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Bicycles/Road Safety

This chapter is meant to cover safety while riding a bicycle on a road. For more information on general safety, including preparing for riding, please see the General Safety chapter.

Bicycle crashes
The first recorded bicycle accident is probably a collision in 1842, allegedly between Kirkpatrick McMillan, an early rider of the velocipede, and a young girl in Glasgow. The report, however, is vague and the identification disputed.

Causes of crashes vary according to local conditions. Research in the UK, based on hospital based samples, has found that 72% of cyclist accidents involved no other vehicle at all, and that 7% were claimed to be caused by motor vehicles. This contrasts with another analysis which found that between 60% and 85% of serious cyclist injuries are the result of negligence by a motor driver. A study conducted in 2000 by SWOV (Institute for Road Safety Research) in the Netherlands found that single bicycle accidents accounted for 47% of all bicycle accidents, collisions with obstacles and animals accounted for 12%, and collisions with other road users accounted for 40% (with the remaining 1% having unknown or unclassified cause).

This is what one would expect from thermodynamics; a cyclist only accident only provides a small amount of energy whereas a motor vehicle can provide a lot. The injuries are related to the energy available. Falling off and hitting obstructions tend to be relatively minor, usually not involving any hospital attention, so no appearance in the statistics. Motor vehicles add a lot of energy; even at very low speeds they can crush cyclists.

Defining danger
The boundaries are blurred due to cyclists' reputation for flouting the rules of the road. Some of this is deserved, some is not. In its Research Report 549 of 2003, the noted that: "A key finding which should be noted was that, when commenting on the scenarios it was usually the behaviour of the cyclist that was criticised – no matter how small the misdemeanour. Few links were made between the cyclist’s behaviour and any external influences that could be affecting their choice of behaviour; i.e. the respondents’ comments indicated that they thought the cyclist’s actions were inherent and dispositional behaviours. In contrast, the motorists’ misdemeanours were excused or justified in terms of the situational influences. As this tendency seemed to continue across the groups and the individual depth interviews and was unprompted, it is unlikely that group dynamics had any significant effect on this finding. [...] This aligns with the psychological prediction of targeting of members of an ‘out group’."

Defining safety
Although many accidents involve a cyclist alone, collisions whether accidental or not that also involve a motor vehicle put a cyclist in much greater danger and therefore account for a much greater number of serious injuries. A cyclist who is hit by a car is more likely to be killed than one who just falls off.

As long ago as the early 1930s there were efforts to clear cyclists off the roads to make way for private cars, then the preserve of the elite. These were successful in Germany, then an authoritarian regime, and spread during the war to German-occupied countries such as the Netherlands, but was resisted in other countries.

During the mid-part of the twentieth century, the traffic engineering response to the increased use of motor vehicles in the United Kingdom, as in the rest of the industrialised world, was to look for solutions which not only eased the passage of traffic through the streets, but which also protected vulnerable road users from the dangers of the motor car. In the 1940s, an influential proponent of this ideology was Herbert Alker Tripp, an assistant commissioner of London's Metropolitan Police. Tripp argued in his book Town Planning and Road Traffic that: "If we could segregate pedestrians completely from the wheeled traffic, we could of course abolish pedestrian casualties". This philosophy was also pursued by Colin Buchanan, his 1963 report for the UK Government Traffic in Towns, defined future government policy until the end of the century. Buchanan himself knew that segregation had not been proven to work in the case of cyclists, he famously wrote in his 1958 book Mixed Blessing "The meagre efforts made to separate cyclists from motor traffic have failed, tracks are inadequate, the problem of treating them at junctions and intersections is completely unsolved, and the attitude of the cyclists themselves to these admittedly unsatisfactory tracks has not been as helpful as it might have been".

Primary safety
The state of knowledge regarding primary safety has advanced significantly through education, but some vehicular cycling programmes remain controversial, such as Effective Cycling (US) and the development of Britain's new National Standards for cycle training. In addition to technical improvements in brakes, tyres and bicycle construction generally (for example, it is now rare for a chain to snap and throw the rider when accelerating away from a stop), there are well-understood behavioural models which actively manage the risk posed by others.

Most important among these is the understanding of road position.

Safe Cycling
Much of what is covered here will be found in the syllabus of a thorough cycling course. Cycle training has developed very considerably in the last couple of decades, and any new or returning cyclist, adult or child, is likely to benefit from formal training from an accredited instructor. At the very least it's worth riding out with an experienced "bike buddy" who can help you get started.

Road position
Best practice puts the cyclist's wheels more or less where the nearside wheels of the motor traffic would normally go (the "secondary riding position") or, at points of particular danger such as junctions and width restrictions, in the centre of the lane (the "primary riding position" or "taking the lane").

The majority, 73% according to UK data, of car/cyclist collisions occur at junctions or "junction type" locations. Analysis of T-junction and Roundabout collisions has indicated that failure to yield by entering motorists is a significant accident type. Other significant collision types involve turning-motorists failing to yield to oncoming cyclists and so-called "hook" or "overtake and turn" type maneuvers. Expert opinion has it that, having taken due account of the nature and speed of any following traffic, cyclists may best protect themselves from such collisions by adopting a prominent road position approaching junctions.

This has two functions: first, it places the cyclist where drivers are actively looking. Second, motorists must "overtake" so may be discouraged from simply driving past the cyclist and then turning across them. Similarly, away from junctions, a prominent position correctly communicates the space the cyclist needs and makes passing a matter of overtaking properly, rather than squeezing past. Additionally most minor injuries to cyclists, possibly up to 85%, result from simple falls. Arguably, keeping out from the curb also keeps the cyclist away from potential hazards such as drainage grates, gutters, potholes, roadside debris, loose gravel and glass etc. However, a sense of caution is required, what works in urban conditions for someone like a young adult sports-cyclist may not work for someone else who is less able or experienced. As with all road users, cyclists should try to exercise common sense and use gradual experience to build up to new traffic situations.

The advice on positioning contrasts with a lot of information historically given out in basic cycle training for children, and appears to conflict with the vehicle codes in a number of jurisdictions, which will often require a cyclist to ride as far into the gutter as possible. Many drivers also feel that a cyclist has no right to use the road, and that cyclists should be as close to the margin as possible so as not to interfere with their speedy passage. It is worth remembering that no highway code is intended to actively endanger life; the wording may be careless or possibly ignorant but should be interpreted as meaning as far toward the margin as is consistent with safety - and that might mean in the middle of the lane.

General Hazards
Never ride a cycle along the passenger side of a large vehicle, such as an HGV or bus. Exercise extreme care when you are passing vehicles of this type, particularly on the passenger side, if the driver decides to make a turn across your direction of travel you will be in a potentially fatal situation. According to the City of London cycling guide "over half of cyclist fatalities in the central London involve left turning lorries"

Try to avoid potholes where you can, but if you have to ride through them stand up on the pedals and take your weight off the saddle. This will reduce the strain on the wheels, the frame and your body, and also mean you don't lose as much speed. The same technique applies to cobbled streets or particularly bad road conditions. Experienced cyclists learn to negotiate potholes and rough patches with bunny hops or through a procedure known as "getting light". Getting light is essentially a bunny hop that does not leave the ground, but results in the wheels' being relieved of most of the rider's weight. Toeclips or clip-less pedals make all varieties of bunny hop much easier.

In very slippery conditions (e.g. snow, ice, mud or wet leaves), avoid using the front brake and rely on the rear to slow down. A front wheel skid will invariably result in the bike falling over.

Never trust motorists to obey the rules of the road. Most do, and you shouldn't be antagonistic towards them, but as much as possible you should ride in a way that prevents or minimizes harm from occurring should a motorist flout the rules. They are likely to survive a crash with a cyclist. The reverse is far less true.

Metal
Metal drain covers are often placed in the part of the road where cyclists ride, particularly at junctions. These become slippery in wet weather especially after a dry period when rubber particles and a film of oil have built up.

A variant on this is the drainage grating with slots that run parallel to the direction of travel. These can easily grab a cycle wheel and cause a crash. Waffle plates and other alternative bicycle-safe designs use holes that will not grab a bicycle wheel; best practice indicates that cyclists should in any case ride further out than the drainage grates.

Bridges usually have expansion joints. Some leave gaps large enough to grab a bicycle wheel. Most can be crossed safely, carefully, at an angle.

Railway tracks crossing the road combine polished metal surfaces and deep channels that can trap a wheel and throw the rider off the bike. When crossed perpendicularly they usually cause only a jolt, but tracks crossing the roadway at an angle are much more apt to grab the front wheel. The standard advice is to cross tracks at a right angle, or as near to a right angle as possible. Tram lines running parallel to the line of travel of cyclists require particular alertness. Whilst a bus or lorry driver can be prosecuted for dropping a bit of slippery oil, long slippery rails are inherent to the design of a tramway.

Speed bumps
Speed bumps used as traffic calming devices on public roads are designed according to an accepted standard and yet present some hazard to cyclists. Some of the desirable design features are a smooth transition from the road surface and a limited slope. Speed bumps on many roads and parking lots don't meet these standards, and are usually of a design which present a hazard to cyclists. One example is a bolt-on rubber speed bump with an abrupt edge that can cause a bicycle front wheel to turn sharply and eject the cyclist.

A UK spec speed table is particularly savage, constructed with flat paving brick tops and concrete slab slopes. This limits the speed at which a cyclist can approach, particularly with small wheels. Because of the sand core the paving surface is dislodged by heavy vehicles (buses, dust carts etc.) and the surface soon becomes uneven.

Slippery (Icy) Conditions
On very slippery surfaces, even a minor lean to one side can cause the whole bike to slip, and the biker to fall over. However, it is still possible to bike in these conditions. In fact, depending on the surface properties of the road or pathway, the likelihood of slipping into an accident on a bike is arguably less than that of in a car or on foot. However, a winter rider must do things differently than a summer rider.

First, the seat of the bike should be lowered so that both the rider's feet can touch the ground at the same time. This is done so that, if the bike does slip, then the rider can support the bike with his or her legs. Having both feet down creates a stable structure. Note that lowering the seat will make riding more difficult, as the rider cannot fully extend his legs when pedaling. Also, the rider should not use clipless pedals nor toe clips to ensure that the feet can quickly extend to the ground.

When biking in slippery conditions, it is sometimes recommended to use the rear brakes rather than the front ones. Note, however, that in non-slippery conditions, it is recommended that the front brakes are always used. The use of rear brakes in slippery conditions is for the same reason that cars have anti-lock brakes on their front wheels; since the front wheels are used for steering, then the rider/driver is unable to steer when these wheels lock up. Thus, it is recommended to only use the rear brakes when possible, in case the bike starts to slip and a course adjustment is necessary.

