monism and his method critical phenomenology, a method that I believe Husserlian phenomenologists would consider akward to use. Some representationalists are likely to have difficulties with accepting this concept as well because of the neutral monism.

It is true that attempts have been made in defining consciousness. But there exists no consensus on any definition. Rather, what many scholars of consciousness would agree upon are some of the characteristics and concepts of consciousness (Farthing, 1992).

The purpose of consciousness studies The purpose of consciousness studies could be stated more explicit, at least in less vague terms. After all, “virtual reality” is a metaphor that is not easily grasped on a first reading. David Chalmers has written a paper that I recommend for paraphrasing: http://consc.net/papers/scicon.html Of course, it is only one take on the project for consciousness studies and people disagree about whether Neural Correlates of Consciousness (aka NCC) should be studied at all.

References
 * Dainton, Barry (2007). Coming together: the unity of conscious experience. In: Velmans, Max, Schneider, Susan (eds.) (2007). The Blackwell companion to consciousness. Malden, MA: Blackwell.

 * Dennett, Daniel C. (1997). The path not taken. In: Block, Ned, Flanagan, Owen, & Güzeldere, Güven (1997). The Nature of Consciousness: philosophical debates. Cambridge, MA: MIT.

 * Farthing, William G. (1992). The Psychology of Consciousness. NJ: Prentice Hall. Phenomena

 * Yes, the book is unashamedly about phenomenal consciousness and deals with Dennett's dissent as a side issue. The book was conceived as a supplementary text for physiologists so the problem here is how to link the philosophy of consciousness into the neurophysiology of consciousness. The most important connection between philosophy and neurophysiology is that both attempt to explain how our singular visual field, the "view", is derived from two eyes which have lenses rather than pin-holes and different images in each. This is a physical problem that requires a physical theory although the philosophical contributions to the problem are fascinating. The "perceptual space" referred to is the "“perceptual space” of psychological and physiological research" rather than Dainton's version. RobinH 08:54, 5 June 2007 (UTC)

 * Phenomenal consciousness exists indeed, but even those who believe in phenomenal consciousness may not accept access consciousness and it is hence an issue of waranting the dichotomy (P- and A-consciousness), rather than whether the category (phenomenological consciousness) exists or not. I am sorry for not being clearer on this. I cannot deny that there is subjective experience.
 * I strongly disagree with the idea that the most important connection between philosophy and neurophysiology of consciousness lies in explaining the visual field. Blind people are also conscious - there is something it it is like to be blind. To fully explain stereoscopic vision thru retinotopic mapping and thru the visual pathways in the brain is understandably an exciting topic for a physiologist, but it is not central to the field of consciousness studies, which seeks to understand consciousness thru all possible experiences without restrictions to sensory input. However, I admit that of all the senses, vision has been studied most extensively in neurophysiology and is therefore a good candidate in the search of correlates between consciousness and brain physiology. (Perhaps we're on the same page here.) Phenomena 09:26, 9 June 2007 (UTC)

 * You might be interested in this: http://www.seeingwithsound.com/users.htm I really need to update the neuro section with the fMRI studies of these devices. RobinH 15:52, 9 June 2007 (UTC)

 * Thanks, I have read about similar devices that translate between the senses. Perhaps you will find this video interesting: from CBS News Phenomena 09:23, 11 June 2007 (UTC)

title: Talk:Consciousness Studies/Introduction


text:
Talk:Reaktor/Tutorials/Requests

I'm looking for a list of all the reactor abbreviations, like A, P, and so on... Manny thanks Nathanael

title: Talk:Reaktor/Tutorials/Requests


text:
User talk:204.193.117.84

Thanks for experimenting with Wikibooks. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing material in modules will normally be removed quickly. Please see the welcome page if you would like to learn more about contributing to our project. Thanks. Gentgeen 18:20, 22 April 2007 (UTC)

