text:
Little Texas (band)

Little Texas is an American country music band started in Nashville, Tennessee, in 1988. Its founding members were Tim Rushlow (lead and background vocals, acoustic guitar), Brady Seals (lead and background vocals, keyboards), Del Gray (drums), Porter Howell (lead guitar, background vocals), Dwayne O'Brien (acoustic guitar, lead and background vocals), and Duane Propes (bass guitar, background vocals). Signed to Warner Bros. Records Nashville in 1991, Little Texas released its debut album First Time for Everything that year. The album's lead off single, "Some Guys Have All the Love", reached a peak of No. 8 on the Billboard Hot Country Singles & Tracks charts. Little Texas charted thirteen top-40 hits between then and 1995, including the number one "My Love" in 1994. Their debut album earned a gold certification from the Recording Industry Association of America (RIAA), while 1993's Big Time was certified double platinum and 1994's Kick a Little was certified platinum.

Seals left the band in 1994 and was replaced by Jeff Huskins (keyboards, fiddle). After a Greatest Hits package and a self-titled fourth studio album, the group disbanded in 1997. Seals went on to record three solo albums and one as the lead singer of Hot Apple Pie, Rushlow recorded one solo album and one as the lead singer of Rushlow, and Howell recorded one as a member of Hilljack. Gray, Howell, O'Brien, and Propes re-established Little Texas in 2004 with new lead singer Steven Troy; he left the band in 2006 and Howell took over lead vocals. Under the four-piece lineup, the band has recorded two albums for Montage Music Group: The Very Best of Little Texas: Live and Loud and Missing Years.

History
Little Texas was founded in 1988. Prior to the band's formation, Tim Rushlow and Dwayne O'Brien began playing together in Arlington, Texas, in 1984. Porter Howell and Duane Propes got together while they were in high school in 1983 and moved to Nashville to attend Belmont University. Brady Seals and Del Gray played in the backup band of country music singer Josh Logan. Rushlow, O'Brien, Propes, and Howell first started making music at Opryland as a 1950s show band. With both Rushlow's first wife and Howell's wife, plus two other members, they took the show band on the road, naming their act "The Varsities".

When two of the members left to pursue other interests, they contacted their old friends Gray and Seals, whom they had met while playing in Springfield, Massachusetts, in hopes of forging a more country/Southern rock sound. All six members eventually moved to Nashville, Tennessee, where they started playing together. The band played at venues across the United States (around 300 dates a year), eventually catching the attention of Nashville's division of Warner Bros. Records.

1991-1993: First Time for Everything
Warner Bros. signed Little Texas in 1989, and two years later, the band released their debut single "Some Guys Have All the Love". This song, which reached No. 8 on the U.S. Billboard country singles charts, was the first of five singles from their debut album First Time for Everything. After the debut single came the album's title track at No. 13, "You and Forever and Me" at No. 5, "What Were You Thinkin'" at No. 17 and finally "I'd Rather Miss You" at No. 16. The album was certified gold by the RIAA for shipping 500,000 copies in the US.

1993-1994: Big Time
Little Texas' second album, Big Time, was issued in 1993. Their most successful album, it was certified 2×Platinum by the RIAA and gold by the CRIA. It also produced a minor crossover hit in leadoff single "What Might Have Been", a No. 2 country hit that also reached No. 74 on the Billboard Hot 100 and No. 16 on Hot Adult Contemporary Tracks. After it came "God Blessed Texas" and their only number 1 hit on Billboard, "My Love", both of which were also minor Hot 100 entries. The latter also featured Seals on lead vocals. Finishing off Big Time was the No. 14 "Stop on a Dime". In late 1993, the band contributed a cover of the Eagles' "Peaceful Easy Feeling" to the multi-artist compilation album Common Thread: The Songs of the Eagles. The rendition featured O'Brien on lead vocals, with Denny Dadmun-Bixby of Great Plains on bass guitar and no involvement from Seals. The rendition peaked at number 73 on the country charts.