Lastly, studded tires are a wise investment in climates with prolonged slippery conditions. These tires add much-needed traction to the bike itself. In most locations with long winters, any reputable bike shop will sell studded tires.

Riding in the dark
Visibility is key to bicycle safety on shared roads in any circumstance, and this is especially true when cycling in the dark or at night. Ideally one should avoid or reduce the amount of time spent cycling at night, but this is not always possible, especially for commuter cyclists. If riding in the dark is unavoidable, stick to well lit areas and lower speed roads if at all possible.

Reflective devices such as reflective tape should be used at a minimum to enhance bicycle visibility when a light hits a bicycle. In addition to this measure, but not substituting it, forward, rear, and helmet mounted lamps should ideally be mounted to provide light for the rider, in addition to making the bike more visible to those when a light is not shining directly on it. Make your clothing part of your safety gear by wearing bright colored clothes. If possible wear a reflective vest or jacket.

Be on the look out for others at night, and give them a wide berth if possible. Be especially aware of drunk or tired drivers.

Braking
As a moving vehicle brakes, the vehicle applies a forward force on the road, and the road applies an equal and opposite backward force on the wheel. When braking a bike at maximum deceleration, all the force is transferred to the front wheel, and the rear wheel is on the point of lifting. It follows from this that the front brake provides more braking force than the rear. Many riders are reluctant to use the front brake fully for fear of going over the handlebars, and some old-fashioned training encouraged use of the back brake.

Modern direct-pull cantilever brakes (e.g. Shimano's V-brake) are very effective. Riders who are unfamiliar with these brakes might easily apply more brake force than intended and lose control. Novice or returning riders should learn how to brake properly using primarily the front brake. One exception, when rear brakes should be used over front brakes, is in very slippery road conditions. In these circumstances, if the front tire locks up (because of braking), then it will not be able to steer the bike, and a frontwheel slide can result. Using the rear brake allows the rider to steer while braking. Prudent riders practice braking and turning until they have a good feel for how the bike will handle under heavy braking. Cadence braking can help decide which brake to use; use as much brake force as you can get but without locking that wheel. On a well-maintained bike and having practiced properly it is very unlikely that a rider will go over the handlebars when braking, typically half a g (5m/s^2) which is more than the coefficient of friction between the tyre and a wet road.

Brakes generate heat. On long descents, or stopping from speed, this causes rim brakes to lose efficacy - this is known as brake fade (cars get this too). If the rider sits up straight, air resistance will provide much of the braking force, and the cycle will reach a limiting speed of under 25mph except on the steepest of roads. The rear brake can also be used to gently slow a descent. The front brake should be used in combination with the rear so as to avoid overheating either one. Disc brakes are less prone to fade, but it does happen.

Water degrades braking efficiency. Rim brakes in particular will not work until the rim is dry, potentially losing valuable seconds. Always brake early in wet weather, and if the roads have recently been dry watch out for oil lifted from the road surface. Steel rims become nearly frictionless when wet. When steel rims were the norm it was possible to buy leather brake blocks which worked in the wet; these are now hard to find. In practice the best thing to do with a steel rim may be to replace it with an aluminum one.

Cycle paths
Cycle paths have a checkered history. Standards of design, construction and maintenance vary widely.

Statistically, cycle paths have an indifferent safety record. This is largely a result of loss of priority and conflicts at junctions. In general, a cycle path reduces risk between junctions, but greatly increases danger at junctions. The balance of danger will depend on the frequency of junctions and other crossings. Width is also an issue: the minimum recommended width for a cycle path is around 2m, but some are very much narrower. Maintenance can also be patchy; glass and potholes are common. Shared-use facilities, shared with pedestrians, are generally considered to be least satisfactory.

On-road cycle lanes are also a mixed blessing. Some are well designed, and the advanced stop line (a section of road which allows cyclists to clear junctions ahead of motor traffic) is generally appreciated by cyclists. But some cycle lanes are too narrow, located in the door-zone of parked vehicles, disappear at the point of greatest danger, take the rider out of the line of sight at junctions, are ill-maintained or littered with debris. For the most part, road cyclists agree that the main carriageway is preferable both for visibility and because the passage of traffic sweeps away any debris.

title: Bicycles/Road Safety


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Talk:Bicycles/General Safety

You may want to use material from Transwiki:Bicycle safety. – Mike.lifeguard  | talk 00:37, 8 November 2007 (UTC)

Helmets Section
This is a discussion board for improving the helmet section of the General Safety chapter. Vitalen1 (discuss • contribs) 23:55, 28 February 2023 (UTC)

 * This section acts more as a persuasive essay than an informative one. Additionally, the reference used does not hold merit here. This should show the benefits of wearing a helmet; not open people's eyes about the realty of helmet psychology. Vitalen1 (discuss • contribs) 23:59, 28 February 2023 (UTC)

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

title: Talk:Bicycles/General Safety


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Cookbook:Niçoise Salad

Niçoise salad (pronounced ni-swaz) sometimes referred to as salade niçoise, is a type of French salad. As suggested by the name, it is a specialty of the region of Nice in France and is composed of raw vegetables, hard boiled eggs, anchovies and tuna, and olive oil.

Contrary to what is sometimes seen in restaurants, the classic niçoise salad does not contain rice, potatoes, cheese, pasta, or cooked vegetables.

Ingredients

 * 10 medium tomatoes
 * 1 large cucumber
 * 200 g small fresh broad (fava) beans or green beans
 * 12 small fresh artichokes, cut into rounds
 * 2 green bell peppers
 * 6 small white onions
 * 6 basil leaves, finely chopped
 * 1 garlic clove
 * 3 hard-boiled eggs
 * 12 anchovy fillets, or 300 g tuna steak
 * 100 g black olives
 * 1 handful of capers
 * Olive oil
 * Salt to taste
 * Pepper to taste

Procedure

 * 1) Cut the tomatoes in quarters and salt them lightly once. Cut the eggs into quarters or slices. Cut the anchovies into 3–4 chunks (if using tuna, cut into similarly sized pieces). Peel the cucumber and finely slice it. Cut the green peppers into thin rings, and do the same with the onions.
 * 2) Cut the garlic in two and rub the sides and bottom of a large salad bowl with it. Toss all the ingredients except the tomatoes into the bowl.
 * 3) Drain the tomatoes, re-salt lightly and add to salad. In a separate bowl, mix 6 spoonfuls of olive oil with the basil, pepper, and salt and pour over salad. Refrigerate before serving.

title: Cookbook:Niçoise Salad


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Cookbook:Khandvi (Rolled Chickpea Noodles)

Khandvi (in Gujarati) or surali chya vadya (in Marathi) is a famous Western Indian dish. It is similar to rolled pasta made from chickpea flour. It is savoured as a snack or as a starter and is extremely popular in Gujarat and Northwestern Maharashtra.

Batter

 * ½ cup besan (gram/chickpea flour)
 * 1 cup buttermilk (light variety if available, otherwise dilute with a 4 tablespoons of water)
 * 1 teaspoon ground ginger
 * ½ teaspoon turmeric
 * ½ teaspoon red chilli powder
 * Salt to taste

Garnish

 * 1 ½ teaspoons mustard seeds
 * 1 teaspoon sesame seeds
 * 15–20 curry leaves, slivered
 * 1 jalapeño, very finely diced
 * 1–2 tablespoons grated coconut

Procedure

 * 1) Combine the batter ingredients to make a smooth batter. Mix well with a whisk to ensure there are no lumps.
 * 2) Heat a wok or pan over medium-low heat, and add 2–3 teaspoons of oil.
 * 3) Add the batter to the wok. Begin stirring the batter continuously to prevent the formation of lumps during cooking. Continue stirring until the mixture thickens almost to a dough.
 * 4) Spread a small amount of the mixture on a greased surface to form a thin layer. Let cool, and try rolling it up. If you can't roll it up, the mixture needs to be cooked more.
 * 5) When the mixture is ready, quickly spread it in a very thin layer on a greased sheet. It should be thinner than a crêpe. Let cool.
 * 6) Cut the cooled layer into strips, and roll the strips up.
 * 7) Garnish with the mustard seeds, sesame seeds, curry leaves, jalapeño, and coconut.

Notes, tips, and variations

 * The spices can be adjusted according to taste.
 * If the batter mixture isn't cooked enough, it will not solidify enough to be rolled up. If it is overcooked, you will not be able to spread it very thinly, and the rolls will be thick.


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Taxation in the United Kingdom/Inheritance tax/Discretionary Trusts

How to use a Discretionary Trust Will to pay less Inheritance Tax in the UK.

Typically, most unmarried couples who make Wills leave everything to each other. That’s understandable, but it’s not always the best thing to do, and it could mean that the family loses out financially because of Inheritance Tax.

If your estate (your savings, house, possessions, any insurance policy payouts, etc) is worth over £312,000 (2008/09 figure), then Inheritance Tax is charged at the rate of 40% on any amount above this figure. If £312,000 sounds a lot to you, think again. Many people have considerable assets, especially if they own their home. A large number of couples now have a joint estate worth well in excess of the current Inheritance Tax threshold (IHT) of £312,000.

If an unmarried couple have made Wills leaving their estates to each other, they may have liitle or no tax payable on their estate when the first one dies. Potentially, a tax liability arises when the second partner dies. Without proper planning, a large inheritance tax bill can be incurred when the estate is finally passed on to the children. This means that your family and loved ones could lose a sizeable part of their inheritance – swallowed up by the taxman.

''Typically, for many couples, the situation works out like this. . .'' Mr White and Ms Green have an estate - including home, cash, investments, insurance payouts, etc, worth £500,000, jointly owned. They wish to give everything to the survivor when the first one dies, and on the second death, they wish everything to go to their children. Mr White dies first and leaves everything to his partner. Tax is not payable as his share of the estate, say, £200,000, is below the IHT threshold. The balance of his nil rate allowance (£112,000) is lost. A problem then arises when Ms Green dies. Tax is payable on Ms Green’s death as follows: Mr White’s assets of £200,000 pass to Ms Green on his death. On Ms Green’s death, all her assets (less tax) pass to their children. Tax is payable at 40% on amounts over £312,000, therefore Ms Green’s estate will incur a tax charge of £75,200. This means that their children will only receive £424,800. By giving everything to his partner in his Will, Mr White wasted the balance of his tax-free allowance of £112,000, and more tax was paid than was necessary.

Inheritance tax could be avoided by passing assets directly onto the children on Mr White's death. This way Mr White’s tax free allowance would be used but there is, of course, an obvious problem with doing things this way. Carrying out the provisions of the Will - giving Mr White’s share of the estate to their children – could leave Ms Green short of money. She may even have to sell their home, and her standard of living could suffer badly. She would also have no control over the money held by the children.