title: User talk:204.193.117.84


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User talk:220.212.126.210

Please take care not to replace Wikibooks pages with blank content. Blank pages are harmful to Wikibooks because they have a tendency to confuse readers. If it is a duplicate article, please redirect it to an appropriate existing page. If the page has been vandalised, please revert it to the last legitimate version. If you feel that the content of a page is inappropriate, please edit the page and replace it with appropriate content. If you believe there is no hope for the page, please see the deletion policy for how to proceed. If page is no longer useful, insert delete to its top. Thanks for contributing to Wikibooks! Mattb112885 (talk) 18:37, 22 April 2007 (UTC)

title: User talk:220.212.126.210


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Beekeeping/Brood Nest

The brood nest is contained in the hive body. The "hive body" is the boxes containing the brood area and main food storage of the colony. The internal dimensions of the hive body and supers are critical to maintain proper bee space.

One option in the brood nest is the HSC fullydrawn smallcell brood frame. It uses the 4.9mm cell size that restricts drone production and shortens time to capping and emergence. It is an excellent option for those that are starting packages and do not have drawn comb. Additionally the small cell is reported to have significant longterm effects on hive health.

title: Beekeeping/Brood Nest


text:
User talk:202.21.178.242

Regarding edits made during April 22 2007
Thanks for experimenting with Wikibooks. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing material in modules will normally be removed quickly. Please see the welcome page if you would like to learn more about contributing to our project. Thanks. If this is an IP address, and it is shared by multiple users, ignore this warning if you did not make any unconstructive edits. Az1568(Talk) 21:05, 22 April 2007 (UTC)

title: User talk:202.21.178.242


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A-level Chemistry/OCR (Salters)/Engineering Proteins

Engineering Proteins is the eighth unit in the Salters Advanced Chemistry course.

Chemical Storylines sections

 * EP1 Christopher's story
 * EP2 Protein building
 * EP3 Genetic engineering
 * EP4 Proteins in 3D
 * EP5 Giving evolution a push
 * EP6 Enzymes
 * EP7 Summary

Chemical Ideas sections

 * 3.3 Shapes of molecules (revision)
 * 3.5 Geometric isomerism (revision)
 * 3.6 Optical isomerism
 * 5.3 Forces between molecules: temporary and permanent dipoles (revision)
 * 5.4 Forces between molecules: hydrogen bonding (revision)
 * 6.6 Nuclear magnetic resonance spectroscopy
 * 7.1 Chemical equilibrium (revision)
 * 7.2 Equilibria and concentrations
 * 10.2 The effect of temperature on rate (revision)
 * 10.3 The effect of concentration on rate
 * 10.5 How do catalysts work? (revision)
 * 13.3 Carboxylic acids and their derivatives (revision)
 * 13.4 The –OH group in alcohols, phenols and acids (revision)
 * 13.8 Amines and amides (revision)
 * 13.9 Amino acids

Activities

 * EP2.1 Investigating amines and amino acids
 * EP2.2 What’s in aspartame?
 * EP2.3 Using nuclear magnetic resonance (n.m.r.) spectroscopy for structure determination
 * EP2.4 The shapes of a-amino acids
 * EP2.5 A testing smell
 * EP2.6 Taking note of proteins
 * EP2.7 Modelling DNA
 * EP2.8 Life reveals its twisted secret
 * EP6.1 Testing for glucose
 * EP6.2 Succinate dehydrogenase (Optional extension)
 * EP6.3 The effect of enzyme and substrate concentration on the rate of a reaction
 * EP6.4 Using the iodine clock method to find the order of a reaction
 * EP6.5 Enzyme kinetics
 * EP7 Check your notes on Engineering Proteins


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User talk:70.15.50.8

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How to Play the Bass

Basics
The electric bass, otherwise known as the bass guitar is, as the name suggests, an instrument that plays in the deep, low-pitched bass range. In fact, the electric bass plays so low, that when people write music notation for it, the bass actually plays an octave lower than written. Otherwise, regular basslines used in popular music would need many ledger lines below the staff, which would be hard to read.