1994-1996: Kick a Little and Greatest Hits
Kick a Little, the band's third album, was certified platinum by the RIAA. Leading off this album was its No. 5 title track, followed by the No. 4 "Amy's Back in Austin" and No. 27 "Southern Grace". After the album's release, however, Seals left for a solo career on Reprise Records, and was replaced by multi-instrumentalist Jeff Huskins, a former backing musician for Clint Black, for their tour to promote the album. Huskins made his first appearance on "Life Goes On" and "Country Crazy", two new tracks that the band recorded for their 1995 Greatest Hits. Both of these songs were released as singles. The former became their final Top 40 hit with a peak of No. 5, while "Country Crazy" stopped at No. 44. Also in 1995, the band sang on the track "Party All Night", a musical track which featured snippets from a Jeff Foxworthy sketch and a sung chorus by the band. This song reached No. 53, and later appeared on Foxworthy's 1996 album Crank It Up: The Music Album.

1997-1998: Little Texas
Little Texas' fourth album was self-titled. Lead-off single "Bad for Us" peaked at No. 45, followed by their two lowest-charting singles, "Your Mama Won't Let Me" and "The Call" at No. 64 and No. 71 respectively. The band also charted that year with a cover of "Kiss the Girl", a song from the Disney film The Little Mermaid which they recorded on The Best of Country Sing the Best of Disney. Seals also charted his only Top 40 solo hit that year, the No. 32 "Another You, Another Me". Seals would record a total of three albums between then and 2003. After Little Texas, the band broke up.

Hiatus and status of former members
During the band's hiatus, Del Gray co-wrote Trace Adkins' 2000 single "More". Former frontman Tim Rushlow signed to Atlantic Records as a solo artist that same year, releasing a self-titled album. Although it accounted for four singles, including the No. 8 "She Misses Him", Atlantic closed its country music division in 2001. Rushlow then founded a second band, Rushlow, whose members included his cousin Doni Harris. Rushlow released two singles and one album (Right Now) on Lyric Street Records, but disbanded by 2004. Seals founded the band Hot Apple Pie, which released a self-titled album and three singles in 2005, while Rushlow and Harris founded the duo Rushlow Harris a year later. In addition, Howell recorded one album in the band Hilljack, which also included former solo artist Paul Jefferson.

Reunion
Duane Propes, Del Gray, Porter Howell, and Dwayne O'Brien decided to reunite Little Texas in 2004. When Little Texas reunited, Rushlow and Huskins made a legal attempt to keep their ex-bandmates from using the Little Texas name. As the other four members felt uncomfortable singing lead vocals in Rushlow's and Seals's absence, they recruited Steven Troy as new lead vocalist. However, O'Brien was critical of Troy's performance as lead singer, stating that it "just didn't feel authentic"; as a result, he exited the band in 2006. By the time the band had signed to Montage Music Group in 2007, producers for the label had suggested that Howell take over on lead vocals instead. Their first Montage Music release was the live album The Very Best of Little Texas: Live and Loud. They promoted this album on the Triple Threat Tour that year, which included both Restless Heart and Blackhawk; touring guitarist Mark Sutton accompanied the band on both the tour and the live album. This was followed one month later by the studio album Missing Years. This album produced three singles, although only one — the title track — made the country charts, peaking at No. 45.

Another studio album with Howell on lead vocals, Young for a Long Time, followed in 2015.

2004-present
Little Texas has continued to tour constantly averaging 65 shows a year. In 2022, they are celebrating the 30th anniversary of the release of their debut album, First Time For Everything.

Members

 * Del Gray – drums (1988–1997, 2004–present)
 * Porter Howell – lead guitar, background vocals (1988–1997, 2004–2006); lead vocals, lead guitar (2007–present)
 * Dwayne O'Brien – rhythm guitar, lead and background vocals (1988–1997, 2004–present)
 * Duane Propes – bass guitar, background vocals (1988–1997, 2004–present)

Former members

 * Jeff Huskins – background vocals, fiddle, keyboards (1994–1997)
 * Tim Rushlow – lead and background vocals, rhythm guitar (1988–1997)
 * Brady Seals – lead and background vocals, keyboards, rhythm guitar (1988–1994)
 * Steven Troy – lead vocals, rhythm guitar (2004–2006)

Discography

 * First Time for Everything (1992)
 * Big Time (1993)
 * Kick a Little (1994)
 * Little Texas (1997)
 * Missing Years (2007)
 * Young for a Long Time (2015)