A better way of avoiding Inheritance Tax is to take advantage of a special tax saving technique called a Nil Rate Band Discretionary Trusts.

By incorporating a Nil Rate Band Discretionary Trust into his Will, Mr White can enable Ms Green to continue to benefit from their estate, while minimising - or even eliminating - inheritance tax. Essentially, this involves setting up a trust, which makes a loan to Ms Green.

Discretionary Trust Wills work by making use of the Nil-Rate band of both partners, rather than just that of the surviving spouse (as would normally be the case).

It works like this... First the couple need to ensure they jointly own all the assets, or have an fairly equal interest. Then Mr White puts his share of the estate into a trust which takes effect on Mr White’s death. A loan of the full value of his estate is made to Ms Green from the trust, in return for an I.O.U. from her; there is no interest on the loan, which will be paid off on her death. On Mr White’s death, Ms Green’s has access (via the loan) to the trust monies (Mr White’s estate) making her total assets equal to their original joint assets (i.e., £500,000)

On Ms Green’s death, her assets pass to her children and the loan is repaid out of her estate. Therefore, the total value of Mrs Green’s estate was £500,000. Less the I.O.U. for the original value of Mr White's estate (say 50%, or £250,000) from Mr White’s Trust, leaving Ms Green with a net estate of £250,000, which is at the Inheritance Tax threshold, therefore no tax is due.

The children, therefore, get £250,000 from Mr White’s Trust plus £250,000 from Ms Green’s estate. Because both these sums are below the Inheritance Tax threshold, there is no tax to pay. The children receive a total of £500,000 and the taxman receives nothing.

Using a Nil Rate Band Discretionary Trust has:

• Enabled the family to save over £70,000 in inheritance tax • Given Ms Green control over the assets of the partnership after the death of her partner • Enabled her to maintain her lifestyle (without having to sell major assets such as her home) • Maximised the amount of family wealth passed on to future generations. Setting up a Discretionary Trust Will takes a little more time and costs slightly more than an average Will, but for most people the advantages are overwhelming. There’s a lot to think about, this is just a simple guide and you really need to take professional advice.


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Transwiki:List of mnemonics for the cranial nerves

As the list is important to keep in mind during the examination of the nervous system, there are many mnemonic devices in circulation to help remember the names and order of the cranial nerves. Following is a list of such mnemonics:

Another to help remember the types of information these nerves carry (sensory, motor, or both) is thus:
 * OLd OPie OCcasionally TRies TRIGonometry And Feels VEry GLOomy, VAGUe, And HYPOactive
 * On Occasion Our Trusty Truck Acts Funny. Very Good Vehicle Any How.
 * On Old Olympus' Towering Tops A Friendly Viking Grew Vines and Hops
 * On Old Olympus' Towering Top A Finely Vested German Viewed A Hawk
 * On Old Olympus' Towering Top A Finn And German Viewed Some Hops
 * OLympic OPium OCcupies TRoubled TRiathletes After Finishing VEgas Gambling VAcations Still High
 * (Note that the Vestibulocochlear nerve is referred to by its former name, Auditory, in this mnemonic.)
 * Oliver the optimistic octopus trots triumphantly about facing audiences glossily vaguely spinning hippos.
 * (Note that the accessory nerve is referred to by its alternate name Spinal accessory nerve, and the Vestibulocochlear nerve by its former name, Auditory, in this mnemonic.)
 * Orange orangutans often try to avoid feeding angry gorillas very ancient hotdogs.
 * (Note that the Vestibulocochlear nerve is referred to by its former name, Auditory, in these mnemonics.)
 * On Old Olympus' Tufted Top A Fat Armed German Viewed An Hop
 * (Note that the Vestibulocochlear nerve is referred to by its former name, Auditory, in this mnemonic.)
 * Oh Oh Oh To Touch And Feel Very Good Velvet, Ah Heaven
 * Oh, Oh, Oh, To Touch And Feel Very Good Velvet. Such Heaven!
 * (Note that the accessory nerve is referred to by its alternate name Spinal accessory nerve in this mnemonic.)
 * Oh, Oh, Onward Through The Airy Facade Viewing Gorgeous Vixens Acessorizing Hopelessly
 * You have 1 nose, 2 eyes, and 3,4,6 makes my eyes do tricks!
 * On Occasion Of Parties, The Attractive Faces Are Girl Visitors. Say Hello!
 * Oh, Oh, Oh! Troops of Triumphant Abbots Faced Vested Glories by Vaguely Acceding to Hypnosis. (Has the advantage that the first 2-4 letters-after the "Oh's" are the same as the nerves.)
 * Some Say Marry Money, But My Brother Says Bad Business Marry Money.
 * Small Ships Make Money, But My Brother Says Big Boats Make More.
 *  Some Students Make More Bs More Boys Say Bs Bring More Master.
 *  Some Say Marry Money But My Brother Says Be Brave Marry Merry.
 *  Some Say Marry Money But My Brother Says Big BoobsMatter Most.


text:
Talk:Neurology and Neurosurgery

You may be able to use Transwiki:List of mnemonics for the cranial nerves as seed material. – Mike.lifeguard  | talk 00:57, 8 November 2007 (UTC)

title: Talk:Neurology and Neurosurgery


text:
Cookbook:Fried Chicken and Fried Potatoes

Ingredients

 * 8 lbs potatoes
 * ½ quart vegetable oil
 * 2 ½ lbs chicken, cut into small pieces
 * Salt to taste
 * Cumin to taste

Procedure

 * 1) Peel potatoes, and slice into small or large wedges.
 * 2) Heat oil in a pan to about 350°F. Fry potatoes in oil until they are light brown. Once done, salt the potatoes to desired level.
 * 3) Fry the chicken for about 5 minutes. Drain the oil or move the chicken to a different pan.
 * 4) Salt the chicken, add ¾ cup of water and let simmer for 15–20 minutes.
 * 5) Combine chicken and potatoes (potatoes on top).
 * 6) Add cumin and let simmer for about 20 minutes.


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Learn to Play Drums/Tuning Drums

Drum Tuning is the process of changing the tension of a drum head using a drum key or similar device. Drums are tuned when the heads are changed, when the head loosens over time, or when a certain tone or pitch is required. There are significant tuning relationships between the two heads on the same drum and also with the other elements of a drum kit.

Materials and Construction
When a drum head gets to the point that it cannot maintain a single tone or is disfigured, it is usually considered worn out and in need of replacement. Regardless of what of head type or kit quality, old heads that are past their best will not tune well. A reasonable rule of thumb might be a change of resonant heads with every third or fourth change of batter heads. Fresh heads give the best drum sound.

Single ply heads provide the best model for illustrating the overtones used in the tuning process. The same fundamental tuning principles are applied to all drums in a drum set, although kick drums and snare drums involve additional considerations.

Checking the integrity and condition of the drumshell
When the heads are off any drum it is a great opportunity to give it a check. Bearing edges and shell condition are the primary areas of concern as outlined below, however it is also a good idea to check the hardware, finish, and at the general condition of the drum.

The two factors which most affect the tunability and sound of the drum are the bearing edges and the shell.

Bearing edge
Strip the old heads and hoops off the drum to reveal both ends of the drumshell. The ‘bearing edges’ are the sharpened edges at the top & bottom of the shell over which the head is stretched. This edge normally has a 40-50 degree main angle and is offset toward the outer side of the shell; there is a long diagonal 'cut' towards the centre of the drum and a similar but much shorter cut on the outside. Some drum makers such as Brian Spaun cut a double 45 degree bearing edge with the 'peak' in the centre of the shell's width - they say this is for improved accuracy in tuning and purity of tone.

The bearing edge is critical to a drum’s sound as it is the only place on the drum that the head is in direct contact with the shell. It forms the boundary of the vibrating membrane and the vibration transfer point into the drum's shell. It can influence the character of that drum to a significant degree.

Flat spots, cuts, nicks or other damage to the bearing edge may cause any number of the following; overtones, harmonics, rings, buzzes or general difficulty in obtaining a single pure tone. The only standard exception to that rule is the resonant underside of a snare drum which has a shallow flattened snare bed cut into the bearing edge. This enables the cable or strip ties to hold the snares more closely to the head. The wires themselves muffle the snare's resonant head so the negative effects of a flattened edge are severely mitigated.

The bearing edge should be very definite and sometimes can be felt to be sharp; sharpness and hardness of material brings fragility. To check for damage, one should look closely at the edge. With eyes closed and running a finger around the edge. It should be smooth and even. If not, then examine the variation. Mark the damaged area lightly and continue checking around the drum.

Repairs to bearing edges are either straightforward or not, small areas of damage may be ignored, slightly larger ones could be carefully filled & sanded, if the edges are more severely damaged you will need to have them re-cut by a suitably equipped and experienced technician.

If the bearing edges are in acceptable condition, proceed with checking the shell for torsion before embarking on the re-heading process.

Torsion
When you have checked the bearing edges, place the drum on a surface that you know is level. Plate Glass or polished granite are recommended, but any flat surface is good enough for a quick check. Set the drum on the bearing edge and look at where it touches the table's surface. A ‘true’ drum will touch the surface at all points and no light should be seen coming through. It is surprising how many drums are out of true. What is commonly seen is torsion, a slight twist in the shell. It is most likely caused by the natural movement of the wood in the instrument over time but can be caused by being kept in an extreme environment.

Any drum where the shell depth is much narrower than the width, snare drums particularly, are particularly prone to Torsion and it is a significant problem. To repair it properly involves re-cutting the top and bottom of the drum so that it is square, and then re-routing the bearing edges, perhaps moving lugs and leaving extra holes. It's a drastic measure that should be avoided unless you are absolutely convinced it is necessary. For the most part torsion can and probably should be left alone, a less deep drum will be more prone to future distortion.

With torsion you may notice shorter sustain or a strong harmonic in comparison with the rest of your drums. This can be mitigated a little by the use of flanged (standard) hoops which are much more forgiving of shell inconsistencies than die-cast hoops. Sometimes the torsion has no audible effect, either way, consider the available options carefully before embarking on an expensive and destructive course of work, particularly on a favourite instrument. Sometimes there are things that just have to be tolerated, and sometimes things need to be retired gracefully.

Preparation and initial positioning
Assuming that you are content with the shape and condition of the shell from the previous section, place the batter head over the shell. Give it a spin and check that it moves freely around the drum. Orient the head so that it lies centrally on the drum and that the collar extends evenly beyond the bearing edge on all sides. Different drum manufacturers interpret the sizes 10" 12" etc., slightly differently, particularly with custom drums, expect the fit can feel tighter or more loose on different drumsets.