The electric bass should not be confused with the double bass (also called "upright bass"). While both the electric bass and the double bass are low-pitched stringed instruments played by plucking the strings, and while they are both low-pitched instruments used to provide the deep foundation for musical groups, the instruments come from different instrument families. Whereas the electric bass is from the guitar family, the double bass is from the violin and viol family. Many jazz and rockabilly bassists can play both electric bass and upright bass, as upright bass is the traditional bass instrument for jazz and rockabilly.

The electric bass typically has the same features as most guitars: a neck, head, body, volume controls, pickups and so on. The bass has a longer neck than an electric guitar. The bass usually has only four strings, in contrast to electric guitars, that usually have six strings. Bass strings are thicker and heavier than the strings on a regular guitar.

As of 2018, five-stringed basses are becoming more common. Five-string instruments usually add a low B string, giving a deeper lower register. If you happen to use a five string bass, the string closest to your head is the added B string; you can play anything you would play on an ordinary four string bass if you simply ignore that string, although it would be a good idea to learn how to use that string too, once you've got comfortable. In rare cases, bassists use six and seven-stringed instruments.

Tuning
The usual tuning of the bass, starting from the widest, lowest-pitched string, is E-A-D-G, tuned in fourths, like a double bass. A fourth is a term from musical theory. A fourth means four scale notes up or down in pitch, with the term often meaning a "perfect fourth". A perfect fourth up from C is F. On the electric bass, you can find the fourth of any note you start on by going five frets above it. For example, the open E string's fourth would be the A you play at its fifth fret, or, (since the bass is tuned in fourths), the open A you play on the next string down. The four notes of a bass guitar are the same note names as the first four strings on an electric guitar or acoustic guitar, except that a bass's strings are an octave lower.

This raises a question: Why does the bass guitar let you play the same note in two different places, like the A above? The answer is ease of use - having the same note 'copied' into different positions on the bass guitar lets us play much more without moving our fretting hand as much. The fact that the same note can be played on different places on the bass neck means that different bassists may play the same bassline differently.

Alternate tunings
Like any stringed instrument, there are a variety of tunings for the bass. Perhaps the second most common after the ordinary E-A-D-G tuning is "Drop D" tuning, where the E string is tuned down a whole-step lower, to the D below. This is more common in guitars, especially modern heavy metal guitar, but it is also useful in certain riffs for bass guitar. Having a low D is important for songs in the key of D Major, d minor, G major and g minor. Some bassists detune their low E to E flat when they are playing in the key of E flat or A flat, or even detune all the strings by one semitone, giving the tuning E flat-A flat-D flat-G flat. Some nu metal bassists detune even lower.

How to tune
When a bassist is practicing alone, the bass can be tuned without a reference pitch such as a piano, a process called "tuning the bass to itself". To do this, the bassist deems one string's pitch to be the string to which the other strings will be tuned to.

However, teachers recommend that you do get a reference pitch. A reference pitch is a reliable pitch source that you tune to. This can be a piano, pitch pipe, tuning fork (a metal tuning aid), or, on some electronic metronomes, a tuning note (often a 440 Hz A). The bassist listens to the reference pitch and then plucks a selected note on her bass, and then detects if the bass' pitch is too low or too high, making adjustments with the tuners if necessary. An Internet-connected computer or mobile device may be used to sound a reference pitch. If yiu are tuning to a friend's Hammond organ or electric guitar, turn off any chorus or vibrato effects (or the Leslie rotating speaker), as they make it hard to hear the exact pitch.

Another way to tune is using an electronic tuner. While tuning with an electronic tuner makes it easier, it is good to use sounding reference pitches for several reasons. One is that if you have not used your bass in a long time, the tuning may be very off; using a reference pitch from a piano enables you to get the bass roughly in tune before using the electronic tuner for fine tuning. As well, using a reference pitch helps to develop your "ear", a colloquial term for your sense of the highness or lowness of a pitch.

