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As the World Turns

As the World Turns (often abbreviated as ATWT) is an American television soap opera that aired on CBS for 54 years from April 2, 1956, to September 17, 2010. Irna Phillips created As the World Turns as a sister show to her other soap opera Guiding Light. With 13,763 hours of cumulative narrative, As the World Turns has the longest total running time of any television show. In terms of continuous run of production, As the World Turns at 54 years holds the fourth-longest run of any daytime network soap opera on American television, surpassed only by General Hospital, Guiding Light, and Days of Our Lives. As the World Turns was produced for its first 43 years in Manhattan and in Brooklyn from 2000 until 2010.

Set in the fictional town of Oakdale, Illinois, the show debuted on April 2, 1956, at 1:30 p.m. EST, airing as a 30-minute serial. Prior to that date, all serials had been 15 minutes in length. As the World Turns and The Edge of Night, which premiered on the same day at 4:30 p.m. EST, were the first two to be 30 minutes in length from their premieres. At first, viewers were indifferent to the new half-hour serial, but ratings picked up in its second year, eventually reaching the top spot in the daytime Nielsen ratings by fall 1958. In 1959, the show started a streak of weekly ratings wins that was not interrupted for over 12 years. The show switched to color on August 21, 1967, and expanded from a half hour in length to one hour daily starting on December 1, 1975, when The Edge of Night moved to ABC. In the year-to-date ratings, As the World Turns was the most-watched daytime drama from 1958 until 1978, with some ten million viewers tuning in each day. At its height, core actors such as Helen Wagner, Don MacLaughlin, Don Hastings, and Eileen Fulton became nationally known. Wagner, Hastings, and Fulton are also three of longest serving actors in the history of American soap operas.

The show passed its 10,000th episode on May 12, 1995, and celebrated its 50th anniversary on April 2, 2006. On September 18, 2009, As the World Turns became the last remaining Procter & Gamble-produced soap opera for CBS after Guiding Light aired its final episode on the network.

On December 8, 2009, CBS announced it was canceling As the World Turns after a run of almost 54 years due to low ratings. The show taped its final scenes on June 23, 2010, and with a dramatic storyline finale, its final episode aired on September 17, 2010. Reruns of The Price Is Right, Let's Make a Deal, and The Young and the Restless took over the As the World Turns time slot between September 20 and October 15, 2010, for four weeks. On October 18, 2010, CBS replaced As the World Turns with a new talk show called The Talk.

Premise

As the World Turns was the creation of Irna Phillips, who, beginning in the 1930s, had been one of the foremost creators and writers of radio soap operas. As a writer, Phillips favored character development and psychological realism over melodrama, and her previous creations (which included Guiding Light) were especially notable for placing professionals – doctors, lawyers, and clergy – at the center of their storylines. Phillips wrote: "As the world turns, we know the bleakness of winter, the promise of spring, the fullness of summer, and the harvest of autumn—the cycle of life is complete."

And so it was with As the World Turns, with its slow-moving psychological character studies of families headed by legal and medical professionals. The personal and professional lives of doctors and lawyers remained central to As the World Turns throughout its run and eventually became standard fare on many soap operas. Whereas the 15-minute radio soaps often focused on one central, heroic character (for example, Dr. Jim Brent in Phillips' Road of Life), the expanded 30-minute format of As the World Turns enabled Phillips to introduce a handful of professionals within the framework of a family saga.

Phillips' style favored gradual evolution over radical change. Slow, conversational, and emotionally intense, the show moved at the pace of life itself – and sometimes even more slowly than that. Each new addition to the cast was done in a gradual manner and was usually a key contact to one of the members of the Hughes family. As such, the show earned a reputation as being quite conservative, though the show did showcase a gay male character in 1988. During the show's early decades, the content-related policies of its sponsor Procter & Gamble Productions may have contributed to the perception of conservatism. The household products-manufacturing giant typically frowned on storylines in which adultery and other immoral behavior went unpunished and, as late as the 1980s, characters from the primary families were still generally not allowed to go through with abortions.

Notable history and accomplishments
As the World Turns premiered on April 2, 1956. It was the first television daytime drama with a 30-minute running time; all daytime dramas until then had 15-minute running times.

The series was also CBS's first to expand to a 60-minute running time in 1975. By 1958, the program was the number-one daytime drama in the United States, where it remained until 1978. As the World Turns won the Daytime Emmy for Outstanding Drama Series four times in 1987, 1991, 2001, and 2003.

Helen Wagner
The first words spoken in As the World Turns in the first episode (aired on April 2, 1956) were "Good morning, dear", said by the character Nancy Hughes, played by actress Helen Wagner.

Wagner was acknowledged by the Guinness Book of Records for having the longest run in a single role on television, a position she held until 2010. She did not play the role without interruption - she was temporarily dropped from the series after the first six months due to conflicts with creator Irna Phillips. Wagner also left the series in 1981, when she felt that writers were not interested in the veteran players and returned as a regular character in 1985.

On the episode broadcast on Monday, August 30, 2010, it was revealed that Nancy had died in her sleep; the next day's episode dealt with Nancy's memorial service. Nancy Hughes's memorial aired just two weeks before the series finale. The show's producers stated in interviews that they had to revise their plans for the final episode because of Wagner's death – they had hoped that Wagner would say the final lines of the last episode just as she had said the first words of the first episode.

Crossovers
Several crossovers have been made between As the World Turns and other serials:

 * 1962
 * The character Mitchell Dru (Geoffrey Lumb) was brought to Oakdale after the cancellation of the Procter and Gamble soap The Brighter Day. The same character (and actor) was then transferred to a new P&G soap, Another World, shortly after its premiere in 1964. Another World was originally conceived by Irna Phillips to be a spin-off series of As the World Turns. Like several other characters from Another World, Mitchell Dru "crossed over" for one or more performances on the first Another World spin-off, Somerset, which premiered in March 1970.
 * 1965
 * The character Lisa Miller Hughes (Eileen Fulton) was used as the basis to create a primetime spinoff soap Our Private World, (CBS's attempt to duplicate the success of rival network ABC's Peyton Place), with Lisa leaving Oakdale and moving to Chicago, where she married wealthy John Eldridge, but had an affair with his brother Thomas. Though Our Private World only lasted a few months, and Fulton returned to As the World Turns in early 1966, after taking a few months off, remnants of Lisa's time on Our Private World were resurrected 26 years later, when it was revealed in 1992 that Lisa had had a son off-camera, hitherto unknown to viewers, before returning to As the World Turns in 1966. Her son Scott Eldridge tracked her down as an adult and remained on As the World Turns for several years.
 * 1999–2003
 * Shortly after NBC canceled Another World on April 12, 1999, with the series finale that aired on June 25 of the same year, the characters of Cass and Lila Winthrop (Stephen Schnetzer and Lisa Peluso), and Jake and Victoria McKinnon (Tom Eplin and Jensen Buchanan) crossed over to As the World Turns briefly. Jake and Vicky intended to move to Oakdale, but Vicky was soon killed off in September 1999, then appeared as a ghost to Jake and Molly from November 2000 to February 2001. Cass only appeared on a recurring basis through 2003 (usually whenever anyone in Oakdale needed an attorney other than resident lawyer Tom Hughes), and Jake (Tom Eplin) remained as a regular on the series until his character was killed off in 2002. Cindy Brooke Harrison (Kim Rhodes) also had minor appearances in 2000 and 2001. Vicky's mother and twin sister, Donna (Anna Stuart) and Marley (Ellen Wheeler, who at the time also directed episodes of As the World Turns), made recurring appearances from 2000 to 2002, and left the show when they gained custody of Jake and Vicky's twin daughters after Jake's death. There were also plans to have a now-teenage Steven Frame (Vicky's son with Jamie Frame) come to Oakdale and live with Jake, but the character was reconceived as teenage Bryant Montgomery, the son of As the World Turns couple Craig and Sierra.

Since 2005, a number of characters have crossed back and forth between As the World Turns and The Young and the Restless:

 * 2005
 * As the World Turns: At the request of Oakdale, Illinois, District Attorney Jessica Griffin, Michael Baldwin (Christian LeBlanc) traveled there to serve as the attorney for Jack Snyder (Michael Park) in a custody hearing involving his late wife Julia Larabee's son, JJ. (April 4 – 05, 2005).

The irony in his appearance in the above-mentioned episodes is that 20 years before, LeBlanc left the role of Kirk McColl, the youngest son of Lisa's fifth husband, Whit McColl (played by Wagon Train star Robert Horton, who was killed off shortly before Fulton's return to the show). So, to many long-time fans of both As the World Turns and The Young and the Restless, seeing LeBlanc as the character from the latter show was weird. History was also made during LeBlanc's appearance on As the World Turns, since both shows are made by different production companies (Bell Dramatic Serial Company for The Young and the Restless; Procter and Gamble for As the World Turns), although they are on the same network.