To give consistent reference point, orient the drum shell in the position you would see when you're playing the kit, position the logo on the heads at 12 o’clock which will normally match either the position of the manufacturers’ logo or the tom holder. Not only is this aesthetically pleasing but it also gives a marker for when you move around the drum during the tuning process.

Place the drumhoop over the head and lower the tension rods into the lugs. Check that each lug allows its tension rod to turn freely, sticky lugs can be a real pain, use some lug lube or graphite oil to loosen sticky lugs. Give the drum a small shake to ensure that everything is sitting freely and naturally.

Grip the threaded part of each rod and tighten clockwise until the washer just touches the hoop and no more, do not start to tighten the hoop down on top of the head yet, we are just making sure that everything is starting from an even position at this point. Re-check around the drum to ensure that everything is centralised and stable. Give it another shake.

Seating process
The order in which you tighten the lugs is important. Similar to tightening the wheels of a car, you must equalise the tension across the drum at all times, so you should work in small increments, back & forward across the drum. Depending on the number of lugs on the drum, you will normally have up to 6 pairs (12 lugs) to deal with; from a tuning perspective, the more tuning lugs there are, the more accurately the drum can be tuned.

Following the appropriate tensioning pattern for your drum as illustrated more examples at tunadrum, hand tighten both opposite lugs of pair one (lugs 1 & 2) simultaneously until you feel a slight resistance or bite, move to pair two (lugs 3 & 4) and continue with subsequent pairs turning them until you feel the same resistance. Return to pair one again and tighten again to a point of greater resistance, do this for the other tuning pairs in sequence 3 or 4 times around the instrument until you can't finger-tighten any more.

Tap the centre of the drum, do you hear a tone? This is the low end of the tuning range for that drum.

Using your fingertip, a drum stick or the end of your key, tap the head about 1” in from the rim at each lug point. You should hear the same low, flat tone at each node. If there are any variances, finger tighten the appropriate tension rod(s) to achieve a single tone. Because the lugs are already at finger-tight, pressing lightly on the hoop as you tighten will help.

Opposite lugs of each pair will deliver roughly the same tone as each other. Adjust each lug of a pair evenly to maintain even tension across and around the instrument.

Place your drum key(s) on each tension rod of pair one and rotate them through 180 degrees (a half turn), move around the drum following the pattern you have been using. When you have finished the last pair, check again for evenness of tone. This time you will notice a much more resonant tone. If the drum is in good condition, the tension rods move freely and you have been accurate in your tightening of the tension rods, you should have pretty much the same note at all the points around the drum but with a different timbre in the centre of the drum.

When one tuning point on the head is at a different pitch to those adjacent, you will find that the situation is mirrored at the opposite tension rod of the pair. If one pair is at a lower or higher pitch than all the others then you need to adjust the tuning at those lugs to bring them into line. At this point, very small turns at each lug can easily be too much. Move each lug of the pair by the same amount. If more than one pair are out of sync, aim for the purest note of them all. You will find that in doing this you raise the overall pitch of the drum and that other adjustments become apparent. Keep going until you have consistent tone, we're not concerned about pitch at this point just an even tension across the head.

When making tuning adjustments, you should tighten lugs instead of loosening them. Loosening requires the head to slip fractionally back over the bearing edge which is not always reliable. If you do need to detune, loosen to below the required note, press gently on the head and then tighten up to the desired pitch.

With the head evenly tuned, start at your '1' again and give each rod a further ½ turn using the key, after working your way around the drum, check for pitch in the centre and at each of the lug points; adjust as necessary. Repeat this procedure twice more with ½ turns and until the head is tuned above where you would normally tune that size of drum. . The glue in the head will probably be heard to crack on the way, this ‘settling’ and is perfectly natural and expected. The idea of this is to place tension through the head which is greater than the normal playing tensions, this sets up the drum for seating.

Seating
Seating for a drummer is similar to a guitar player 'stretching' new strings to ensure that they don’t de-tune drastically under playing conditions. It takes up slack across the drum head but in particular, it shapes the drum head to the bearing edge of the rim. The most common way of seating a head is to apply weight.

Place the drum on a solid surface or the floor. Put both hands (like CPR) in the centre of the drum and gently increase the weight on the head until it starts to take your full bodyweight, 'bounce' gently 2-3 times. (NB if you are a more substantial guy or gal, kneeling in front and leaning forward will suffice). The glue will very noticeably be heard to crack at this point if it has not done so already, this is normal.

The act of seating the head fulfils 2 critical functions.

 * It stretches the head so it doesn’t need constant re-tuning; and

 * It shapes the head to the bearing edge, thereby ensuring accurate and much easier tunability.

If you tap the head now you will find that the pitch will have lowered markedly from the pre-stretch tuning. Tune the head up once more to the higher pitch and re-apply your weight. This time it will have stretched less and should probably remain pretty close to being at the same pitch.

Having seated the head, loosen each pair of lugs in sequence by intervals of ½ a turn. Tune the head in the low tuning range again.

Tuning a drum's main batter head
Tuning the batter is similar to the process used to ensure even pitch across the head when seating. The main goal in this case is to match the heads' tension to create one single pure sustained tone. When beginning to tune, it is important to understand the different tones a drum creates. A vibrating head will create one fundamental tone and a number of overtones depending on the tension across the head, the difference of tension between the top and bottom heads, and the condition of the drum. Overtones can be deceptive, and confusion during drum tuning can often be attributed to confusing overtones and the fundamental tone.

Starting at the '1' point again, use ½ turns all around the drum, then ¼ turns, then gradually smaller turns of the key until you reach your desired pitch with the tensions pretty even across the drum.

Tap the drum in the centre and listen for how many tones you can hear. Tap at one of the lugs, is it the same as the centre? Yes is good, no means it needs to be adjusted. Work around the lugs to identify the worst offenders. You will probably re-adjust every single lug during this process.

Tap at each tuning point, 1” in from the rim and listen for the overtone mix. Some points may have one single clear note, others will be a mish-mash of tones. Listen carefully for modulations in the tone called 'beat frequencies', you will be able to hear the sound waves beating like 'wah-wah' oscillations or moving variations in the pitch.

Compare the pitch at this lug to the overall fundamental or to the pure-toned lugs that are your target. Using very small increments either loosen or tighten the lug. Just before you adjust, tap the tuning point on the head and listen to how the ‘beating’ of the waveforms changes as you turn the key. If they get faster / closer together then you are going the wrong way, if they slow down or 'flatten out' then you are going the correct way. Be sure to change each lug of the pair by equal amounts.

You may find that the waves get flatter and then start to become more active again, similar to tuning a guitar. This is because you have more lugs out of tune, just ensure that each pair has the flattest possible waveform and continue working around the drum adjusting the worst. This takes practise and the development of your 'ear', the more you do this, the better you will hear the beat frequencies and the better you will be able to tune the drum. You know that the drum is in tune when no matter where you hit the head you get one single solid resonant note that sustains.

Resonant heads
The resonant head is named according to its function. Although it is not struck, this head is critical to how your drums sound, affecting pitch, duration & movement or pitch bend of the sound.

Rest the drum with the top head face down and touching a small cloth or tissue. This stops the two heads resonating together when you want to hear only one.

The resonant head is fitted in exactly the same manner as the batter head and all the steps outlined above in seating should be followed. The real decisions come when you have to decide upon the relationship between the two heads defining the movement and duration of your drum’s sound and decay.

Relative head tensions
Both heads can be tuned to identical notes, this means that the vibrations moving through the column of air inside the cylinder are reflected back off the resonant head at the same frequency as they are generated at the batter head.

Tuning both heads the same gives you the optimum sustain and resonance, it is however perfect for playing live and unamplified as your drums will sing and cut through the music. **The other instruments provide all the muffling you need**.

A second option is to tune the resonant head to a higher pitch than the batter, this will give a slight pitch bend as the sound decays. This bend is caused by the vibrations of the resonant head being a different rate. It is not particularly discernible with toms 12” & smaller.

One of the features of tuning away from the same pitch as the batter head is a decrease in resonance. The higher or lower you take the bottom head the less resonant the overall sound becomes.

The final option is to tune the resonant head lower than the batter head. This gives a more noticeable bend and is very clear on larger toms. The pitching down of the resonant head serves to reduce the amount of resonance or duration of the tone.

Really, the best way to find out what works best for you tuning and 'dynamic' -wise is by experimentation. Try different situations with & without musicians or with different musicians, see how each tuning fits your playing styles. One kit can have a hundred voices if you have a drum key and a stock of heads.

Snare tuning
The snare's batter and resonant heads are seated and tuned according to the method outlined in the previous sections. The pitching of the snare batter head under normal conditions is completely the player's choice, I've heard it all. As a rule of thumb, look for a pitch which is not an octave or harmonic of one of the toms so as to avoid unnecessary sympathetic resonance.

Resonant (bottom) Head

The resonant head of a snare drum is much thinner than a batter side head - do not mix them up! This thin-ness is the key to a good snare sound. Because of the [usually] higher pitched nature of the drum and the presence of the snare cables, there is a degree of ‘choking’ inherent in a snare. Choking occurs in conditions where the drum is tuned so tightly that it is an inefficient resonator, in this rare case, this is an acceptable and desirable quality of the resonant head of a snare drum.

This proximity does however bring additional difficulties. If a snare resonant head were to be allowed to resonate freely, the snare wires would be constantly buzzing. I recommend that you tighten the **snare side 'head' high**, or as one of the regulars on the RMMP drumming newsgroup said ‘until it’s screaming for its lawyer’. There is more on this later (**do not make the snare 'wires' tight**)

To compensate for the dip in the bearing edge on the snare side which accommodates the snare bed, you should slacken off each of the tension rods on either side of the snare wires a further ¼ turn, this helps the snares sit lower against the drum skin and will help alleviate buzz. I have heard arguments to tighten also and have had varied results from both settings so the best advice is to adjust it until you get a sound that suits you!

Adjusting snare wires

We want to adjust those wires to (A) make them sound great and (B) minimise their rattling caused by other drums or instruments. Put the snare throwoff in the ‘off’ position and turn the strainer adjustment to about 75% loosened. Fix the snare wires to the throwoff & butt using cables or strips as supplied with the drum. Ensure that the snares hang cleanly away from the resonant head.

Engage the throwoff and adjust the tension so that the snares sound ‘mushy’. Keep tapping the centre of the drum and adjust the strainer by tiny increments until you hear it snapping cleanly against the head. Stop! This should still be just above ‘mushy’. The largest 'killer' of snare drum sounds is over tightening the snare strainer to try and offset unwanted vibrations.