This is important because learning to hear pitch differences makes you a better musician. It helps you to hear when your bass needs retuning or if another fellow performer's instrument may need a retuning. As well, one may not always have access to a tuner in performing situations, such as playing at a jam session or "sitting in" on bass at a coffeehouse show. In these situations, you need to be able to quickly tune the instrument "by ear". Another reason to tune by ear is that if you wish to learn fretless bass, you need to be able to adjust your pitch by ear.

Holding or wearing
Unlike a double bass, the bass guitar is worn like a guitar with a strap, or, (less commonly), like a guitar, sitting down, with the instrument resting on the upper leg. Sitting down with a bass is uncomfortable for many people, because the instrument is actually a few inches larger than an electric guitar - making it less common for people to play bass sitting down. Most bassists who play in bands use a strap. Some bassists do sit to play, though.

Playing technique
There are two standard techniques for playing a bass guitar:
 * Fingerstyle bass, where one uses the index and middle fingers of their plucking hand to produce a fat, mellow tone; and
 * Picked bass, where a heavy plastic guitar pick or a custom-made bass guitar pick is used for a harder attack and a more aggressive sound.

Of course, those sounds are only the typical output; a good bassist will learn to produce different sounds from practice. For most players, using a pick allows them to play faster repeated notes.

Some bassists play slap and pop style, slapping the thick, low strings with the thumb and snapping the high strings, with both techniques creating a percussive, funky effect. This style is used in funk, fusion, and some pop music.

Those are not the only playing techniques, but merely the easiest and most vital for a beginner bassist to learn.

Sound production
Unless the bass guitar is acoustic bass guitar, an instrument related to the acoustic guitar, but having an electric bass tuning, the sound of a bass guitar is produced through magnetic pickups which are plugged into an amplifier and speaker.

Amplifier and speaker
Basses have magnetic pickups mounted on the body, underneath the strings. Plucking the metal strings causes a vibration that generates a certain type of tiny electrical signal because of these magnets. That electrical signal then travels through the patch cord to the amplifier and speaker of a bass amplifier, creating a sound loud enough to be heard by the player, band members and audience members. This is the sound of the pickups which is strengthened by the amplifier's preamplifier and power amplifier.

To use a bass amplifier for the first time, find the volume knob and turn it all the way down, to avoid a sudden burst of high volume sound. Turn the tone or equalization knobs to their middle or center position. Plug the bass into the amplifier input with a patch cord, with the bass instrument's volume all the way up. Then, while plucking a string, slowly raise the amp's volume knob. If there are two volume knobs, raise the preamplifier knob until you can hear the bass, then raise the master volume until you have the desired volume. On most amps, better sounds and tones are obtained from subtle boosts and cuts of tone or equalization knobs.

If you raise the preamplifier knob too much, you may hear a buzzy overdrive sound. In some heavy metal, punk, grunge and psychedelic rock styles, overdriven fuzz bass is a sound that bassists like to use. In most pop, country music, and jazz, though, a clear undistorted bass tone is sought.

As well, a bassist can use effects units such as pedals, to create different sounds. The most commonly used pedals for bass are preamplifiers, compressors (which even out any volume peaks), fuzz bass (overdrive) pedals and chorus. Chorus recreates the sound of many instruments playing the same note, as is done in string orchestras. While far more pedals are designed for electric guitar than for electric bass, there are effects specially designed for electric bass on the market.

Using non-bass amps
There are amps made specifically for bass guitars but if one is not available a keyboard amplifier will work well. Keyboards have a deep bass range, so keyboard amps are able to reproduce the deep notes of a bass guitar. Using a guitar amp also works if no bass amp is available, but the lower frequency notes will not come through well. Guitar amps are only designed to produce notes as low as 80 Hz, so the low A (55 Hz) and the low E (41 Hz) of a bass are too low for a guitar amp.