On December 8, 2009, CBS canceled As the World Turns after almost 54 years, with the series finale airing on September 17, 2010, making it the last Procter & Gamble soap opera to end.
 * 2007
 * The Young and the Restless: Amber Moore (Adrienne Frantz) called on her friend Alison Stewart (Marnie Schulenburg) to help trick Cane Ashby (Daniel Goddard) into marriage. After Amber drugged Cane, Alison dressed up as him for the wedding service.  (February 22, 2007)
 * The Young and the Restless: Emily Stewart (Kelley Menighan Hensley) traveled from Oakdale, Illinois, to Genoa City, Wisconsin, in search of information on her sister, Alison Stewart (Marnie Schulenburg).  Emily met with Amber Moore (Adrienne Frantz) at the Crimson Lights Coffeehouse, but Amber denied knowing Alison's whereabouts.  After Emily was gone, Amber placed a call to Alison as a heads-up.
 * 2009–10

President Kennedy's assassination
On November 22, 1963, the live CBS broadcast of As the World Turns began as always, at 1:30 EST. In this episode, the Hughes family was discussing plans for Thanksgiving. Ten minutes later, a "CBS News Bulletin" slide suddenly appeared on the screen and Walter Cronkite gave the first report of shots being fired at the motorcade in which President Kennedy was travelling.

"Here is a bulletin from CBS News: in Dallas, Texas, three shots were fired at President Kennedy's motorcade in downtown Dallas. The first reports say that President Kennedy has been seriously wounded by this shooting. More details just arrived. These details about the same as previously: President Kennedy shot today just as his motorcade left downtown Dallas. Mrs. Kennedy jumped up and grabbed Mr. Kennedy, she called, 'Oh no!'. The motorcade sped on. United Press says that the wounds for President Kennedy perhaps could be fatal. Repeating, a bulletin from CBS News: President Kennedy has been shot by a 'would-be assassin' in Dallas, Texas. Stay tuned to CBS News for further details."

At the end of this bulletin, CBS rejoined As the World Turns which was still in progress. The cast, performing the episode live, was not yet aware of the rapidly-developing situation. However, just before Don Hastings and Henderson Forsythe began the third scene of the show, Hastings overheard cameraman Phil Polansky talking to the control room through a headset: "Don't tell the actors what? The President's been shot?" The actors received their cues and began the scene while Walter Cronkite was in the midst of reporting further information from Dallas. CBS then returned to the show in the middle of the third scene, which would be the last regular program viewed by the television audience that day. During the commercial break that followed, the "CBS News Bulletin" slide appeared again and Cronkite resumed with audio-only reports of the developments in Dallas until the top of the hour when CBS News was ready to go on the air with video. Once the episode came to a close with Eileen Fulton in the final scene, the cast was finally informed of the news.

As NBC and ABC, the other two major U.S. TV networks, were not programming in that timeslot then (the 1:30–2:00 ET period belonging to their local affiliates), As the World Turns has the distinction of being the last regular U.S. network program broadcast for the next four days as the assassination and funeral of President Kennedy and the transition of power to President Lyndon B. Johnson took center stage.

Broadcast history
As the World Turns enjoyed a virtually uninterrupted reign as the highest-rated soap from 1958 to 1978, tying for first place with NBC Daytime's Another World (1973–1974, 1977–1978) and Days of Our Lives (1973–1974). By the mid-1960s, it was so firmly entrenched that its strongest competition, Let's Make a Deal, despite developing a devoted fan base in its own right and becoming one of daytime's most popular game shows, could not come close to matching it in the Nielsens.

Its strength was such that ABC ran hour-long drama reruns in the 1:00–2:00 pm. (noon–1:00 Central) slot in the mid-1960s and NBC, after losing Deal to ABC in 1968, ran a total of eight shows, all short-lived (with the exception of Three on a Match, which lasted three years), against As the World Turns and Let's Make a Deal from that point until 1975.

As that year began, Another World was expanded to 60 minutes, with its first hour-long episode airing on January 6, 1975. Although this did not directly affect As the World Turns, as the two shows were not in competition for anything other than the overall ratings win, CBS' afternoon lineup suffered some ratings damage as the popular soap put a dent in the ratings of two popular afternoon game shows, The Price Is Right and Match Game. NBC, pleased by the success that the expansion of Another World had brought to the network, elected to do the same thing with Days of Our Lives beginning on April 21, 1975; this put Days of Our Lives and As the World Turns in direct competition for ratings. Incidentally, the expansions were occurring six and a half years after the last two 15-minute serials, Search for Tomorrow and The Guiding Light, expanded to 30 minutes.

CBS considered expanding As the World Turns and Search for Tomorrow to 45 minutes (eliminating the timeslot during which stations broadcast local or syndicated programs), but eventually decided to expand As the World Turns, its front-runner in the ratings battle, to a full-hour length. Initially, in order to free up the necessary 30 minutes to do so, CBS returned The Price Is Right, which had been paired with Match Game for the previous two years as part of the network's successful 3 p.m. game show block, to the morning. However, CBS changed course and decided that it would also attempt an expansion of Price to 60 minutes; this meant that, if the plans to expand As the World Turns were to go as anticipated, CBS would need to cancel a program to free up that 30 minutes of airtime it needed.

At the time CBS was having ratings trouble with The Edge of Night. Procter & Gamble had demanded that CBS give the serial the 2:30 p.m. slot following The Guiding Light in 1972, moving it from the 3:30 p.m. slot it had held since 1963. This decision proved to be a grave mistake. The Edge of Night, which had a much younger and more male-centric audience than almost any other serial on television when the move was made, lost a large portion of its audience, especially to NBC's The Doctors, at the height of its popularity at the time. In addition, the rest of CBS' drama lineup was performing well in the ratings and the network could not move the long-running serial to another timeslot without risking preemption from local affiliates, which would almost certainly have driven ratings even lower.

At the same time, ABC expressed interest in picking up The Edge of Night for its own lineup as it had been interested in carrying a P&G-produced serial for some time, supplementing its in-house productions. An agreement was struck between CBS, Procter & Gamble, and ABC to get the necessary 30 minutes for the As the World Turns expansion. CBS would not renew The Edge of Night once its contract was up, Procter & Gamble would move the serial to ABC, and thus As the World Turns could go ahead with its expansion.

A major issue arose that halted the planned shuffle, however. CBS was contracted to air The Edge of Night until December 1975, and ABC had no place in its schedule to put it at the time. This forced CBS to temporarily postpone expanding As the World Turns and keep The Edge of Night until ABC could find a timeslot for it. Finally, in November, ABC agreed that The Edge of Night would join its lineup on December 1, replacing the game show You Don't Say! at 4:00 p.m. (closer to its pre-1972 timeslots) and keeping the serial's continuity intact. And thus, As the World Turns became CBS' first 60-minute daytime serial.

The first half of the newly-expanded show continued to perform well against Let's Make a Deal on ABC, which the network moved to the noon/11 a.m. timeslot within four weeks of the expansion. The second half put As the World Turns in competition with ABC's most-popular game show, The $10,000 Pyramid, which had done well against Guiding Light since the network moved it to 2:00 p.m. in December 1974 and kept doing so against As the World Turns. Although the expansion was not a complete success, at the end of the season, the serial was again at the top of the daytime Nielsens, despite a 1.4-point drop from the year before.

Although the eventual hit game show Family Feud ran against As The World Turns from July 12, 1976 until April 22, 1977, it did not become a hit for ABC until its move to the mornings. Only when ABC made its first move to a one-hour soap with All My Children did trouble really begin for As the World Turns and NBC's ( Days of Our Lives), since ABC kept that serial's starting time at 1:00/noon, meaning that fans of that serial who tuned to NBC or CBS would miss the last half of that day's storyline (or, contrariwise, would not, if they watched until the mid-program commercial break and then changed channels, pick up the As the World Turns or Days of Our Lives activities from the episode's beginning, since ABC strategically placed its break several minutes after, rather than exactly at, the bottom of the hour). Further, All My Children's emphasis on youth-oriented, sexier storylines provided a sharp contrast to the domestic, almost quaint tone of As the World Turns (and to a lesser degree, the melodramatic, somewhat topical Days). On January 16, 1978, ABC ballooned its decade-old One Life to Live to the 2:00 PM/1:00 p.m. starting time, compounding the other networks' headaches. These factors helped contribute to the fall of As the World Turns from the top spot in the ratings at the end of the 1978-79 season. After finishing the previous season tied with Another World for number one in the Nielsens, As the World Turns fell to fourth behind All My Children, General Hospital, and The Young and the Restless.

On February 4, 1980, CBS moved and expanded The Young and the Restless to a full hour after the cancellation of the long-tenured Love of Life. The Young and the Restless moved from noon/11:00 a.m. to 1:00 p.m./noon (the former affiliate break timeslot) and As the World Turns was bumped up to 2:00/1:00 p.m. and Guiding Light to 3:00/2:00 p.m. On June 8, 1981, As the World Turns returned to its traditional 1:30/12:30 p.m. start time with Search for Tomorrow following at 2:30/1:30 p.m. and The Young and the Restless leading off the serial lineup at either noon/11:00 a.m. or 12:30 p.m./11:30 a.m. (depending on affiliate preference).