Lets take a second to think about this. We have an instrument that works [in part] using the principles of resonance. We then go and put a really thin, ultra-sensitive drum head on this particular drum, ostensibly to help it become more sensitive, we then add some curly wires designed to vibrate against the ultra-sensitive head and then we complain when they start to do exactly what they are intended to do!

Sympathetic resonance

The final consideration is that of sympathetic resonance. This occurs when the fundamental tuned tone of one drum shares pitch with the fundamental or harmonic of another drum, another instrument or other sound. The effect is that the second drum starts to vibrate and sound itself. This is really noticeable with snares which buzz mercilessly, but I also experience it with my drumset toms in the studio. Another reason to tune your toms to a chord!

Tightening the snare wires will help to reduce the effect of resonances caused by other sources, but after a point it starts to make the whole drum sound lifeless, choked. On the other hand, under-tightening the snares will give you a drum with annoying buzzes from itself and from the drums and instruments around it -clearly the whole question that you should be considering is one of balance.

If you do find that a particular drum in your set is triggering the snare buzz, then that is something that you can tweak. You should try to eliminate it by changing the pitch of the snare and not the toms. Toms generally are tuned as a set to relative pitches with matched sustains, you don't want to readjust each tom. Using gut or sympathetic gut snares instead of wire snares can reduce the sympathetic buzzing.

Re-adjusting the tension on the snare wires also works within the parameters discussed above, but first you should try re-tuning the pitch of the snare batter head. Often 1/8 turn at each lug is sufficient, if you do tighten the snare side head, you will have to adjust the snare strainer to achieve the same degree of crispness as before.

Kick Drum Tuning
The kick drum is at the heart of a kit, it does not get even a fraction of the attention it deserves when it comes to tuning, pitching and treatment (muffling), yet it is the main pulse-giver that the rest of the music and your audience rely on.

The kick drum is tuned similarly to toms. Because the tension on a kick drum head is very low, it is not strictly necessary to seat it although I do seat them as a matter of habit.

Tuning the Kick batter

Hand-tighten the batter head and ensure even tension. Tighten in pairs until all the wrinkles have disappeared from the head and then give each tension rod a further ¼ turn or more to taste. You can tune somewhat higher which will give a tom-like sound. Jazz players may tension their kick drum heads to a higher pitch than is found in a kit tuned for general usage in other styles of music.

Kick Resonant (front) head

The resonant head operates in exactly the same manner as the resonant heads on your toms, thinking of a kick drum as a big tom will give a much greater understanding of how you set it up. Up until a few years ago, it was common for kick drums to be sold with huge holes in the front heads, the unfortunate effect of this was the loss of all resonance and warmth, a clicky sound. Contemporary kick drum heads have an offset circular 5”-6” hole, or no hole at all. A small offset hole preserves a lot of the resonance of the drum when compared to a large hole, but not as much as an intact head.

The main benefit of the hole is to allow a sound engineer to insert a microphone and it allows you to adjust your muffling, if you use any.

Tuning is similar to the batter head, just past wrinkles but then give each tension rod ¾ turn instead of ¼. Tune to personal preference. That extra tension compared to the batter gives extra tone to the drum which keeps the strokes musical, experiment and find out what suits you best.

Muffling
Some drummers muffle their drums using special drumheads like double-ply heads, "control ring" heads, and "hydraulic" heads, or various materials placed on the drumhead like o-rings, duct tape, muffling clamps, and a product called Moongel which is a blue, sticky, gel-like substance also used to dampen cymbals. Drummers may also place foam, pillows, or blankets inside the bass drum to reduce "boom" or ring, especially in recording environments.

Drum set tuning intervals
Drummers, have the habit of tuning their drums to particular musical intervals. This means that the distance (the interval) between the tuned note of one drum and that of another is recognisable and consistent. This does not mean that it is needed to tune to specific chromatic notes but rather that no matter where they choose to start, they can guarantee that the tonal relationship between one drum and its neighbour is constant from any starting pitch.

There are as many tuning opinions. The majority will centre around major chords and the diatonic major scale which is most usefully explained in terms of 'Solfege' or as Julie Andrews would say "do, re, mi, fa, so, la ti, do".

The relationship between do and mi is a third and do-so is a fifth. Playing those two notes together gives harmony as does playing all three together. This is known as a major triad. If you tune your drums to these intervals then rolls, flams on two toms and the general tonality of your kit will be harmonious and tuneful.