A bassist can also plug into a PA system, as PA speakers are full-range speaker systems that go all the way down to deep bass notes. Smaller PA cabinets such as 8" or 10" speakers in small cabinets are unlikely to be able to reproduce the deepest, lowest notes on the E string. To plug into a PA system, a Direct Box and/or a bass preamplifier are needed for the best sound quality (though in an emergency, such as bass amp malfunction, one can plug straight into a sound board to use a PA system, albeit with compromises in sound quality).

Scales
The best way to begin learning bass is to study and practice scales. For example, an open A Major scale is easy to learn and is the foundation for learning many other scales. The notation below is called tabulature or "tab". It is a depiction of the bass fingerboard. There is a horizontal line for each string. The numbers on each line indicate the frets you should play. The number "0" indicates that you should play the open string. The number "1" indicates that the string should be pressed down at the first fret, and so on.

Open A Major Scale: Ascending G:-1-2-| D:---0-2-4-| A:-0-2-4---| E:-|

When learning and practicing scales, it is common to work your way up and then down the scale. If you have a metronome, drum machine, or an electronic keyboard with a beat box, playing scales along with a beat is a good way to improve your rhythmic precision.

Open A Major Scale: Ascending and Descending G:-1-2-|2-1| D:---0-2-4-|4-2-0--| A:-0-2-4---|--4-2-0| E:-|--|

Begin slowly and deliberately and increase speed as you become more comfortable with the scale.

Also, as you get more comfortable with the fingering, try transposing the scale up. "Transposing" means changing the scale to a new key. for example; here is Bb:

G:-2-3-|3-2| D:---1-3-5-|5-3-1--| A:-1-3-5---|--5-3-1| E:-|--|

The above examples are Major scales. Several other important scales are minor scales (there are several variants), dominant seventh scales, blues scales and pentatonic scales. For the advanced bassist, there are also diminished, whole-tone and chromatic scales.

Arpeggios
An arpeggio is the notes of a chord played one after the other, rather than all at the same time. Even on instruments that have the capability to play chords with all the notes at the same time, such as electric guitar and Hammond organ, performers often play the chord tones one after the other because it adds rhythmic and melodic interest. On bass, due to the instrument's low pitch, many chords sound too "muddy", so bass performers usually play the chord tones one after the other.

Arpeggios are widely used in basslines, so they are an important skill to learn. On a typical Major or minor scale, playing the first, third and fifth notes gives you an arpeggiated triad. This basic triad often has the octave of the root note added as well.

Open A Major arpeggio (triad with octave): Ascending and Descending G:2--|2---| D:--2|---2| A:0--4---|--4--0--| E:---||

In rock, funk and blues, a seventh is often added into an arpeggio:

Open A 7 arpeggio (triad with seventh and octave, with the seventh and octave played as two eighth notes ascending, and as quarter notes descending, at which point the last two notes are played as eighth notes): Ascending and Descending G:0-2|2--0-| D:--2|-2---| A:0--4---|4-0--| E:---|-|

The Major sixth is also often added to triads, as the sixth above the root sounds consonant (pleasant) with Major and dominant seventh chords.

Open A Major sixth arpeggio (triad with sixth and octave, with the last two notes played as eighth notes): Ascending and Descending G:|2--| D:--2--4--|---4--2| A:0--4|-4--0--| E:|---| Arpeggio-based riffs can include sixth and seventh above the root, as with this standard blues/rockabilly walking bassline:

Open A 7 arpeggiated line (triad with sixth and seventh), Ascending and Descending G:|0---| D:--2--4--|---4--2-| A:0--4|-4--| E:||

Arpeggio-based basslines can also have scalar passing tones and chromatic notes added, as with this rockabilly classic (the arpeggio notes are A, C# and E, the passing tones are the D and the chromatic D#):

Open A 7 arpeggiated line (triad with passing tones), Ascending and Descending G:|| D:--0--1--|2--1--0-| A:0--4|-2--| E:||

Double stops and chords
Unlike the electric guitar, on which three-note and four-note chords are routinely played, the electric bass tends to be used to play single notes. There are some exceptions, though: many bass players perform octave double stops, in which a lower-pitched note and its equivalent one octave higher are played at the same time. In heavy metal, some bassists play power chords, which is a note and the note a perfect fifth above it, sometimes with a higher octave of the bass note as well. Bassists occasionally play double stop thirds, fourths, sixths, and tenths (a third plus an octave).