As the World Turns remained at 1:30/12:30 p.m. until March 20, 1987, when CBS cancelled the five-year-old Capitol in favor of The Bold and the Beautiful. CBS scheduled it at 1:30/12:30 p.m., and finally settled As the World Turns at 2:00/1:00 p.m., where it remained until its final network episode in September 2010. Although facing the full length of Another World and One Life to Live once again, the Douglas Marland era of 1985 to 1993 had a resurgence in ratings, and by 1991, it was back in its once-habitual top-four placing. As the World Turns survived NBC's cancellation of its sister series Another World in 1999.

Cancellation and final episode
On December 8, 2009, CBS confirmed that it would not renew As the World Turns. The final CBS episode was taped on June 23, 2010, at JC Studios in Brooklyn, and aired on September 17, 2010. The final scene included Kim Hughes (Kathryn Hays) telling Bob Hughes (Don Hastings) to take as much time as he needed. After he put his nameplate in his briefcase, Bob said the show's final line, "Good night", and left Oakdale Memorial Hospital for the last time, at which point the globe started spinning before the final fade-out.

Ratings
Series ratings

One example of the drastic change in daytime television can be found in the following:
 * Daytime history: Highest rated week (November 16–20, 1981)
 * (Household ratings- Nielsen Media Research)

1995 ratings

As the World Turns spent a record-breaking 20 years on top of the Nielsen ratings for American daytime soap operas, from 1958 to 1978. It would retain this record until The Young and the Restless broke it in 2008 when it remained #1 for 21 years and counting.
 * Years as #1 series

Record low: 1,773,000 viewers on December 25, 2009 (Nielsen Media Research)

1956-1957 season
 * 1. The Guiding Light 11.4
 * 7. As the World Turns 8.4 (Debut)

1957-1958 season
 * 1. The Guiding Light 10.1
 * 6. As the World Turns 8.4

1978-1979 season
 * 1. All My Children 9.0
 * 4. As the World Turns 8.2

1979-1980 season
 * 1. General Hospital 9.9
 * 6. As the World Turns 7.9

1980-1981 season
 * 1. General Hospital 11.4
 * 5. As the World Turns 7.9

1981-1982 season
 * 1. General Hospital 11.2
 * 5. As the World Turns 7.4 (tied with The Young and the Restless)

1982-1983 season
 * 1. General Hospital 9.8
 * 5. As the World Turns 7.6

1983-1984 season
 * 1. General Hospital 10.0
 * 6. As the World Turns 7.9

1984-1985 season
 * 1. General Hospital 9.1
 * 6. As the World Turns 7.1 (tied with Days of Our Lives)

1985-1986 season
 * 1. General Hospital 9.2
 * 7. As the World Turns 6.7

1986-1987 season
 * 1. General Hospital 8.3
 * 4. As the World Turns 7.0 (tied with All My Children and Days of Our Lives)

1987-1988 season
 * 1. The Young and the Restless 8.1 (tied with General Hospital)
 * 6. As the World Turns 6.6

1988-1989 season
 * 1. The Young and the Restless 8.1
 * 6. As the World Turns 6.4

1989-1990 season
 * 1. The Young and the Restless 8.0
 * 5. As the World Turns 5.8

1990-1991 season
 * 1. The Young and the Restless 8.1
 * 4. As the World Turns 5.9

1991-1992 season
 * 1. The Young and the Restless 8.2
 * 3. As the World Turns 5.8 (tied with General Hospital)

1992-1993 season
 * 1. The Young and the Restless 8.4
 * 4. As the World Turns 5.7

1993-1994 season
 * 1. The Young and the Restless 8.6
 * 5. As the World Turns 5.8

1994-1995 season
 * 1. The Young and the Restless 7.5
 * 7. As the World Turns 5.1

1995-1996 season
 * 1. The Young and the Restless 7.7
 * 7. As the World Turns 4.4

1996-1997 season
 * 1. The Young and the Restless 7.1
 * 6. As the World Turns 4.4

1997-1998 season
 * 1. The Young and the Restless 7.0
 * 6. As the World Turns 4.1

1998-1999 season
 * 1. The Young and the Restless 6.9
 * 6. As the World Turns 3.8

1999-2000 season
 * 1. The Young and the Restless 6.8
 * 6. As the World Turns 3.8

2000-2001 season
 * 1. The Young and the Restless 5.8
 * 6. As the World Turns 3.3

2001-2002 season
 * 1. The Young and the Restless 5.0
 * 5. As the World Turns 3.5

2002-2003 season
 * 1. The Young and the Restless 4.7
 * 7. As the World Turns 2.9

2003-2004 season
 * 1. The Young and the Restless 4.4
 * 6. As the World Turns 2.9 (tied with One Life to Live)

2004-2005 season
 * 1. The Young and the Restless 4.2
 * 7. As the World Turns 2.6

2005-2006 season
 * 1. The Young and the Restless 4.2
 * 5. As the World Turns 2.7

2006-2007 season
 * 1. The Young and the Restless 4.2
 * 7. As the World Turns 2.1

2007-2008 season
 * 1. The Young and the Restless 4.0
 * 3. As the World Turns 2.4

2008-2009 season
 * 1. The Young and the Restless 3.7
 * 7. As the World Turns 1.9

2009-2010 season
 * 1. The Young and the Restless 3.7
 * 7. As the World Turns 1.8

Schedule
CBS:
 * April 2, 1956 – November 28, 1975: 1:30–2:00 PM (12:30–1:00 PM, CT/PT)
 * December 1, 1975 – February 1, 1980: 1:30–2:30 PM (12:30–1:30 PM, CT/PT)
 * February 4, 1980 – June 5, 1981: 2:00–3:00 PM (1:00–2:00 PM, CT/PT)
 * June 8, 1981 – March 20, 1987: 1:30–2:30 PM (12:30–1:30 PM, CT/PT)
 * March 23, 1987 – September 17, 2010: 2:00–3:00 PM (1:00–2:00 PM, CT/PT)

Crew at cancellation

 * Writing Team: Jean Passanante, Lloyd Gold, Leah Laiman, Cheryl Davis, Susan Dansby, David A. Levinson, Gordon Rayfield, Dan Mooney, Gigi Swift, Janet Iacobuzio, Josh Griffith
 * Producing Team: Christopher Goutman, Carole Shure, Jennifer Schacor, Vivian Gundaker, Sarah Shaker, Sonia Blangiardo
 * Directing Team: Michael Eilbaum, John O'Connell, Jennifer Pepperman, Matthew Griffin, Maria Wagner, Habib Azar, Sonia Blangiardo, Ian Toporoff, Christopher Goutman, Michael Kerner, Carol Sedwick, Janet Andrews, James Kowal, Brian Lydell, Jennifer Blood, Nancy Barron, Alexandra Roalsvig, Brett Hellman
 * Casting Director: Mary Clay Boland

International broadcast
In South Africa, As the World Turns aired on SABC2 from June 2010 to February 2012 from 14:10 to 15:00 each weekday. Episodes were four years behind the original U.S. broadcast. In Canada, As the World Turns aired on ONtv, and, later, Global Television Network, and on NTV in Newfoundland and Labrador. In Jamaica, As The World Turns started airing on Television Jamaica Monday to Friday 1:00pm beginning in 2011. In Belize, As the World Turns was seen on Great Belize Television at 2:00 pm Central Time, usually the same day as the U.S. telecasts. In New Zealand, As The World Turns was aired on TVNZ 1 from 1962 to 1989. In Australia, As The World Turns was aired on Network Ten first at 1.30 pm, then moved to 5:00pm before ultimately being dropped entirely in 1987. In the Netherlands, As The World Turns was very popular and aired for more than 20 years. From 1989 till its cancellation, it was the best watched daytime soap. In 2010 Terri Conn, Martha Byrne, Marnie Schulenburg, Trent Dawson, Grayson McCouch and Van Hansis visited the Netherlands and were special guests at the "Farewell ATWT" meeting. Elizabeth Hubbard even guest-starred in the Dutch soap "Goede Tijden, Slechte Tijden" for a while, after the cancellation of ATWT.

InTurn
In 2006, CBS launched a reality show called InTurn on their broadband channel innertube, the winner of which would go on to receive a 13-week acting contract on As the World Turns. The eventual winner of InTurn was Alex Charak, an 18-year-old "Student/Pizza Transportation Artist" from New York. Charak made his debut as the character Elwood Hoffman on September 26, 2006. A one-hour "best-of" show aired on CBS on November 24, 2006.

CBS launched InTurn 2 in the summer of 2007. For the new season, the age restrictions expanded to allow for middle-aged viewers to participate, and there were nine competitors instead of eight. The winner of the second season was Ryan Serhant, a recent graduate of Hamilton College. Serhant made his debut in the contract role on November 7, 2007. He plays Evan Walsh IV, son of Evan Walsh III. He is a young hotshot biochemist prodigy who comes home to Oakdale to try to convince Craig Montgomery to invest in the cutting edge biomedical tech field. He began taping on September 24, 2007, two days after the close of his off-Broadway play Purple Hearts.