title: Learn to Play Drums/Tuning Drums


text:
Talk:Learn to Play Drums/Tuning Drums

* (cur) (last) 22:50, 5 November 2007 Bikinibomb (t | c) (+73) (→Preparation and initial positioning - links) (×) * (cur) (last) 22:49, 5 November 2007 Bikinibomb (t | c) m (+24) (→Torsion - link) (×) * (cur) (last) 22:48, 5 November 2007 Bikinibomb (t | c) (+23) (linked) (×) * (cur) (last) 22:46, 5 November 2007 Bikinibomb (t | c) m (+20) (→Bearing edge - linked) (×) * (cur) (last) 18:05, 5 November 2007 Bikinibomb (t | c) (+26) (add category) (×) * (cur) (last) 11:44, 5 November 2007 Bikinibomb (t | c) m (-2) (→Muffling - move dampen cymbal) (×) * (cur) (last) 11:43, 5 November 2007 Bikinibomb (t | c) (+30) (→Muffling - moongel cymbal use) (×) * (cur) (last) 11:41, 5 November 2007 Bikinibomb (t | c) (+25) (add references) (×) * (cur) (last) 11:31, 5 November 2007 Bikinibomb (t | c) (-3206) (→Muffling / Drum treatment - replaced POV material with sourced material) (×) * (cur) (last) 18:10, 2 November 2007 Duplicity (t | c) (-3) (Spelling errors) (×) * (cur) (last) 17:11, 2 November 2007 131.111.8.97 (t) (+1) (→Tuning a drum's main batter head) (×)[–] * (cur) (last) 17:10, 2 November 2007 131.111.8.97 (t) (0) (→Tuning a drum's main batter head) (×) * (cur) (last) 17:05, 2 November 2007 131.111.8.97 (t) (+1) (→Torsion) (×) * (cur) (last) 16:51, 1 November 2007 Jayron32 (t | c) (-62) (removed 1st person section, and it looks wikified to me. Still has WP:NOT#HOWTO problems...) (×)[–] * (cur) (last) 16:49, 1 November 2007 Jayron32 (t | c) (-2765) (→Another style of tuning, requires less maintenance - removed 1st person diatribe.) (×) * (cur) (last) 18:12, 30 October 2007 168.216.116.229 (t) (-1) (→Seating) (×) * (cur) (last) 03:26, 30 October 2007 Duplicity (t | c) (+42) (Wikified as part of the Wikification wikiproject!) (×) * (cur) (last) 18:18, 29 October 2007 Alexinnitro (t | c) (+85) (I briefly told a different technique for tuning toms on a drumset.) (×)[–] * (cur) (last) 18:14, 29 October 2007 Alexinnitro (t | c) (+2683) (I just told a different technique for tuning toms on a drumset.) (×) * (cur) (last) 17:01, 29 October 2007 170.66.1.155 (t) (+25) (→Bearing edge) (×) * (cur) (last) 14:11, 28 October 2007 Yzmo (t | c) (-83) (hmm) (×) * (cur) (last) 13:08, 28 October 2007 124.191.10.74 (t) (+1) (→Seating process) (×) * (cur) (last) 08:54, 27 October 2007 Mickthefish (t | c) (+83) (copied copyright notice to main page as well as being on the talk page) (×) * (cur) (last) 10:10, 26 October 2007 Bingbangbong (t | c) (+11) (→External links) (×)[–] * (cur) (last) 10:10, 26 October 2007 Bingbangbong (t | c) m (+112) (→External links - added link to original source of this entry) (×) * (cur) (last) 21:37, 22 October 2007 68.79.121.135 (t) (-3) (→Snare tuning) (×) * (cur) (last) 21:53, 21 October 2007 Wizardman (t | c) (-9) (Typo fixing, typos fixed: atributed → attributed, the the → the (2) using AWB) (×) * (cur) (last) 12:48, 18 October 2007 158.123.178.2 (t) (+28) (→Tuning a drum's main batter head) (×) * (cur) (last) 06:47, 30 September 2007 76.178.58.198 (t) (-145) (→Slang) (×) * (cur) (last) 20:17, 29 September 2007 SmackBot (t | c) m (+19) (Date/fix the maintenance tags or gen fixes) (×) * (cur) (last) 17:33, 29 September 2007 88.155.199.196 (t) (-4) (→Checking the integrity and condition of the drumshell) (×) * (cur) (last) 03:31, 17 September 2007 68.46.234.90 (t) (+21) (→Slang) (×) * (cur) (last) 03:20, 17 September 2007 69.244.217.238 (t) (-41) (→Slang) (×) * (cur) (last) 03:05, 17 September 2007 68.46.234.90 (t) (0) (→Slang) (×) * (cur) (last) 03:04, 17 September 2007 69.244.217.238 (t) (+22) (→Slang) (×) * (cur) (last) 03:02, 17 September 2007 68.46.234.90 (t) (-5) (→Slang) (×) * (cur) (last) 02:26, 15 September 2007 98.192.129.221 (t) (+3) (→Slang) (×) * (cur) (last) 00:04, 15 September 2007 68.46.230.218 (t) (0) (→Slang) (×) * (cur) (last) 22:53, 14 September 2007 71.203.97.175 (t) (-1) (→Slang) (×) * (cur) (last) 00:19, 14 September 2007 Deadlypker (t | c) (+148) (×) * (cur) (last) 08:43, 1 August 2007 74.196.181.71 (t) (-453) (→Relative head tensions) (×)[–] * (cur) (last) 08:42, 1 August 2007 74.196.181.71 (t) (-54) (→Muffling / Drum treatment) (×) * (cur) (last) 06:50, 29 July 2007 161.28.145.221 (t) (-102) (this article needs some serious help) (×)[–] * (cur) (last) 06:20, 29 July 2007 161.28.145.221 (t) (-17) (×) * (cur) (last) 15:25, 30 June 2007 76.226.30.57 (t) (+2) (→Drum set tuning intervals) (×)[–] * (cur) (last) 15:21, 30 June 2007 76.226.30.57 (t) (-5) (→Snare tuning) (×) * (cur) (last) 15:20, 30 June 2007 76.226.30.57 (t) (+94) (→Snare tuning) (×) * (cur) (last) 11:20, 17 June 2007 68.110.68.73 (t) (0) (→Muffling / Drum treatment) (×) * (cur) (last) 01:57, 10 June 2007 63.224.21.174 (t) (-22) (Undid revision 135442170 by 68.14.120.189 (talk)) (×) * (cur) (last) 00:52, 3 June 2007 68.14.120.189 (t) (+22) (→Snare tuning) (×)[–] * (cur) (last) 21:55, 2 June 2007 68.14.120.189 (t) (+4) (→Tuning a drum's main batter head) (×) * (cur) (last) 21:52, 2 June 2007 68.14.120.189 (t) (+3) (→Resonant heads) (×) * (cur) (last) 23:21, 21 May 2007 68.84.236.25 (t) (-327) (→Plan of Action) (×) * (cur) (last) 07:08, 12 May 2007 SummonerMarc (t | c) m (+14) (Disambiguate Pitch to Pitch (music) using popups) (×) * (cur) (last) 03:10, 12 May 2007 74.105.162.190 (t) (+1) (→Preparation and initial positioning) (×) * (cur) (last) 21:42, 1 May 2007 CmdrObot (t | c) m (0) (sp (2): an different→a different, an flattened→and flattened) (×) * (cur) (last) 14:18, 26 April 2007 Uncle G (t | c) (-320) (Replaced notice.) (×) * (cur) (last) 22:27, 23 April 2007 SmackBot (t | c) m (+5) (Date/fix the maintenance tags or gen fixes) (×) * (cur) (last) 13:01, 21 April 2007 Drummerdrum (t | c) m (31,256 bytes) (Spell Checking) (×) * (cur) (last) 02:56, 17 April 2007 65.0.14.148 (t) (→Torsion) (×)[–] * (cur) (last) 02:55, 17 April 2007 65.0.14.148 (t) (→Torsion) (×) * (cur) (last) 02:53, 17 April 2007 65.0.14.148 (t) (→Bearing edge) (×) * (cur) (last) 14:50, 3 April 2007 190.64.21.217 (t) (→Drum set tuning intervals) (×) * (cur) (last) 20:46, 19 March 2007 Lenin and McCarthy (t | c) (×) * (cur) (last) 08:09, 17 March 2007 72.128.5.48 (t) (→Muffling / Drum treatment) (×) * (cur) (last) 13:13, 13 March 2007 Lenin and McCarthy (t | c) (×) * (cur) (last) 23:08, 24 February 2007 Jeff3000 (t | c) m (Disambiguate Relationships to Causality using popups) (×) * (cur) (last) 04:05, 22 February 2007 Natevw (t | c) m (→The materials - fixed link so it's wiki-ish) (×)[–] * (cur) (last) 04:02, 22 February 2007 Natevw (t | c) (→The materials - edited this section to be more encyclopedic) (×) * (cur) (last) 09:35, 19 February 2007 Lenin and McCarthy (t | c) (beginning a much-needed rewrite. found the warning box off "Stronghold") (×) * (cur) (last) 00:47, 17 February 2007 90.241.11.11 (t) (→External links - converted link into hyperlink) (×) * (cur) (last) 21:02, 28 January 2007 Bingbangbong (t | c) (→Drum set tuning intervals - rewording of end paragraph, links added, no context edited but phrasing changed ) (×)[–] * (cur) (last) 20:53, 28 January 2007 Bingbangbong (t | c) (→Muffling / Drum treatment - minor text clarification, links ) (×) * (cur) (last) 20:42, 28 January 2007 Bingbangbong (t | c) m (→Kick Drum Tuning - minor text edit, links ) (×) * (cur) (last) 20:38, 28 January 2007 Bingbangbong (t | c) m (→Snare tuning - links) (×) * (cur) (last) 20:32, 28 January 2007 Bingbangbong (t | c) (→Tuning a drum's main batter head - adding links) (×) * (cur) (last) 20:14, 28 January 2007 Bingbangbong (t | c) (Page reverted - error in subsequent edit ) (×) * (cur) (last) 20:08, 28 January 2007 Bingbangbong (t | c) (→Relative head tensions) (×) * (cur) (last) 20:03, 28 January 2007 Bingbangbong (t | c) (→Seating process) (×) * (cur) (last) 19:54, 28 January 2007 Bingbangbong (t | c) (→Seating process) (×) * (cur) (last) 19:40, 28 January 2007 Bingbangbong (t | c) m (→Torsion) (×) * (cur) (last) 19:34, 28 January 2007 Bingbangbong (t | c) m (→Applying and seating the drumhead) (×) * (cur) (last) 19:32, 28 January 2007 Bingbangbong (t | c) (→Torsion) (×) * (cur) (last) 19:27, 28 January 2007 Bingbangbong (t | c) (→Bearing edge) (×) * (cur) (last) 19:17, 28 January 2007 Bingbangbong (t | c) m (→The materials) (×) * (cur) (last) 19:17, 28 January 2007 Bingbangbong (t | c) m (→The materials) (×) * (cur) (last) 19:10, 28 January 2007 Bingbangbong (t | c) m (→Basics and Objectives of Drum Tuning) (×) * (cur) (last) 19:01, 28 January 2007 Bingbangbong (t | c) m (→Bearing edge) (×) * (cur) (last) 18:50, 28 January 2007 Bingbangbong (t | c) m (→Plan of Action) (×) * (cur) (last) 18:49, 28 January 2007 Bingbangbong (t | c) m (→The materials) (×) * (cur) (last) 18:47, 28 January 2007 Bingbangbong (t | c) m (→Basics and Objectives of Drum Tuning) (×) * (cur) (last) 18:46, 28 January 2007 Bingbangbong (t | c) (→Resonant heads) (×) * (cur) (last) 00:54, 28 January 2007 Centrx (t | c) (Permission confirmation received; this needs to be made into descriptive, encyclopedic article and may warrant merging into the main article on the Drum set. Wikipedia is not a how-to site.) (×) * (cur) (last) 21:55, 22 January 2007 Rich257 (t | c) (copyvio, not surprisingly) (×) * (cur) (last) 21:51, 22 January 2007 SmackBot (t | c) m (Date/fix the maintenance tags using AWB) (×) * (cur) (last) 21:48, 22 January 2007 SuzanneKn (t | c) (×)[–] * (cur) (last) 21:44, 22 January 2007 SuzanneKn (t | c) m (moved How to tune a drum to Drum set tuning: better wikipedic name) (×) * (cur) (last) 21:42, 22 January 2007 SuzanneKn (t | c) (wikify) (×) * (cur) (last) 21:42, 22 January 2007 Bingbangbong (t | c) (→Checking the integrity and condition of the drumshell.) (×)[–] * (cur) (last) 21:40, 22 January 2007 Bingbangbong (t | c) (←Created page with '== How To Tune A Drum Set! == Tuning a drumset is something that few drummers know enough about! '''To not understand the principles and mechanics of what is g...')
 * (cur) (last) 22:52, 5 November 2007 Bikinibomb (t | c) (+24) (→Preparation and initial positioning) (×)[–]

title: Talk:Learn to Play Drums/Tuning Drums


text:
Talk:Learn to Play Drums

You may be able to use Transwiki:Drum set tuning – Mike.lifeguard  | talk 01:09, 8 November 2007 (UTC)

drum parts in relationship to notes?
Hi. i am a musicologist exploring the various fields and now it is my turn for the exploration of percussion and drum notation. The physical books although not simliar to the "internet tabs" are still needed on the countless basis of people alike, with or without disabilities, ETC. I have heard somewhere that say, the note B on the G-cleff means the hitting of either a cymbal or the high tomb (not quite sure which one) but anyone with the knowledge and express such relationsip into a chart?

72.188.180.87 (talk) 18:42, 23 March 2008 (UTC)

Formal Table of Contents/drum set introduction
Hey, I've just found this book and want to assist in its creation. A couple of quick ideas: -Organizationally, should we add a table of contents instead of having section titles be links? -I think a page on drum sets themselves would be useful; describing the parts, possibly different brands, etc, as a primer to the instrument itself before one attempts to play it.

Eeshwan (talk) 02:46, 14 November 2010 (UTC)

Book reorganization
Hello all. As this book seems to be updated very infrequently, I'm currently working on reorganizing its contents. Currently, it's difficult to navigate the book and easy to miss certain sections. My current progress is at User:Atallcostsky/sandbox. If anyone has any objections to changes I make, I'm happy to revert them. But, since this book doesn't seem to be edited very much, I figured it would be best if I just start making changes and see if anyone complains. Good day. Atallcostsky (discuss • contribs) 17:51, 13 March 2012 (UTC)

title: Talk:Learn to Play Drums


text:
Cookbook:Wow-Wow Sauce

| Sauces

Wow-Wow Sauce is a sauce, apparently created by Dr. William Kitchiner in the early 19th century. It contains port, wine vinegar, pickled cucumbers or Pickled Walnuts, English mustard and mushroom ketchup in a base of beef stock, flour and butter.

Ingredients

 * Butter
 * 1 tbsp flour
 * 1 cup beef broth
 * 1 tbsp vinegar
 * 1 tbsp mushroom ketchup and/or port wine
 * 1 tbsp prepared mustard
 * Parsley, finely chopped
 * 2–3 pickled cucumbers or walnuts, chopped

Procedure

 * 1) Put a piece of butter as big as an egg into a saucepan. When it is melted, stir in the flour and beef broth.
 * 2) Add vinegar, mushroom ketchup, and mustard. Simmer together until it is as thick as you wish.
 * 3) Add the parsley and pickles, and warm them through.

title: Cookbook:Wow-Wow Sauce


text:
Cookbook:Figgy Pudding

The history of figgy pudding dates back to 16th century England. The ancestor of figgy pudding (and plum pudding) is a medieval spiced porridge known as Frumenty. Today, the term figgy pudding is known mainly because of a popular Christmas carol. The carolers singing "We Wish You A Merry Christmas" mention it numerous times throughout the song. Currently figgy pudding is not very popular but is thought about during the holiday season. It is a British-style pudding, or dessert, resembling something like a white Christmas pudding. The pudding may be baked, steamed in the oven, boiled, or fried.

Ingredients

 * ½ cup butter
 * ½ cup vegetable shortening
 * 1 cup granulated sugar
 * 3 large egg yolks
 * 1 cup milk
 * 2 tablespoons rum extract (or flavored extract of your choice)
 * 2 apples, peeled, cored, and finely chopped
 * 2 pounds dried figs, ground or finely chopped
 * Grated peel of 1 lemon and 1 orange
 * 1 cup chopped nuts
 * ½ teaspoon ground cinnamon
 * ¼ teaspoon ground cloves
 * ¼ teaspoon ground ginger
 * 1 ½ cups dried bread crumbs
 * 2 teaspoons baking powder
 * 3 large egg whites, stiffly whipped
 * 1 strip of bacon, finely crushed (optional; New England variant)
 * 1 teaspoon of hard sauce, for drizzling

Procedure

 * 1) Preheat oven to 325 °F. Generously grease an oven-proof 2-quart bowl or mold; set aside.
 * 2) Cream together butter and shortening.
 * 3) Gradually add sugar, egg yolks, milk, extract, apple, figs, lemon and orange peel.
 * 4) Add next 6 ingredients, mixing well. Fold whipped egg whites into mixture.
 * 5) Pour into prepared bowl or mold, place into large shallow pan, and place on middle rack in oven.
 * 6) Fill the shallow pan half-full with boiling water, and slowly steam pudding in oven at 325 °F for 4 hours, replacing water as needed.

title: Cookbook:Figgy Pudding


text:
Cookbook:Jamaican Rundown

Jamaican rundown is a fish stew, often made with mackerel.