Octaves
Octave double stops and even three-note triple stops are widely used to add power and fullness at loud choruses and dramatic song endings.

E octaves (bass note, octave and superoctave): G:9--| D:---| A:7--| E:0--|

Tenths
Tenths, which are a third plus an octave, sound pretty on bass.

E Major tenth: G:1--| D:---| A:---| E:0--|

A minor tenth: G:5--| D:---| A:0--| E:---|

Power chords
In a heavy metal band or a grunge group, the bass player in a power trio (electric guitar, bass, drums) may play power chords during the guitar solo, to add fullness, and at song endings, to add weight.

D Major power chord (bass note, fifth and octave, add overdrive for heavy metal sound): G:7--| D:7--| A:5--| E:---|

Three and four note chords
Three and four note chords are rarely used on bass. You might hear chords like these in a progressive rock or jazz song or a bass solo. You would be unlikely to play these chords in a pop band.

E 7 chord (bass note, octave, third and seventh): G:7--| D:6--| A:7--| E:0--|

E minor chord (bass note, third and fifth): G:4--| D:5--| A:---| E:0--|

D 7 chord (bass note, third and seventh): G:5--| D:4--| A:5--| E:---|

A Major chord (bass note, tenth and fifth): G:9--| D:11-| A:0--| E:---|

Parts
Body: this is the main piece of wood which a bass is made from. The neck is bolted onto the body. Many bass bodies are painted, lacquered or stained with wood stain. The body of most basses has curved cutaways in the body which make the bass body fit more comfortably against the bass player's body. Most basses also have cutaways at the part where the neck is bolted onto (or otherwise attached) to the body. These cutaways enable the bassist to reach the higher notes on the fingerboard.

Neck: the long piece of wood about the thickness of a pack of cards over which the strings are stretched under tension. The fretboard is a piece of wood glued to the neck. The fretboard is the wood upon which the player presses the strings to "fret" a note.

Pickups: Screwed on the main body under the strings, these are magnets wrapped in wire, usually housed in a plastic casing. They use electromagnetic forces to detect vibrations in the string made by the player's hands and/or pick.

Tuners: Turning them adjusts string tension, allowing the musician to tighten them and increase the pitch or loosen them and decrease the pitch of each string.

Volume knob: A rotary potentiometer that controls volume.

Tone knob: A rotary potentiometer which controls how much treble is "rolled off". More expensive basses may have equalization controls for bass, midrange and treble.

Pickup selector: A two (or more) position switch which enables the bassist to select a different pickup. On some instruments, a rotary knob is used, which gives the pkayer more nuanced control over the pickup selection, as the player can set the knob partway between the Jazz bass-style pickup and the Precision bass-style pickup, thus getting a blend of both pickups.

Bridge: A metal frame with holes for inserting the strings and supports for each string, which is screwed into the wood at the bottom end of the bass. This device holds the strings in place at the bottom of the bass. The tensioned strings are strung between the bridge and the tuners. Turning the tuners adjusts the tension (and thus the pitch) of the strings. Bridges have screws that can be adjusted to modify the intonation.

Techniques
Plucking: The use of fingers to pluck strings to produce sound.

Picking: The use of a plectrum (commonly called a "pick") to pluck the strings.

Slap bass (or "slap and pop"): The use of a variety of percussive techniques, including slapping the low strings with the thumb and "popping" the higher strings with the fingers.