Inturn 3 began airing in April 2008 and featured 17 episodes.

Writers Guild of America Awards

 * 2007 "Best Daytime Serial" Written by Jean Passanante, Leah Laiman, Christopher Whitesell, Courtney Simon, Anna Cascio, Lisa Connor, Paula Cwikly, Hogan Sheffer, Judy Tate, Bettina Bradbury, Richard Culliton, Susan Dansby, Judith Donato, Josh Griffith, Elizabeth Page, Melissa Salmons, Charlotte Gibson; CBS Daytime

Daytime Emmy Awards
As the World Turns won 43 Daytime Emmys:

Show

 * 1987 "Outstanding Drama Series"
 * 1991 "Outstanding Drama Series"
 * 1993 "Outstanding Directing Team"
 * 1999 "Outstanding Original Song" (tied with General Hospital)
 * 2001 "Outstanding Drama Series"
 * 2001 "Outstanding Writing Team"
 * 2002 "Outstanding Writing Team"
 * 2003 "Outstanding Drama Series"
 * 2004 "Outstanding Writing Team"
 * 2005 "Outstanding Achievement in Casting for a Drama Series"
 * 2005 "Outstanding Writing Team"
 * 2007 "Outstanding Directing Team"

Individuals

 * 1984 "Outstanding Supporting Actor in a Drama Series" Justin Deas (Tom Hughes)
 * 1984 "Outstanding Lead Actor in a Drama Series" Larry Bryggman (Dr. John Dixon)
 * 1985 "Outstanding Juvenile Male in a Drama Series" Brian Bloom (Dusty Donovan)
 * 1986 "Outstanding Supporting Actor in a Drama Series" John Wesley Shipp (Doug Cummings)
 * 1987 "Outstanding Ingenue in a Drama Series" Martha Byrne (Lily Walsh)
 * 1987 "Outstanding Supporting Actor in a Drama Series" Gregg Marx (Tom Hughes)
 * 1987 "Outstanding Lead Actor in a Drama Series" Larry Bryggman (Dr. John Dixon)
 * 1988 "Outstanding Ingenue in a Drama Series" Julianne Moore (Frannie Hughes/Sabrina Hughes)
 * 1990 "Outstanding Juvenile Male in a Drama Series" Andrew Kavovit (Paul Ryan)
 * 2001 "Outstanding Supporting Actress in a Drama Series" Lesli Kay (Molly Conlan)
 * 2001 "Outstanding Lead Actress in a Drama Series" Martha Byrne (Lily Walsh Snyder/Rose D'Angelo)
 * 2003 "Outstanding Supporting Actor in a Drama Series" Benjamin Hendrickson (Hal Munson)
 * 2004 "Lifetime Achievement Award" Eileen Fulton (Lisa Grimaldi)
 * 2004 "Lifetime Achievement Award" Don Hastings (Bob Hughes)
 * 2004 "Lifetime Achievement Award" Helen Wagner (Nancy Hughes)
 * 2004 "Outstanding Supporting Actress in a Drama Series" Cady McClain (Rosanna Cabot)
 * 2006 "Outstanding Younger Actress in a Drama Series" Jennifer Landon (Gwen Norbeck Munson)
 * 2007 "Outstanding Younger Actress in a Drama Series" Jennifer Landon (Gwen Norbeck Munson)
 * 2007 "Outstanding Lead Actress in a Drama Series" Maura West (Carly Tenney Snyder)
 * 2008 "Outstanding Younger Actress in a Drama Series" Jennifer Landon (Gwen Norbeck Munson)
 * 2010 "Outstanding Supporting Actress in a Drama Series" Julie Pinson (Janet Ciccone Snyder)
 * 2010 "Outstanding Lead Actress in a Drama Series" Maura West (Carly Tenney Snyder)
 * 2010 "Outstanding Lead Actor in a Drama Series" Michael Park (Jack Snyder)
 * 2011 "Outstanding Lead Actor in a Drama Series" Michael Park (Jack Snyder)

Other awards
In 2010, As the World Turns was nominated for a GLAAD Media Award for "Outstanding Daily Drama" during the 21st GLAAD Media Awards.

American daytime television firsts

 * In 1988, the serial made American daytime television history by introducing its first gay male character, Hank Elliot (played by Brian Starcher).
 * In 2007, Luke Snyder and Noah Mayer (played by Van Hansis and Jake Silbermann, respectively) shared the first gay male kiss on American daytime television. They formed a relationship and became the first gay male couple on American daytime television, consummating their relationship on January 12, 2009.

Supercouples

 * Jeff Baker and Penny Hughes
 * Bob Hughes and Kim Sullivan
 * Tom Hughes and Margo Montgomery
 * Steve Andropoulos and Betsy Stewart
 * Holden Snyder and Lily Walsh
 * Jack Snyder and Carly Tenney
 * Luke Snyder and Noah Mayer
 * Will Munson and Gwen Norbeck

Television
On Saturday Night Live, a skit called "As World Turn" was created in 1989.
 * On the TV series Tom & Jerry Kids, while Tom watches Nine Lives to Live, Jerry changes it to As the Cheese Turns.
 * In the 1960s–'70s The Carol Burnett Show featured a recurring sketch called "As the Stomach Turns", a parody of As the World Turns and soap operas in general.
 * On All in the Family, Edith Bunker would occasionally mention wanting to watch The Secret Storm, but after that soap opera was canceled, she would later mention As the World Turns as a viewing preference.
 * In the pulp series The Destroyer #22 "Brain Drain" by Warren Murphy and Richard Sapir, it was revealed that Chiun is a big fan of the soap opera As the Planet Revolves and constantly sits glued in front of the television to catch the broadcast.
 * Children's television network Nickelodeon once featured a series of shorts entitled As Our School Bus Turns, with the (actually unconnected) episodes taking place aboard a school bus. Each episode would end with a stereotypical soap opera cliffhanger.
 * In 1993, the PBS children's show Mister Rogers' Neighborhood featured a parody soap opera in the Neighborhood of Make-Believe called "As the Museum Turns", starring Lady Elaine Fairchild of the Museum Go Round.
 * The show is mentioned in Mad Men in Season 2: 'A Night to Remember', set in 1962. The character Joan Holloway tells a client of Sterling Cooper, Maytag, they should buy airtime for ads, as she has read the scripts for the show and knows the show will get popular.
 * The Muppets character dog Doctor Rowlf in Veterinarians Hospital was inspired by Doctor Bob Hughes.
 * In an episode of SpongeBob SquarePants, "The Masterpiece". Squidward watches the soap opera called "As the Tide Turns"

Music

 * In 1999, Eminem recorded the song "As the World Turns" as part of his album The Slim Shady LP.

DVD release
In October 2011, SoapClassics released a four-DVD collection of 20 selected episodes, marking the first time that any As the World Turns episodes were available on any recorded medium. The oldest episode on the collection dates from September 29, 1979, while the latest episode was from April 10, 2010.

In November 2011, a Christmas in Oakdale DVD was released, celebrating five Christmas episodes from the show. The featured Christmases are 1985, 1992, 1995, 2000 and 2007.

A "CarJack" collection was also released, celebrating supercouple Carly and Jack in 10 of their most memorable episodes.

The Holden and Lily Story collection had 10 of their most memorable episodes.

Farewell to Oakdale had the final 10 episodes of the series.

The James Stenbeck Story collection had 10 of his most memorable episodes.

The "As the World Turns - The Wedding of Bob and Kim" DVD collection contained 10 episodes which aired April 2–15, 1985 that featured the bachelor party, the wedding ceremony, and the reception of Bob Hughes and Kim Sullivan, as played by Don Hastings and Kathryn Hays. This collection was only available online.

title: As the World Turns


text:
The Men Behind the Wire

"The Men Behind the Wire" is a song written and composed by Paddy McGuigan of the Barleycorn folk group in the aftermath of Operation Demetrius. The song describes police raids in Northern Ireland by British security forces during the Troubles, and the "men behind the wire" refers to those interned without trial at HM Prison Maze, HM Prison Magilligan and onboard HMS Maidstone.

The song was recorded by the Barleycorn in Belfast (produced by Billy McBurney) and pressed in Dublin by Release Records in December 1971. After its release on 14 December the song shot into the Irish charts, selling far more copies than any other single until then released in Ireland, and remained in the charts for months. It reached #1 position in the Irish charts on 22 January 1972, where it remained for three weeks. After a gap of one week it returned to #1 for two weeks on 15 February. Royalties from the recording were donated to families of the internees.

The song was subsequently recorded by many singers and bands in Ireland and abroad, including the Wolfe Tones, Liam Clancy and the Flying Column. British singer/songwriter Dido in her song "Let's Do the Things We Normally Do" from the album Safe Trip Home used a few lines from this song. This included the lyrics "Armoured cars and tanks and guns, came to take away our sons. But every man must stand behind, the men behind the wire."