Ingredients

 * Salt mackerel
 * Coconut milk
 * Onions, chopped
 * Garlic, minced
 * Scallions
 * Tomatoes, chopped
 * Scotch bonnet chile pepper, seeded and chopped
 * Thyme
 * Vinegar
 * Pepper
 * Salt

Procedure

 * 1) To remove some of the salt from the mackerel, soak in water overnight or boil in hot water for 30 minutes. A combination both this can be done if the mackerel is still salty.
 * 2) Drain water off the mackerel and cut into small pieces.
 * 3) Combine coconut milk and water in a frying pan, and boil until it looks oily.
 * 4) Add the mackerel and cover the pot. Cook for 10–12 minutes on medium heat.
 * 5) Stir in the onion, garlic, scallion, tomatoes, scotch bonnet pepper, thyme, and vinegar.
 * 6) Add salt and pepper to taste
 * 7) Lower the heat and simmer for 10 minutes.
 * 8) Serve with green bananas, yams or dumplings.

title: Cookbook:Jamaican Rundown


text:
Cookbook:Dereniówka (Polish Dogwood Liqueur)

Dereniówka, is a type of Polish nalewka made from cornus mas (dogwood). It, among other nalewkas, were popular in noble manors of 17th CE Poland. Dereniówka belongs to the family of fruit nalewkas, such as orzechówka, wiśniówka, and porzeczkówka. These nalewkas usually contain sugar and/or honey and need to be macerated and aged longer than other kinds.

Ingredients

 * 200 g dried cornus alba fruits or pre-prepared Herbatka Podlaska dereniówka
 * Vodka (~45% alcohol)
 * 40 g white granulated sugar

Procedure

 * 1) Macerate the cornus alba fruits in vodka for 14 days. Shake the concoction daily.
 * 2) When the alcoholate is ready, remove the sediments and add the sugar.
 * 3) Let it clarify and rest for a while (several days only), and then it is ready for consumption.
 * 4) Serve at room temperature in 30 ml glasses.


text:
Transwiki:Job-seeking expense tax deductions

Generally, expenses related to the carrying-on of a business or trade are deductible from a U.S. taxpayer's adjusted gross income. For many taxpayers, this means that expenses related to seeking new employment, including some relevant expenses incurred for the taxpayer's education, can be deducted, resulting in a tax break, as long as certain criteria are met.

First, such costs must qualify as expenses, as contemplated by the U.S. tax code, and not as capital expenditures (generally, a capital expenditure is a cost associated with producing a benefit with a useful life of more than one year, such as a long-term investment). Second, if the cost qualifies as an expense, it may be deductible if it can be characterized as an "ordinary and necessary expense paid or incurred during the taxable year in carrying on any trade or business...." For purposes of the average taxpayer looking to deduct expenses related to seeking new employment, the relevant inquiry is whether the new position sought can be deemed to be "carrying on" the prior business or trade of that taxpayer, as costs associated with starting up a new business or trade are not immediately deductible and are subject to a special form of amortization.

Whether seeking new employment, and the costs associated therewith, can be deemed as "carrying on" a prior business or trade is fact- and context-specific. However, the IRS, with approval of the courts, has insisted on a high degree of sameness between the new position sought and the previous means of employment. This means that if substantial differences exist between the duties, tasks, and activities of the taxpayer's prior job and those of the job he now seeks, then the expenses incurred will be deemed to be start-up costs, and not subject to immediate deduction. Similarly, if the taxpayer has undergone a significant hiatus between the prior position of employment and the one now sought, expenses will not be considered "carrying on" the business or trade. Again, whether a hiatus would be considered significant is highly fact- and context-specific. The relevant inquiry here should be whether there is a "substantial lack of continuity." If the taxpayer terminated his previous employment with little indication of seeking a new position in the same profession, it is likely that time spent unemployed or employed in a different field would prevent the taxpayer from claiming that he was "carrying on" his prior business or trade.

The ability to deduct the costs of seeking new employment is a distinct advantage for many taxpayers, but one likely to be overlooked. To recap, a taxpayer may only deduct the costs associated with seeking new employment when that taxpayer is searching for a new employer in substantially the same profession. Further, a significant hiatus between jobs may bar claiming this type of deduction.

Caveat: This page is intended for informational purposes and does not constitute legal advice. Should a taxpayer choose to take advantage of this tax break (as one should), it is highly recomended that s/he consult the tax laws or a qualified professional for additional guidance.


text:
User:Businessman332211

Project Specific
This is a basic replication of my user page at wikipedia. Wikipedia is the main one I am active on, so I keep up with these others when I can. For a fresh user page see my user page on wikipedia (same name throughout all wiki projects).

Introduction
I spend a great deal of time on wikipedia and/or it's sister projects. I am not on all the time (obviously). I don't always get around to checking these sister projects. I am mostly active on wikipedia, and sometimes when I am in the mood or have something specific I want to do I am active on there sub-wiki projects). If you need something urgent please leave it on my talk page for wikipedia, even if it's something for this project I don't mind getting talks about it.  I have a login for each project so I can go back and forth as I choose.  If you need anything feel free to visit my wikipedia talk page and leave a message (same username).  Please specify what project it's about as most of my messages are related to wikipedia itself.

Also please note I only list the most important things in my watch list, and minor things I check manually from time to time. IF it's urgent, and you are wondering if it's in my watch list you can put it in my talk page and I will get back to you (normally within 24 hours if it's left on the wikipedia talk page.).

About Me
My name is Joyel and my profession is web developer/application developer. I freelance for a living, and continue to live off freelancing. I love my career and regular interval the internet (and wikipedia) to attempt to make my stand in society.

Hobbies
Here is a semi-comprehensive list of my hobbies:
 * Video Games
 * Reading
 * Writing
 * Anything Fantasy Related
 * Family Time
 * A few other things

Wiki Projects
These are wiki related projects I am a member of. Wikipedia is by far the primary one I am active on and other's I am just active on when I need to be, or have some extra time.

 * Wikipedia                   - Primary
 * Wiktionary                - Secondary
 * Wikibooks                  - Secondary
 * Wikiquote                  - Secondary
 * Wikisource                - Secondary
 * Wikimedia Commons     - Secondary
 * Wikimedia Incubator - Secondary
 * Wikispecies              - Secondary
 * Wikinews                    - Secondary
 * Wikiversity              - Secondary
 * Meta Wiki                 - Secondary

title: User:Businessman332211


text:
User talk:Businessman332211

General Explanation
I am a member of each and every wiki project (aside from the foundation wiki because it doesn't accept general members. I work MOSTLY off the english wikipedia but I am present on all of the sister projects from time to time. I do not always get on them all all the time.  Basically if you need anything that's halfway important about any of the wiki-projects, then please put them on my talk page (same username) for wikipedia.  I check these whenever i get some time to do extra work on one of the other wiki's.  It just depends on what I feel like doing and when I get some extra time for some of wikipedia's, sister projects. --Businessman332211 02:10, 8 November 2007 (UTC)

title: User talk:Businessman332211


text: User talk:Pan1987

title: User talk:Pan1987


title: User:Pan1987


text:
User:Arsenalfan

Hi I'm Arsenalfan. I'm a contributer on Wikibooks and a few other sister projects. On Wikibooks I have started up two books:
 * Google Services And Products
 * Historical timeline

title: User:Arsenalfan


text:
User:Xixtas/How many

 * I woke up.
 * I ate breakfast.
 * I walked to school.
 * I sat down in my seat.
 * I turned in my homework.
 * I listened to the teacher.
 * I went to gym class.
 * I went to lunch.
 * I played outside.
 * I walked home.
 * I ate dinner.
 * I did my homework.
 * I took a bath.
 * I brushed my teeth.
 * I went to bed.

title: User:Xixtas/How many


text:
Template:AY Master

  The Honor is  component of the  Master Award . / Master Award Master

title: Template:AY Master


text:
User:Xixtas/How many/I woke up

I woke up and looked around my room.
 * There were two beds.
 * There were two teddy bears on each bed.
 * Each teddy bear had two eyes.

Draw a picture of my room.
 * How many beds were there? ______
 * How many bears were there? ______
 * How many eyes were there? ______

title: User:Xixtas/How many/I woke up


text:
User:Xixtas/How many/I ate breakfast

I ate breakfast.
 * There were four plates on the table.
 * There were two eggs on each plate.
 * Each egg had one yolk.

Draw a picture of the breakfast table.
 * How many plates were there? ______
 * How many eggs were there? ______
 * How many yolks were there on the table? ______

title: User:Xixtas/How many/I ate breakfast


text:
Category:Book:Adventist Youth Honors Answer Book/Aquatic Master Award

To receive the Aquatic Master Award, earn any seven of the honors listed here.

/Master Awards


text:
Category:Book:Adventist Youth Honors Answer Book/Artisan Master Award

To receive the Artisan Master Award, earn any seven of the honors listed here.

/Master Awards


text:
Category:Book:Adventist Youth Honors Answer Book/Farming Master Award

To receive the Farming Master Award, earn any seven of the honors listed here.

/Master Awards


text:
Category:Book:Adventist Youth Honors Answer Book/Witnessing Master Award

To receive the Witnessing Master Award, earn any seven of the honors listed here.

/Master Awards


text:
Category:Book:Adventist Youth Honors Answer Book/Technician Master Award

To receive the Technician Master Award, earn any seven of the honors listed here.

/Master Awards


text:
Category:Book:Adventist Youth Honors Answer Book/Master Awards

These are the Master Awards currently available.


text:
Category:Book:Adventist Youth Honors Answer Book/Conservation Master Award

To receive the Conservation Master Award, earn any seven of the honors listed here. /Master Awards


text:
Category:Book:Adventist Youth Honors Answer Book/Health Master Award

To receive the Health Master Award, earn any seven of the honors listed here.

/Master Awards


text:
Category:Book:Adventist Youth Honors Answer Book/Homemaker Master Award

To receive the Homemaker Master Award, earn any seven of the honors listed here.