Grammy Awards

 * 1994
 * "God Blessed Texas"
 * rowspan=2| Best Country Performance by a Duo or Group with Vocal
 * Nominated
 * 1996
 * "Amy's Back in Austin"
 * Nominated
 * 1997
 * Hope: Country Music's Quest for a Cure (with John Berry, Terri Clark, Vince Gill, Faith Hill, Tracy Lawrence, Neal McCoy, Tim McGraw, Lorrie Morgan, Marty Stuart, Travis Tritt, and Trisha Yearwood)
 * Best Country Collaboration with Vocals
 * Nominated
 * }
 * Best Country Collaboration with Vocals
 * Nominated
 * }

American Music Awards

 * 1994
 * rowspan=2| Little Texas
 * rowspan=2| Favorite Country Band/Duo/Group
 * Nominated
 * 1995
 * Nominated
 * }
 * Nominated
 * }

Academy of Country Music Awards

 * rowspan=2| 1993
 * rowspan=3| Little Texas
 * Top New Vocal Group or Duet
 * Nominated
 * rowspan=2| Top Vocal Group of the Year
 * Nominated
 * rowspan=3| 1994
 * Won
 * "What Might Have Been"
 * Video of the Year
 * Nominated
 * Common Thread: The Songs of the Eagles
 * Album of the Year
 * Nominated
 * 1995
 * Little Texas
 * Top Vocal Group of the Year
 * Nominated
 * }
 * 1995
 * Little Texas
 * Top Vocal Group of the Year
 * Nominated
 * }
 * }

Country Music Association Awards

 * rowspan=2| 1994
 * Common Thread: The Songs of the Eagles
 * Album of the Year
 * Won
 * Little Texas
 * Vocal Group of the Year
 * Nominated
 * }
 * Nominated
 * }

title: Little Texas (band)


text:
Jill Paton Walsh

Gillian Honorine Mary Herbert, Baroness Hemingford, (née Bliss; 29 April 1937 – 18 October 2020), known professionally as Jill Paton Walsh, was an English novelist and children's writer. She may be known best for her Booker Prize-nominated novel Knowledge of Angels and for the Peter Wimsey–Harriet Vane mysteries that continued the work of Dorothy L. Sayers.

Personal life
Gillian Honorine Mary Bliss was born on 29 April 1937 to John Bliss, an engineer for the BBC who at his death had 363 patents to his name, and Patricia Paula DuBern, a homemaker.

She went with her mother and siblings to live with grandparents in St Ives, Cornwall, when she was three years old because of the World War II bombings. In 1944, after the grandmother had died, Bliss returned to London to live with her mother and her younger siblings, who had returned to London earlier. Bliss was educated at St Michael's Convent, North Finchley, London. She attended St Anne's College, Oxford, graduating in 1959, and lived in Cambridge.

After graduating, Bliss taught English at Enfield County Grammar School for Girls, but left her position in 1962, as she was expecting her first child. In the previous year she had married Antony Edmund Paton Walsh; they settled in Richmond, south-west London, and had one son and two daughters.

In the early 1970s, Jill met John Rowe Townsend and they began an affair. She left her first husband only in 1986, when their youngest daughter turned 18.

Antony did not want a divorce because of his Roman Catholic faith. Jill and Townsend were married only in 2004, after Antony's death on 30 December 2003. Townsend died in 2014.

In February 2020, she met Nicholas Herbert, 3rd Baron Hemingford (1934−2022), whom she married in September of that year. She died three weeks later, in October, of kidney and heart failure in hospital at Huntingdon, Cambridgeshire.

Honours
In 1996, Paton Walsh received the CBE for services to literature and was elected a Fellow of the Royal Society of Literature. In 1998, she won the Phoenix Award from the Children's Literature Association, recognising A Chance Child as the best children's book published twenty years earlier that did not win a major award.

On writing for children
In an essay on realism in children's literature, Paton Walsh stated that realism (like fantasy) is also metaphorical, and that she would like the relationship between the reader and her characters Bill and Julie in Fireweed to be as metaphorical as that between "dragons and the reader's greed or courage".