Covers

 * The Barleycorn Live at the Embankment Release DRL 2004 LP (1972)
 * The Clancy Brothers Save the Land (1972)
 * Ray McAreavy on compilation The Men Behind the Wire (R & O Records, 1972)
 * The Wolfe Tones on their first album, ''Let the People Sing" (1973)
 * Patsy Watchorn on Irish Republican Jail Songs (re-released 2001)
 * The Devil's Advocates on Snipers In Derelict Houses (1999, Triage Records)
 * Steve Coogan performed a version of the song on the BBC as Irish doppelgänger Martin Brennan from Sligo on episode 4 of the television programme This Time with Alan Partridge.

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

title: The Men Behind the Wire


text:
Tweeter

A tweeter or treble speaker is a special type of loudspeaker (usually dome, inverse dome or horn-type) that is designed to produce high audio frequencies, typically up to 100 kHz. The name is derived from the high pitched sounds made by some birds (tweets), especially in contrast to the low woofs made by many dogs, after which low-frequency drivers are named (woofers).

Operation

Nearly all tweeters are electrodynamic drivers using a voice coil suspended within a fixed magnetic field. These designs operate by applying current from the output of an amplifier circuit to a coil of wire called a voice coil. The voice coil produces a varying magnetic field, which works against the fixed magnetic field of a permanent magnet around which the cylindrical voice coil is suspended, forcing the voice coil and the diaphragm attached to it to move. This mechanical movement resembles the waveform of the electronic signal supplied from the amplifier's output to the voice coil. Since the coil is attached to a diaphragm, the vibratory motion of the voice coil transmits to the diaphragm; the diaphragm in turn vibrates the air, thus creating air motions or audio waves, which is heard as high sounds.

Modern tweeters are typically different from older tweeters, which were usually small versions of woofers. As tweeter technology has advanced, different design applications have become popular. Many soft dome tweeter diaphragms are thermoformed from polyester film, or silk or polyester fabric that has been impregnated with a polymer resin. Hard dome tweeters are usually made of aluminium, aluminium-magnesium alloys, or titanium.

Tweeters are intended to convert an electrical signal into mechanical air movement with nothing added or subtracted, but the process is imperfect, and real-world tweeters involve tradeoffs. Among the challenges in tweeter design and manufacture are: providing adequate damping, to stop the dome's motion rapidly when the signal ends; ensuring suspension linearity, allowing high output at the low end of its frequency range; ensuring freedom from contact with the magnet assembly, keeping the dome centered as it moves; and providing adequate power handling without adding excessive mass. Tweeters contribute to a well-balanced and rich audio experience by focusing on the higher sound frequencies.

Tweeters can also work in collaboration with the woofers that are responsible for generating the low frequencies or bass.

Some tweeters sit outside the main enclosure in their own semi-independent unit. Examples include "super tweeters" and the novel "egg tweeter" by Ohm. The latter plugs in and swivels to adjust the soundfield depending on listener position and user preference. The separation from the baffle is considered to be optimal under the theory that the smallest baffle possible is optimal for tweeters.

Range
Most tweeters are designed to reproduce frequencies up to the formally defined upper limit of the human hearing range (typically listed as 20 kHz); some operate at frequencies up to approximately in between 5 kHz to 20 kHz. Tweeters with a greater upper range have been designed for psychoacoustic testing, for extended-range digital audio such as Super Audio CD intended for audiophiles, for biologists performing research on animal response to sounds, and for ambient sound systems in zoos. Ribbon tweeters have been made that can reproduce 80 kHz and even 100 kHz.

Dome materials
All dome materials have advantages and disadvantages. Three properties designers look for in domes are low mass, high stiffness and good damping. Celestion were the first manufacturers to fabricate dome tweeters out of a metal, copper. Nowadays other metals such as aluminium, titanium, magnesium, and beryllium, as well as various alloys thereof, are used, being both light and stiff but having low damping; their resonant modes occur above 20 kHz. More exotic materials, such as synthetic diamond, are also being used for their extreme stiffness. Polyethylene terephthalate film and woven silk suffer less ringing, but are not nearly as stiff, which can limit their very high frequency output.

In general, smaller dome tweeters provide wider dispersion of sound at the highest frequencies. However, smaller dome tweeters have less radiating area, which limits their output at the lower end of their range; and they have smaller voice coils, which limit their overall power output.

Ferrofluid
Ferrofluid is a suspension of very small (typically 10 nm) iron oxide magnetic particles in a very low volatility liquid, typically a synthetic oil. A wide range of viscosity and magnetic density variants allow designers to add damping, cooling, or both. Ferrofluid also aids in centering the voice coil in the magnetic gap, reducing distortion. The fluid is typically injected into the magnetic gap and is held in place by the strong magnetic field. If a tweeter has been subjected to elevated power levels, some thickening of the ferrofluid occurs, as a portion of the carrier liquid evaporates. In extreme cases, this can degrade the sound quality and output level of a tweeter, and the fluid must be removed and new fluid installed.

Professional sound applications
Tweeters designed for sound reinforcement and musical instrument applications are broadly similar to high fidelity tweeters, though they're usually not referred to as tweeters, but as "high frequency drivers". Key design requirement differences are: mountings built for repeated shipping and handling, drivers often mounted to horn structures to provide for higher sound levels and greater control of sound dispersion, and more robust voice coils to withstand the higher power levels typically encountered. High frequency drivers in PA horns are often referred to as "compression drivers" from the mode of acoustic coupling between the driver diaphragm and the horn throat.

Various materials are used in the construction of compression driver diaphragms including titanium, aluminium, phenolic impregnated fabric, polyimide and PET film, each having its own characteristics. The diaphragm is glued to a voice coil former, typically made from a different material from the dome, since it must cope with heat without tearing or significant dimensional change. Polyimide film, Nomex, and glassfibre are popular for this application. The suspension may be a continuation of the diaphragm and is glued to a mounting ring, which may fit into a groove, over locating pins, or be fastened with machine screws. The diaphragm is generally shaped like an inverted dome and loads into a series of tapered channels in a central structure called a phase plug, which equalizes the path length between various areas of the diaphragm and the horn throat, preventing acoustic cancellations between different points on the diaphragm surface. The phase plug exits into a tapered tube, which forms the start of the horn itself. This slowly expanding throat within the driver is continued in the horn flare. The horn flare controls the coverage pattern, or directivity, and as an acoustic transformer, adds gain. A professional horn and compression driver combination has an output sensitivity of between 105 and 112 dB/watt/meter. This is substantially more efficient (and less thermally dangerous to a small voice coil and former) than other tweeter construction.

Cone tweeter
Cone tweeters have the same basic design and form as a woofer with optimizations to operate at higher frequencies. The optimizations usually are:
 * a very small and light cone so it can move rapidly;
 * cone materials chosen for stiffness (e.g., ceramic cones in one manufacturer's line), or good damping properties (e.g., paper, silk or coated fabric) or both;
 * a suspension (or spider) that is stiffer than for other drivers—less flexibility is needed for high frequency reproduction;
 * small voice coils (3/4 inch is typical) and light (thin) wire, which also helps the tweeter cone move rapidly.

Cone tweeters were popular in older stereo hi-fi speakers designed and manufactured in the 1960s and 1970s as an alternative to the dome tweeter (which was developed in the late 1950s). Cone tweeters today are often relatively cheap, but many of those in the past were of high quality, such as those made by Audax/Polydax, Bozak, CTS, JBL, Tonegen and SEAS. These vintage cone tweeters exhibited very flat frequency response, low distortion, fast transient response, a low resonance frequency and a gentle low-end roll-off, easing crossover design.

Typical of the 1960s/1970s-era was the CTS "phenolic ring" cone tweeters, exhibiting flat response from 2,000 to 15,000 Hz, low distortion and fast transient response. The CTS "phenolic ring" tweeter gets its name from the orange-colored edge suspension ring that it has which is made from phenolic. It was used in many makes and models of well-regarded vintage speakers, and was a mid-priced unit.

Cone tweeters have a narrower dispersion characteristic that is the same as a cone woofer's. Many designers therefore believed this made them a good match to cone midranges and woofers, allowing for superb stereo imaging. However, the "sweet spot" created by the narrow dispersion of cone tweeters is small. Speakers with cone tweeters offered the best stereo imaging when positioned in the room's corners, a common practice in the 1950s, 1960s and early 1970s.

During the 1970s and 1980s, the widespread introduction of higher quality audiophile discs and the advent of the CD caused the cone tweeter to fall out of popularity because cone tweeters seldom extend past 15 kHz. Audiophiles felt that cone tweeters lacked the "airiness" of dome tweeters or other types. Nevertheless, many high-end cone tweeters remained in limited production by Audax, JBL and SEAS until the mid-1980s.

Cone tweeters are now rarely used in modern hi-fi usage and are routinely seen in low cost applications such as factory car speakers, compact stereo systems, and boom boxes. Some boutique speaker manufacturers recently have returned to high-end cone tweeters, especially recreations of CTS phenolic ring models, to create a vintage-sounding product.