/Master Awards


text:
Category:Book:Adventist Youth Honors Answer Book/Naturalist Master Award

To receive the Naturalist Master Award, earn six of the following honors:  category=Adventist Youth Honors Answer Book/Naturalist Master Award/Options order=ascending namespace=0

And earn one of the following:  category=Adventist Youth Honors Answer Book/Naturalist Master Award/Core order=ascending namespace=0

/Master Awards


text:
Category:Book:Adventist Youth Honors Answer Book/Sportsman Master Award

To receive the Sportsman Master Award, earn any seven of the honors listed here.
 * Note: Only one of the Physical Fitness honors listed here may be counted.

/Master Awards


text:
Category:Book:Adventist Youth Honors Answer Book/Wilderness Master Award

To receive the Wilderness Master Award, earn any seven of the honors listed here.

/Master Awards


text:
Category:Book:Adventist Youth Honors Answer Book/Naturalist Master Award/Options

/Naturalist Master Award


text:
Category:Book:Adventist Youth Honors Answer Book/Naturalist Master Award/Core

/Naturalist Master Award


text:
Cookbook talk:Portuguese Feijoada

i live in brazil. i have never in my life seen a carrots and/or tomatoes cooked into a feijoada. FYI y'all

I'm portuguese and I also have never seen a feijoada made with tomatos or carrots... the beans used for the portuguese feijoada aren't black beans. These are usualy for the Brazilian variation.

title: Cookbook talk:Portuguese Feijoada


text:
Python Programming/Variables and Strings

In this section, you will be introduced to two different kinds of data in Python: variables and strings. Please follow along by running the included programs and examining their output.

Variables
A variable is something that holds a value that may change. In simplest terms, a variable is just a box that you can put stuff in. You can use variables to store all kinds of stuff, but for now, we are just going to look at storing numbers in variables.

This code creates a variable called, and assigns to it the integer number. When we ask Python to tell us what is stored in the variable, it returns that number again.

We can also change what is inside a variable. For example:

We declare a variable called, put the integer   in it, and verify that the assignment was properly done. Then, we assign the integer  to , and ask again what is stored in. Python has thrown away the, and has replaced it with. Next, we create a second variable, which we call, and put   in it. Now we have two independent variables,  and , that hold different information, i.e., assigning a new value to one of them is not affecting the other.

You can also assign the value of a variable to be the value of another variable. For example:

To understand this code, keep in mind that the name of the variable is always on the left side of the equals sign (the assignment operator), and the value of the variable is on the right side of the equals sign. First the name, then the value.

We start out declaring that  is , and   is. As you can see, you can pass several arguments to  to tell it to print multiple items on one line, separating them by spaces. As expected, Python reports that  stores , and   holds.

Now we create a third variable, called. To set its value, we tell Python that we want  to be whatever   is. (Remember: name to the left, value to the right.) Python knows that  is , so it also sets   to be.

Now we're going to take the  variable, and set it to the value of the   variable. Don't get confused — name on the left, value on the right. Python looks up the value of, and finds that it is. So, Python throws away 's old value, and replaces it with. After this assignment Python reports that  is ,   is  , and   is.

But didn't we say that  should be whatever value   is? The reason that  is still   when   is , is because we only said that   should be whatever   is at the moment of the assignment. After Python has figured out what   is and assigned that value to  ,   doesn't care about   any more. has a value now, and that value is going to stay the same no matter what happens to.

For the name of the variable, it can only consist of uppercase and lowercase letters (A-Z, a-z), digits (0-9), and the underscore character (_), and the first character of the name cannot be a digit. For example,  and   are not valid variable names, while   and   are valid variable names.

String
A 'string' is simply a list of characters in order. A character is anything you can type on the keyboard in one keystroke, like a letter, a number, or a backslash. For example, " " is a string. It is five characters long —,  ,  ,  ,. Strings can also have spaces: " " contains 11 characters: 10 letters and the space between " " and " ". There are no limits to the number of characters you can have in a string — you can have anywhere from one to a million or more. You can even have a string that has 0 characters, which is usually called an "empty string."

There are three ways you can declare a string in Python: single quotes, double quotes , and triple quotes. In all cases, you start and end the string with your chosen string declaration. For example:

You can use quotation marks within strings by placing a backslash directly before them, so that Python knows you want to include the quotation marks in the string, instead of ending the string there. Placing a backslash directly before another symbol like this is known as escaping the symbol.

If you want to include a backslash in a string, you have to escape said backslash. This tells Python that you want to include the backslash in the string, instead of using it as an escape character. For example:

As you can see from the above examples, only the specific character used to quote the string needs to be escaped. This makes for more readable code.

To see how to use strings, let's go back for a moment to an old, familiar program:

Look at that! You've been using strings since the very beginning!

You can add two strings together using the  operator: this is called concatenating them.

Notice that there is a space at the end of the first string. If you don't put that in, the two words will run together, and you'll end up with

You can also repeat strings by using the  operator, like so:

The string  gets repeated 5 times in the 1st example and 10 times in the 2nd.

If you want to find out how long a string is, you use the  function, which simply takes a string and counts the number of characters in it. ( stands for "length.") Just put the string that you want to find the length of inside the parentheses of the function. For example:

Strings and Variables
Now that you've learned about variables and strings separately, let's see how they work together.

Variables can store much more than just numbers. You can also use them to store strings! Here's how:

In this program, we are creating a variable called, and storing the string " " in it. Then, we just tell Python to print out whatever is inside the  variable. Notice that when we tell Python to print out, there are no quotation marks around the word  : this tells Python that we are using a variable, not a string. If we put in quotation marks around, Python would treat it as a string, as shown below:

Let's try something different. Sure, it's all fine and dandy to ask the user what they had for lunch, but it doesn't make much difference if they can't respond! Let's edit this program so that the user can type in what they ate.

To ask the user to write something, we used a function called, which waits until the user writes something and presses enter, and then returns what the user wrote. Don't forget the parentheses! Even though there's nothing inside of them, they're still important, and Python will give you an error if you don't put them in. You can also use a different function called, which works in nearly the same way. We will learn the differences between these two functions later.

In this program, we created a variable called, and put whatever the user wrote into it. Then, we print out a new string, which contains whatever the user wrote. Notice the extra space at the end of the " " string, and the exclamation mark at the start of the " " string. They help format the output and make it look nice, so that the strings don't all run together.

Combining Numbers and Strings
Take a look at this program, and see if you can figure out what it's supposed to do.

This program should take a number from the user, add 10 to it, and print out the result. But if you try running it, it won't work! You'll get an error that looks like this:

Traceback (most recent call last): File "test.py", line 5, in     print "If we add 10 to your number, we get " + plusTen TypeError: cannot concatenate 'str' and 'int' objects

What's going on here? Python is telling us that there is a, which means there is a problem with the types of information being used. Specifically, Python can't figure out how to reconcile the two types of data that are being used simultaneously: integers and strings. For example, Python thinks that the  variable is holding a string, instead of a number. If the user enters, then   will contain a string that is two characters long: a  , followed by a. So how can we tell Python that  should be a number, instead of a string?

Also, when printing out the answer, we are telling Python to concatenate together a string (" ") and a number. Python doesn't know how to do that -- it can only concatenate strings together. How do we tell Python to treat a number as a string, so that we can print it out with another string?

Luckily, there are two functions that are perfect solutions for these problems. The  function will take a string and turn it into an integer, while the   function will take an integer and turn it into a string. In both cases, we put what we want to change inside the parentheses. Therefore, our modified program will look like this:

That's all you need to know about strings and variables! We'll learn more about types later.

List of Learned Functions

 * : Print the output information to the user
 * or : asks the user for a response, and returns that response. (Note that in version 3.x   does not exist and has been replaced by  )
 * : returns the length of a string (number of characters)
 * : returns the string representation of an object
 * : given a string or number, returns an integer

Exercises

 * 1) Write a program that asks the user to type in a string, and then tells the user how long that string was.
 * 2) Ask the user for a string, and then for a number. Print out that string, that many times. (For example, if the string is  and the number is   you should print out  .)
 * 3) What would happen if a mischievous user typed in a word when you ask for a number? Try it.

Solutions

Quiz


text:
Python Programming/Basic Math

Now that we know how to work with numbers and strings, let's write a program that might actually be useful! Let's say you want to find out how much you weigh in stone. A concise program can make short work of this task. Since a stone is 14 pounds, and there are about 2.2 pounds in a kilogram, the following formula should do the trick:

$$m_{stone} = \frac{m_{kg} \times 2.2}{14}$$

So, let's turn this formula into a program!

Run this program and get your weight in stone! Notice that applying the formula was as simple as putting in a few mathematical statements:

Mathematical Operators
Here are some commonly used mathematical operators

Beware that due to the limitations of floating point arithmetic, rounding errors can cause unexpected results. For example:

For the Python 2.x series,  does "floor division" for integers and longs (e.g. 5/2=2) but "true division" for floats and complex (e.g. 5.0/2.0=2.5). For Python 3.x,  does "true division" for all types.

This can be fixed by putting a  around a normal division sign, because of a Python error causing round(0.5) to round down.

The operator  always performs Euclidean (or integer-type) division, which includes a quotient term (obtained from the   operator) and a remainder term (obtained from the   operator). In the previous example we have seen that the quotient term  is , which can be verified by extending the above example: The difference between the operations  and   when applied to decimal numbers is due to the way decimal numbers are stored in Python and rounding.

Order of Operations
Python uses the standard order of operations as taught in Algebra and Geometry classes at high school or secondary school. That is, mathematical expressions are evaluated in the following order (memorized by many as PEMDAS), which is also applied to parentheticals.

(Note that operations which share a table row are performed from left to right. That is, a division to the left of a multiplication, with no parentheses between them, is performed before the multiplication simply because it is to the left.)

Formatting output
Wouldn't it be nice if we always worked with nice round numbers while doing math? Unfortunately, the real world is not quite so neat and tidy as we would like it to be. Sometimes, we end up with long, ugly numbers like the following: What is your mass in kilograms? 65 You weigh 10.2142857143 stone.

By default, Python's  statement prints numbers to 10 decimal places. But what if you only want one or two? We can use the  function, which rounds a number to the number of decimal points you choose. takes two arguments: the number you want to round, and the number of decimal places to round it to. For example:

>>> print (round(3.14159265, 2)) 3.14

Now, let's change our program to only print the result to two decimal places.

This also demonstrates the concept of nesting functions. As you can see, you can place one function inside another function, and everything will still work exactly the way you would expect. If you don't like this, you can always use multiple variables, instead:

To learn about more formatting options, see section Formatting in chapter Input and Output.

title: Python Programming/Basic Math