Fretted
The most common type of bass is the fretted bass. It is called "fretted" because the fingerboard has metal frets. The bassist presses the string against the fingerboard at a certain fret, and the metal fret stops the string at an exact location on the fretboard. This makes it relatively easy to play a fretted bass in tune.

Fretless
Less commonly, some basses have no metal frets on the fingerboard. The bassist has to position his or her hands carefully to find the exact right place on the fingerboard where a note will be in tune. A bassist needs to develop a good musical ear to play fretless, because the fretting hand needs to be subtly adjusted to ensure the notes are in tune. The bassist knows when a note is in tune by practicing "ear training", which is singing scales and arpeggios. The bassist can also check that his or her notes are in tune by comparing the pitch of the bass notes to the piano player or guitar player. Fretless basses are most commonly used in jazz and jazz fusion. However, there are some rock bassists who play fretless bass.

Acoustic
An acoustic bass guitar, which should not be confused with the upright bass, is a low-pitched guitar family instrument. It has a hollow body like an acoustic guitar, so it can be played in practice and in low-volume acoustic jam sessions without an amplifier. In a club or large venue, a piezoelectric transducer pickup is plugged into a bass amplifier and speaker to hear the instrument. It has four strings, and uses the same tuning as a bass guitar.

title: How to Play the Bass


text:
AP Biology/Animal Structures and Functions

Animals are complex organisms that are made up of many complex systems of cells that work together to have homeostasis.

Tissues
Tissues are made up of groups of similar cells that work together in order to perform a common function. Animal tissues can be split up into six types: 1) epithelial tissue, which consists of the outer layers of skin and internal protective coverings, 2) connective tissue; including bone, cartilage, and blood, 3) nervous tissue that makes up the nervous system, and 4) muscle tissue 5)brain tissue,6)the radius of the bone and the tissue of the nails.

Organs
Organs are made up of various kinds of tissue that work together to perform a common function. The organs are created by the specialization of stem cells found during the early stages of development. Each of the organs formed serves a specific function or did serve a specific function at some point, but later became a vestigial structure, this makes each organ unique.

Organ Systems
An organ system is made up of different organs that work together in order to perform a common function. An example of an organ system is the respiratory system which is made up of the nose, pharynx, larynx, trachea, and lungs.

The Respiratory System
The function of the respiratory system is to provide an animal's body with the oxygen required for aerobic respiration. Respiration itself can be defined as basically being the movement of gas in and out of an organism.

The Circulatory System
The function of the circulatory system is to distribute the oxygen and nutrients needed by the organism. In humans, the circulatory system consists of the heart, blood, veins, arteries, and capillaries. Also included in the circulatory system is a protein called hemoglobin, which serves a transport vector for carbon dioxide and oxygen. Another component of this system includes the heart, which utilizes corresponding contractions at specific interval.

The Nervous System
The function of the nervous system is to respond to both the external and internal stimuli of an organism.

The Digestive System
The function of the digestive system is to break down the food particles an animal eats into smaller molecules that provide energy and nutrients for the organism. The digestive system in humans consists of: the mouth, the stomach, the small intestine, the large intestine, the pancreas, and the liver

The Excretory System
The excretory system is involved in the re-absorption of water, and the disposal of waste products and other non-useful material.

The Muscular System
The muscular system functions in locomotion of the body in response to stimuli and in order to counteract environmental pressures. Some pairs of muscles in the muscular system are made in opposing pairs such as the Biceps and Triceps where one contracts as the other relaxes. Another muscle is smooth muscle such as that found in the stomach, which contains tight junctions, which prevents the highly acidic HCl from damaging other sensitive organs. Finally there is cardiac muscle which is found solely in the heart hence why it is called cardiac tissue. This cardiac tissue contains junctions that allow the interconnection of the cytoplasm between cells and therefore allowing quicker contractile signal transfer.