Dome tweeter
A dome tweeter is constructed by attaching a voice coil to a dome (made of woven fabric, thin metal or other suitable material), which is attached to the magnet or the top plate via a low compliance suspension. These tweeters typically do not have a frame or basket, but a simple front plate attached to the magnet assembly. Dome tweeters are categorized by their voice coil diameter, and range from 19 mm (0.75 in), through 38 mm (1.5 in). The overwhelming majority of dome tweeters presently used in hi-fi speakers are 25 mm (1 in) in diameter.

A variation is the ring radiator in which the 'suspension' of the cone or dome becomes the major radiating element. These tweeters have different directivity characteristics when compared to standard dome tweeters.

Piezo tweeter
A piezo (or piezo-electric) tweeter contains a piezoelectric crystal coupled to a mechanical diaphragm. An audio signal is applied to the crystal, which responds by flexing in proportion to the voltage applied across the crystal's surfaces, thus converting electrical energy into mechanical.

The conversion of electrical pulses to mechanical vibrations and the conversion of returned mechanical vibrations back into electrical energy is the basis for ultrasonic testing. The active element is the heart of the transducer as it converts the electrical energy to acoustic energy, and vice versa. The active element is basically a piece of polarized material (i.e. some parts of the molecule are positively charged, while other parts of the molecule are negatively charged) with electrodes attached to two of its opposite faces. When an electric field is applied across the material, the polarized molecules will align themselves with the electric field, resulting in induced dipoles within the molecular or crystal structure of the material. This alignment of molecules will cause the material to change dimensions. This phenomenon is known as electrostriction. In addition, a permanently polarized material such as quartz (SiO2) or barium titanate (BaTiO3) will produce an electric field when the material changes dimensions as a result of an imposed mechanical force. This phenomenon is known as the piezoelectric effect.

Piezo tweeters rarely get used in high-end audio because of their low fidelity, although they did feature in some high-end designs of the late ‘70s, such as the Celef PE1 in which they were utilised as a super tweeter in combination with a conventional dome tweeter. They are often used in toys, buzzers, alarms, bass guitar speaker cabinets, cheap computer or stereo speakers and PA horns.

Ribbon tweeter

A ribbon tweeter uses a very thin diaphragm (often of aluminum, or perhaps metalized plastic film) that supports a planar coil frequently made by deposition of aluminium vapor, suspended in a powerful magnetic field (typically provided by neodymium magnets) to reproduce high frequencies. The development of ribbon tweeters has more or less followed the development of ribbon microphones. The ribbon is of very lightweight material and so capable of very high acceleration and extended high frequency response. Ribbons have traditionally been incapable of high output (large magnet gaps leading to poor magnetic coupling is the main reason). But higher power versions of ribbon tweeters are becoming common in large-scale sound reinforcement line array systems, which can serve audiences of thousands. They are attractive in these applications since nearly all ribbon tweeters inherently exhibit useful directional properties, with very wide horizontal dispersion (coverage) and very tight vertical dispersion. These drivers can easily be stacked vertically, building a high frequency line array that produces high sound pressure levels much farther away from the speaker locations than do conventional tweeters.

Planar magnetic tweeter
Some loudspeaker designers use a planar magnetic tweeter, sometimes called a quasi-ribbon. Planar magnetic tweeters are generally less expensive than true ribbon tweeters, but are not precisely equivalent as a metal foil ribbon is lighter than the diaphragm in a planar magnetic tweeter and the magnetic structures are different. Usually a thin piece of PET film or plastic with a voice coil wire running numerous times vertically on the material is used. The magnet structure is less expensive than for ribbon tweeters.

Electrostatic tweeter

An electrostatic tweeter operates on the same principles as a full-range electrostatic speaker or a pair of electrostatic headphones. This type of speaker employs a thin diaphragm (generally plastic and typically PET film), with a thin conductive coating, suspended between two screens or perforated metal sheets, referred to as stators.

The output of the driving amplifier is applied to the primary of a step-up transformer with a center-tapped secondary, and a very high voltage—several hundred to several thousand volts—is applied between the center tap of the transformer and the diaphragm. Electrostatics of this type necessarily include a high voltage power supply to provide the high voltage used. The stators are connected to the remaining terminals of the transformer. When an audio signal is applied to the primary of the transformer, the stators are electrically driven 180 degrees out of phase, alternately attracting and repelling the diaphragm.

An uncommon way of driving an electrostatic speaker without a transformer is to connect the plates of a push-pull vacuum tube amplifier directly to the stators, and the high voltage supply between the diaphragm and ground.

Electrostatics have reduced even-order harmonic distortion because of their push-pull design. They also have minimal phase distortion. The design is quite old (the original patents date to the 1930s), but occupies a very small segment of the market because of high costs, low efficiency, large size for full range designs, and fragility.

AMT tweeter
The Air Motion Transformer tweeter works by pushing air out perpendicularly from the pleated diaphragm. Its diaphragm is the folded pleats of film (typically PET film) around aluminium struts held in a strong magnetic field. In past decades, ESS of California produced a series of hybrid loudspeakers using such tweeters, along with conventional woofers, referring to them as Heil transducers after their inventor, Oskar Heil. They are capable of considerable output levels and are rather more sturdy than electrostatics or ribbons, but have similar low-mass moving elements.

Most of the current AMT drivers in use today are similar in efficiency and frequency response to the original Oskar Heil designs of the 1970s.

Horn tweeter
A horn tweeter is any of the above tweeters coupled to a flared or horn structure. Horns are used for two purposes — to control dispersion, and to couple the tweeter diaphragm to the air for higher efficiency. The tweeter in either case is usually termed a compression driver and is quite different from more common types of tweeters (see above). Properly used, a horn improves the off-axis response of the tweeter by controlling (i.e., reducing) the directivity of the tweeter. It can also improve the efficiency of the tweeter by coupling the relatively high acoustic impedance of the driver to the lower impedance of the air. The larger the horn, the lower the frequencies at which it can work, since large horns provide coupling to the air at lower frequencies. There are different types of horns, including radial and constant directivity (CD). Horn tweeters may have a somewhat 'different' sonic signature than simple dome tweeters. Poorly designed horns, or improperly crossed-over horns, have predictable problems in the accuracy of their output, and the load that they present to the amplifier. Perhaps concerned about the image of poorly designed horns, some manufacturers use horn loaded tweeters, but avoid using the term. Their euphemisms include "elliptical aperture" "Semi-horn" and "Directivity controlled". These are, nonetheless, a form of horn loading.

Plasma or ion tweeter
Because ionized gas is electrically charged and so can be manipulated by a variable electrical field, it is possible to use a small sphere of plasma as a tweeter. Such tweeters are called a plasma tweeter or ion tweeter. They can be more complex than other tweeters (plasma generation is not required in other types), but offer the advantage that the moving mass is optimally low - if not relatively massless and so very responsive to the signal input. The early models of these tweeters were not capable of high output, nor of other than very high frequency reproduction, and so are usually used at the throat of a horn structure to manage usable output levels. One disadvantage is that the plasma arc can produce ozone and NOx, poison gases, in small quantities as a by-product. Because of this, German-made Magnat "magnasphere" speakers were banned from import to the United States in the 1980s. Any modern design uses catalysts to reduce the gas output to negligible quantities.

In the past, the dominant manufacturer in the US was DuKane near St Louis, who made the Ionovac; also sold in a UK variant as the Ionophone. Electro-Voice made a model for a short time under license along with DuKane from the inventor Siegfried Klein. These early models were finicky and required regular replacement of the cell in which the plasma was generated (the DuKane unit used a precision machined quartz cell). As a result, they were expensive units in comparison to other designs. Those who have heard the Ionovacs report that, in a sensibly designed loudspeaker system, the highs were 'airy' and very detailed, though high output wasn't possible.

In the 1980s, the Plasmatronics speaker also used a plasma tweeter, though the manufacturer did not stay in business very long and very few of these complex units were sold.

title: Tweeter


text:
Mid-range speaker

A mid-range speaker is a loudspeaker driver that reproduces sound in the frequency range from 250 to 2000 Hz.

Mid-range drivers are usually cone types or, less commonly, dome types, or compression horn drivers. The radiating diaphragm of a cone mid-range unit is a truncated cone, with a voice coil attached at the neck, along with the spider portion of the suspension, and with the cone surround at the wide end. Cone mid-range drivers typically resemble small woofers. The most common material used for mid-range cones is paper, occasionally impregnated and/or surface-treated with polymers or resins in order to improve vibrational damping. Other mid-range cone materials include plastics such as polypropylene, Cobex, Bextrene, woven Kevlar, fiberglass, carbon fiber, or light metal alloys based on aluminium, magnesium, titanium, or other alloys. The radiating surface of a dome mid-range is typically a 90-degree section of a sphere, made from cloth, metal, or plastic film, with its suspension and voice coil co-located at the outer edge of the dome. Most professional concert mid-range drivers are compression drivers coupled to horns. A very few mid-ranges are electrostatic drivers, planar magnetic drivers, or ribbon drivers.

A mid-range driver is called upon to handle the most significant part of the audible sound spectrum, the region where the most fundamental frequencies are emitted by musical instruments, and, most importantly, the human voice, lie. This region contains most sounds that are the most familiar to the human ear, and where discrepancies from faithful reproduction are most easily observed. It is therefore paramount that a mid-range driver of good quality be capable of low-distortion reproduction.

Most television sets and small radios, especially AM receivers, have only a single mid-range driver, or two for stereo sound. With human speech being the most important aspect of television audio and AM radio, it works out well. Since the ear is most sensitive to the middle frequencies produced by a mid-range the driver and amplifier can both be low power, while still delivering what is perceived to be good sound both in terms of volume and quality.

Installation issues
Mid-range drivers are usually used in three way multi driver speaker systems. There are therefore special considerations involved in the acoustic join between the mid-range and both the low frequency (woofers) and the high frequency drivers (tweeters). The nature of the drivers on both sides of the mid-range, and the mid-range itself affect the selection of crossover frequency and slope. Nearly all crossovers are passive circuits, designed to match the characteristics of the drivers and their mounting, and are built of capacitors, inductors, and resistors. Active or 'electronic' crossovers are used in some high performance hi-fi speakers, and in professional sound reinforcement systems.

Placement of the mid-range (and tweeter) drivers on the enclosure baffle significantly affects the output of the driver, and the material surrounding the mid-range and tweeter drivers on the baffle can produce (or inhibit) reflections of energy from the baffle face, or other items, further influencing the output. Grilles, especially those with structural frames, can further modify the output of the entire speaker system. One of the terms used in design circles to describe some of these diffraction and reflection artifacts is the baffle step effect.

When a mid-range speaker is mounted in the same box as a woofer, it will have its own small sub-enclosure, or a sealed back, to prevent the woofer's backwave radiation into the box from affecting the mid-range's cone or dome motion.

title: Mid-range speaker


text:
Woofer

A woofer or bass speaker is a technical term for a loudspeaker driver designed to produce low frequency sounds, typically from 20 Hz up to a few hundred Hz. The name is from the onomatopoeic English word for a dog's deep bark, "woof" (in contrast to a tweeter, the name used for loudspeakers designed to reproduce high-frequency sounds, deriving from the shrill calls of birds, "tweets"). The most common design for a woofer is the electrodynamic driver, which typically uses a stiff paper cone, driven by a voice coil surrounded by a magnetic field.

The voice coil is attached by adhesives to the back of the loudspeaker cone. The voice coil and the magnet form a linear electric motor. When current flows through the voice coil, the coil moves in relation to the frame according to Fleming's left hand rule for motors, causing the coil to push or pull on the driver cone in a piston-like way. The resulting motion of the cone creates sound waves, as it moves in and out.

At ordinary sound pressure levels (SPL), most humans can hear down to about 20 Hz. Woofers are generally used to cover the lowest octaves of a loudspeaker's frequency range. In two-way loudspeaker systems, the drivers handling the lower frequencies are also obliged to cover a substantial part of the midrange, often as high as 800 to 1000 Hz; such drivers are commonly termed mid woofers. Since the 1990s, a type of woofer which is designed for very low frequencies only, the subwoofer, has come to be commonly used in home theater systems and PA systems to augment the bass response; subwoofers usually handle the very lowest two or three octaves (i.e., from as low as 20 to 80 or 120 Hz).

Woofer design
Good woofer design requires effectively converting a low frequency amplifier signal to mechanical air movement with high fidelity and acceptable efficiency, and is both assisted and complicated by the necessity of using a loudspeaker enclosure to couple the cone motion to the air. If done well, many of the other problems of woofer design (for instance, linear excursion requirements) are reduced.

In most cases the woofer and its enclosure must be designed to work together. Usually the enclosure is designed to suit the characteristics of the speaker or speakers used. The size of the enclosure is a function of the longest wavelengths (lowest frequencies) to be reproduced, and the woofer enclosure is much larger than required for midrange and high frequencies.

A crossover network, either passive or active, filters the band of frequencies to be handled by the woofer and other speakers. Normally the crossover and speaker system, including the woofer, are expected to convert the electrical signal supplied by the amplifier to an acoustic signal of identical waveform without other interaction between the amplifier and speakers, although sometimes the amplifier and speakers are designed together with the speakers supplying distortion-correcting negative feedback to the amplifier.

There are many challenges in woofer design and manufacture. Most have to do with controlling the motion of the cone so the electrical signal to the woofer's voice coil is faithfully reproduced by the sound waves produced by the cone's motion. Problems include damping the cone cleanly without audible distortion so that it does not continue to move, causing ringing, when the instantaneous input signal falls to zero each cycle, and managing high excursions (usually required to reproduce loud sounds) with low distortion. There are also challenges in presenting to the amplifier an electrical impedance which is not too far from constant at all frequencies.

An early version of the now widely used bass-reflex cabinet design was patented by Albert L. Thuras of Bell Laboratories in 1932.

Active loudspeakers
In 1965, Sennheiser Electronics introduced the Philharmonic sound system, which used electronics to overcome some of the problems ordinary woofer subsystems confront. They added a motion sensor to the woofer, and used the signal corresponding to its actual motion to feedback as a control input to a specially designed amplifier. If carefully done, this can improve performance (both in 'tightness', and extension of low frequency performance) considerably at the expense of flexibility (the amplifier and the speaker are tied together permanently) and cost. In the US, L W Erath, an oil industry engineer, introduced a line of high end speakers along very much the same lines.

As electronics costs have decreased, it has become common to have sensor-equipped woofers in inexpensive 'music systems', boom boxes, or even car audio systems. This is usually done in an attempt to get better performance from inexpensive or undersized drivers in lightweight or poorly designed enclosures. This approach presents difficulties as not all distortion can be eliminated using servo techniques, and a poorly designed enclosure can swamp the benefits from any attempt at electronic correction.

Equalized loudspeakers
Because the characteristics of a loudspeaker can be measured, and to a considerable extent predicted, it is possible to design special circuitry that somewhat compensates for the deficiencies of a speaker system.

Equalization techniques are used in most public address and sound reinforcement applications. Here, the problem is not primarily hi-fi reproduction, but managing the acoustic environment. In this case, the equalization must be individually adjusted to match the particular characteristics of the loudspeaker systems used and the room in which they are used.

Digital filtering crossover and equalization
Computer techniques, in particular digital signal processing (DSP), make possible a higher precision crossover. By using finite impulse response (FIR) and other digital techniques, the crossovers for a bi-amped or tri-amped system can be accomplished with a precision not possible with analog filters, whether passive or active. Furthermore, many driver peculiarities (down to and including individual variances) can be remedied at the same time such as in Klein and Hummel's recent designs. This approach is complex and thus not likely to be used in lower cost equipment.

Cone materials

All cone materials have advantages and disadvantages. The three chief properties designers look for in cones are light weight, stiffness, and lack of coloration (due to absence of ringing). Exotic materials like Kevlar and magnesium are light and stiff, but can have ringing problems, depending on their fabrication and design. Materials like paper (including coated paper cones) and various polymers will generally ring less than metal diaphragms, but can be heavier and not as stiff. There have been good and bad woofers made with every type of cone material. Almost every kind of material has been used for cones, from glass fiber, bamboo fiber, to expanded aluminum honeycomb sandwiches, and mica-loaded plastic cones.

Frame design
The frame, or basket, is the structure holding the cone, voice coil and magnet in the proper alignment. Since the voice coil gap is quite narrow (clearances are typically in the low thousandths of an inch), rigidity is important to prevent rubbing of the voice coil against the magnet structure in the gap and also avoid extraneous motions. There are two main metal frame types, stamped and cast. Stamped baskets (usually of steel) are a lower-cost approach. The disadvantage of this type of frame is that the basket may flex if the speaker is driven at high volumes, there being resistance to bending only in certain directions. Cast baskets are more expensive, but are usually more rigid in all directions, have better damping (reducing their own resonance), can have more intricate shapes, and are therefore usually preferred for higher quality drivers.

Power handling
An important woofer specification is its power rating, the amount of power the woofer can handle without damage. The electrical power rating is not easily characterized and many manufacturers cite peak ratings attainable only for very brief moments without damage. Woofer power ratings become important when the speaker is pushed to extremes: applications requiring high output, amplifier overload conditions, unusual signals (i.e., non-musical ones), very low frequencies at which the enclosure provides little or no acoustic loading (and so there will be maximum cone excursion), or amplifier failure. In high-volume situations, a woofer's voice coil will heat up, increase its resistance, causing "power compression", a condition where output sound power level decreases after extended high power activity. Further heating can physically distort the voice coil, causing scuffing, shorting due to wire insulation deterioration, or other electrical or mechanical damage. Sudden impulse energy can melt a section of voice coil wire, causing an open circuit and a dead woofer; the necessary level will vary with driver characteristics. In normal listening level music applications, the electrical power rating of woofers is generally unimportant; it remains important for higher frequency drivers.