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Blender 3D: Noob to Pro/Basic Animation/ScreenLayout

Intro
If you haven't done anything to the default blender startup, starting blender will produce the basic 3D window with a light, a camera, and cube, the buttons window, and the ever-present basic drop down tabs at the top of the screen known as the user preferences window. This is the default setup for modeling, but now that we are starting animation, we are soon going to be looking at a new(ish) set up. You'll see what I mean.

Setup

Now the first thing we need to do is enter 'animation mode.' To do so, look at the top of the window, the 'user preferences window.' You should see file, add, timeline, game, render and help. What we want is the little drop down menu next to 'help' that you've probably never touched much less noticed. It should read something like: 'SR:2-model' with little buttons on both sides of the text. Click the button on the left side that looks like two little arrows to open a drop down menu. Click on 1-Animation.

About this setup

No, Blender didn't just go crazy, but as you can see, there are some changes that need to be explained. Blender has just opened a set of new windows, each with its own functions and commands. You can probably recognize three of them. The 3D view is still there, but it's been resized smaller to fit the new stuff. Our old friend the buttons window is still there at the bottom, and of course the user preferences window is still at the top. But enough of what's the same - you're wondering what the heck all the new stuff is for.

There are now three new windows in all. From top left going clockwise, the first is the Scene window. This window is used for finding objects and such located throughout your 3D environment. By clicking on any one of the objects listed here, its counterpart in the 3D viewscreen will be selected. You can also select and tinker with your world settings and render layers from this window. The next window is the IPO (InterPOlation) curve window; it is the window that displays data concerning how your objects will actually move, and can begin to look very technical as we progress. Don't worry, it's normal. The final window is easier to miss. It is essentially a timeline, and is rather thin located between the 3D view/IPO windows and the buttons window. This is the Timeline window. For what we'll be doing for now, it will basically function as a kind of VCR. It is essentially the time codex associated with your animation. Clicking anywhere on the timeline will show you the animation as it is at that point, like fast-forwarding/rewinding then pausing. Like any good VCR the timeline window is equipped with the Play, Stop, Fast-Forward, and Rewind button set.


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User talk:Stardust89

Hello, and welcome to Wikibooks!

Here are some tips to help you get started:
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Good luck!-- SB_Johnny | talk 23:32, 22 April 2007 (UTC)

title: User talk:Stardust89


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AP Biology/Photosynthesis

Photosynthesis is the process by which plants convert sunlight, carbon dioxide, and water into energy (sugar). The chemical reaction is:

It is because of this process that plants are defined as autotrophs; they make their own food, as opposed to heterotrophs which consume each other and the autotrophs for food. The photosynthetic process itself has two main parts: the light-dependent reactions in which the energy of sunlight is used to load energy into the energy transfer molecule common to all life forms: Adenosine Triphosphate or ATP and to load the high energy electron carrier abbreviated NADPH with high energy electrons. The energy needed to power these steps is collected by chlorophyll molecules found arranged into photosystems in the chloroplasts.

title: AP Biology/Photosynthesis


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Physics Course/Newton's Laws

Newton's Laws
Newton is the scientist who founded the physics of motion by stating five fundamental laws of physics.

Newton's First Law
Any object at rest or in uniform motion will remain at rest or in uniform motion unless an external force is applied to the object..

Newton's Second Law
To change an object's state a Force must act on the object . Force is a quantity that acts on object to perform a task . For examples a pulling or pushing Force used to move the table. Force used to break a piece of wood

To make an object accelerates, a force must act on the object. This force is found to be proportional to the object's mass and acceleration:
 * F = m a

Newton's Third Law
When a force acts on an object, the object exerts an opposing force of equal magnitude but opposite direction to the force acting on the object.
 * F = - f = - m a

Newton's Fourth Law
The net force acting on an object at rest or in equilibrium is zero .

Newton's Law of Gravitation
The gravitational force of the Earth acts on any object above the earth is directly proportional to the mass of the Earth and the mass of the object and inversely proportional to the square of the distance between the Earth and the object.
 * $$F = G\frac{ mM }{r^2} $$

title: Physics Course/Newton's Laws