There are three types of power handling in loudspeaker drivers, including woofers: thermal (heat), electrical (both covered above), and mechanical. The mechanical power handling limit is reached when cone excursion extends to its maximum limit. Thermal power handling limits may be reached when fairly high power levels are fed to a woofer for too long, even if not exceeding mechanical limits at any time. Most of the energy applied to the voice coil is converted to heat, not sound; all of the heat is ultimately passed to the pole piece, the rest of the magnet structure, and the frame. From the woofer structure, the heat is eventually dissipated into the surrounding air. Some drivers include provisions for better cooling (e.g., vented magnet pole pieces, dedicated heat conduction structures) to reduce increased coil/magnet/frame temperatures during operation, especially high power level conditions. If too much power is applied to the voice coil as compared to its ability to shed heat, it will eventually exceed a maximum safe temperature. Adhesives can melt, the voice coil former can melt or distort, or the insulation separating the voice coil windings can fail. Each of these events will damage the woofer, perhaps beyond usability.

Public address (PA) and instrument applications
Woofers designed for public address system (PA) and instrument amplifier applications are similar in makeup to home audio woofers, except that they are usually designed more ruggedly. Typically, design variances include: cabinets built for repeated shipping and handling, larger woofer cones to allow for higher sound pressure levels, more robust voice coils to withstand higher power, and higher suspension stiffness. Generally, a home woofer used in a PA/instrument application can be expected to fail more quickly than a PA/instrument woofer. On the other hand, a PA/instrument woofer in a home audio application will not have the same quality of performance, particularly at low volumes. A PA woofer will not produce the same audible high fidelity which is the goal of high quality home audio due to those differences.

PA system woofers typically have high efficiency and high power handling capacity. The trade-off for high efficiency at reasonable cost is usually relatively low excursion capability (i.e., inability to move "in and out" as far as many home woofers can), as they are intended for horn or large reflex enclosures. They are also usually ill-suited to extended low bass response since the last octave of low frequency response increases size and expense considerably, and is increasingly uneconomic to attempt at high levels as in a PA application. A home stereo woofer, because it is used at relatively low volumes, may be able to handle very low frequencies. Because of this, most PA woofers are not well suited to use in high quality high fidelity home applications, and vice versa.

Frequency ranges
At ordinary sound pressure levels, most humans can hear down to about 20 Hz. To accurately reproduce the lowest tones, a woofer, or group of woofers, must move an appropriately large volume of air — a task that becomes more difficult at lower frequencies. The larger the room, the more air the woofer's movement will have to displace in order to produce the required sound power at low frequencies.

title: Woofer


text:
User:Beiguo

Hangul Keyboard

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Taiwanese "Quick" keyboard

手田水口廿---卜山戈(丶)人心

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ZX金(釒)(钅)女月--- 弓(亅)一

zxcvb        --- nm

 * 1) http://www.bisharat.net/A12N/charsum.html best
 * 2) http://www.xuquang.com/trungdao/unicode.htm Best
 * 3) Diacritic: ũ ẽ ỹ

a á à ả ã ạ

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u ú ù ủ ũ ụ

piẽðti

http://www.cpamedia.com/politics/hui_muslims_in_china/ The Hui: China's most loyal Muslims

http://www.uyghuramerican.org/researchanalysis/internalcol.html Internal Colonialism and China's Uyghur Muslim Minority

http://www.brown.edu/Courses/CI0103_Domizio/S2002/Lisa_Lau/ 上海的穆斯林民族

http://www.chinadaily.com.cn/star/2001/0125/di24-1.html Muslim hot pot boils on

http://www.brown.edu/Courses/CI0103_Domizio/S2002/Ellen_Golden/ 上海的犹太人

http://www.missionfrontiers.org/1991/0103/jm913.htm Pray for Muslims in China!

http://ignca.nic.in/ks_40032.htm On Theories of Nationalism for India and China

http://www2.hawaii.edu/~dru/publications.html Dru Gladney articles

http://www2.hawaii.edu/~dru/tree.htm RELATIONAL ALTERITY: CONSTRUCTING DUNGAN (HUI), UYGUR, AND KAZAKH IDENTITIES ACROSS CHINA, CENTRAL ASIA, AND TURKEY

http://www2.hawaii.edu/~dru/exotic.htm Representing Nationality in China: Refiguring Majority/Minority Identities Dru C. Gladney

http://www2.hawaii.edu/~dru/dialogic.htm The Making of a Muslim Nationality in China: Dialogue and Contestation

http://news.bbc.co.uk/2/hi/asia-pacific/2020009.stm Language blow for China's Muslims

http://www.uygur.org/wunn02/media/20020108_BBC%20News%20%20ASIA-PACIFIC%20%20China's%20fearful%20Muslim%20minority.htm China's fearful Muslim minority

http://www.marquette.edu/inia/Editorials/Lauzon.htm The War Against Terror and China's Treatment of the Uigher Ethnic Minority

http://www.uyghuramerican.org/researchanalysis/gowest.html China Goes West: Laudable Development? Ethnic Provocation?

http://coranet.radicalparty.org/pressreview/print_right.php?func=detail&par=2862 UYGHUR LANGUAGE AND CULTURE UNDER THREAT IN XINJIANG

China's "War on Terror": September 11 and Uighur Separatism by Chien-peng Chung
 * http://www.foreignaffairs.org/20020701facomment8515/chien-peng-chung/china-s-war-on-terror-september-11-and-uighur-separatism.html

 * http://news.bbc.co.uk/1/hi/not_in_website/syndication/monitoring/media_reports/2241025.stm China's 'war on terror'

 * http://news.bbc.co.uk/1/low/not_in_website/syndication/monitoring/media_reports/2241025.stm China's 'war on terror'

http://coranet.radicalparty.org/pressreview/print_right.php?func=detail&par=3201 East Turkestan Islamic Movement

 * http://www.uygur.org/wunn02/2002_12_16.htm  U.S. Pushes China on Prisoners, Religious Freedoms

 * http://www.spacedaily.com/news/020827035748.q0bpp7ut.html US envoy leaves China as war on terror brings sides closer

 * http://www.uygur.org/enorg/history/history.htm East Turkistan Historyn

Dru C. Gladney
 * http://www.ndu.edu/inss/symposia/pacific2000/gladneypaper.htm China's National Insecurity:Old Challenges at the Dawn of the New Millennium

 * http://www.cnn.com/SPECIALS/views/y/2000/12/mackinnon.xinjiang.dec14/ Rumblings of discontent among ethnic Muslims on China's Asian frontier

http://faculty.washington.edu/stevehar/zhenci.html A Neo-Confucian Muslim Ponders the Creating God

 * http://www.tibet.ca/wtnarchive/1995/2/24_1.html China's Ethnic Divisions Are Showing Up and Could Cause Trouble

http://src-h.slav.hokudai.ac.jp/sympo/97summer/sasaki.html Segmentary Hierarchy of Identity: The Case of Yakuts and Evens in Northern Yakutia

http://www.isim.nl/newsletter/1/regional/01AC23.html Internal Colonialism and China's Uyghur Muslim Minority

http://www.coe.uga.edu/quig/proceedings/Quig93_Proceedings/trueba.93.html Healing Multicultural America: The Ethnography of Race and Ethnicity in a Cross-Cultural Perspective

=
===================================================================== GrandVoivodOfErdely LearnSkills ShameOnTerrorists -- CrusadeOnTerrorists ________________________________________________ CengizUluscan ^^^^^^^^^^^^^^ Cheeky
 * 1) Cat
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 * 3) Wombat
 * Killer ant
 * Pirana
 * Ladybug
 * 1) Amerikali
 * 2) Usame bin Ladin
 * 3) Saddam Huseyin

title: User:Beiguo


text:
User talk:Kevinbasil

Hello there, welcome to the 'pedia! I hope you like the place and decide to stay. If you need pointers on how we title pages visit Naming conventions or how to format them visit our manual of style. If you have any other questions about the project then check out Help or add a question to the Village pump. Cheers! --maveric149

Hey, Kevin, why are you creating multiple User pages? -- Zoe

Hey Basil, great to see you here. Welcome!!! Wesley 14:06 Mar 4, 2003 (UTC)

AfD for Kermit Gosnell
Did you mean to revert my edits to the AfD for Kermit Gosnell?Roodog2k (talk) 19:28, 12 April 2013 (UTC)

I noticed this as well with my edit. Please be more careful with your edits. -- NINTENDUDE 64 19:38, 12 April 2013 (UTC)

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title: User talk:Kevinbasil


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User:Kevinbasil

Kevin Basil Fritts

B.A. in Philosophy from Asbury University, 1997. M.Div. from Saint Vladimir's Orthodox Theological Seminary, 2012. Th.M. from St John's University, 2015. M.Ph. from the Catholic University of America, 2021.

Currently a Ph.D. candidate and teaching fellow at The Catholic University of America, studying theology in the area of liturgical studies and sacramental theology.

My competencies include liturgical studies, Orthodox theology, Catholic-Orthodox dialogue, and Christian history. I am also a veteran of the US Navy Submarine Force (2004–2009).

Neglected blog at KevinBasil.com

title: User:Kevinbasil