Works
Knowledge of Angels (1993), a medieval philosophical novel, was shortlisted for the 1994 Booker Prize. Other adult novels include:
 * Farewell, Great King (1972)
 * Lapsing (1986), about Catholic university students
 * A School for Lovers (1989), reworking of the plot of Mozart's Cosi fan tutte
 * The Serpentine Cave (1997), based on a lifeboat disaster in St Ives
 * A Desert in Bohemia (2000), which follows a group of characters in England and in an imaginary Eastern European country through the years between World War II and 1989

Imogen Quy
Paton Walsh wrote four detective stories that featured part-time college nurse Imogen Quy, and were set in the fictional St Agatha's College, University of Cambridge:
 * The Wyndham Case (1993)
 * A Piece of Justice (1995)
 * Debts of Dishonour (2006)
 * The Bad Quarto (2007)

Lord Peter Wimsey
In 1998, she completed Dorothy L. Sayers's unfinished Lord Peter Wimsey–Harriet Vane novel, Thrones, Dominations. In 2002, she followed this up with another Lord Peter novel, A Presumption of Death. In 2010, she published a third, The Attenbury Emeralds. Her last addition to the series, The Late Scholar, was published 5 December 2013 in the UK, and 14 January 2014 in North America.

Children's books

 * Hengest's Tale (St Martin's Press, 1966), fiction, illustrated by Janet Margrie
 * The Dolphin Crossing (1967), adapted for the stage by Ed Viney (2012)
 * Word Hoard: Anglo-Saxon stories (1969?), by Paton Walsh and Kevin Crossley-Holland
 * Fireweed (1969)
 * Goldengrove (1972)
 * The Dawnstone (1973), published by Hamish Hamilton
 * Toolmaker (1973), picture book illus. Jeroo Roy
 * The Emperor's Winding Sheet —Whitbread Prize for children's books, 1974
 * The Butty Boy (1975), illus. Juliette Palmer
 * The Huffler (1975), illus. Palmer
 * The Island Sunrise: prehistoric Britain (1975); US subtitle, —nonfiction
 * Unleaving (1976), sequel to Goldengrove —Boston Globe–Horn Book Award for fiction, 1976
 * Crossing to Salamis (1977), picture book illus. David Smee
 * The Walls of Athens (1977), picture book illus. Smee
 * A Chance Child (1978)
 * Children of the Fox (1978), illus. Robin Eaton
 * The Green Book (1981), illus. Lloyd Bloom
 * Babylon (1982)
 * A Parcel of Patterns (1983)
 * Gaffer Samson's Luck (1984) —Smarties Prize, 1985
 * Birdy and the Ghosties (1989)
 * Grace (1991)
 * When Grandma Came (1992), picture book illus. by Sophy Williams
 * Thomas and the Tinners (1995) — 1995 Carnegie Medal longlist

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

title: Jill Paton Walsh


text:
Talk:Oversampling

Typo?
"After being sampled at 800 Hz, the signal could be digitally filtered to have a bandwidth of 100 Hz and then further downsampled to closer to 200 Hz."

Backward compatability
Backward compatability doesn't seem to be working with my various HiFi set-ups. Not sure if this is to do with oversampling or a.n.other it is all rather infuriating not to mention expensive. I wonder what the longer-term solution will be. Znethru

Oversample vs Supersample
Why no mention of "supersampling"? wasn't there a separate page for that before? —Preceding unsigned comment added by Spot (talk • contribs) 00:15, 14 July 2008 (UTC)

 * I added a Supersampling link to the See also section. ~Kvng (talk) 20:02, 15 April 2020 (UTC)

Unclear
"For instance, to implement a 24-bit converter, it is sufficient to use a 20-bit converter that can run at 256 times the target sampling rate. Averaging a group of 256 consecutive 20-bit samples adds 4 bits to the resolution of the average, producing a single sample with 24-bit resolution."

I am no expert or engineer, but the abovementioned statements are unclear and seemingly contradictory. Does it mean running 256 x the target sampling rate (sentence 1), or simply running 256 20-bit samples then averaging it out? They are not the same. 116.14.16.166 (talk) 02:30, 12 April 2010 (UTC)
 * I agree. --ANDROBETA (talk) 09:01, 17 October 2010 (UTC)

 * To help us improve this, please explain where specifically you see an internal contradiction. It is talking about running at 256 x target sample rate then averaging those in blocks of 256 samples to produce samples at the target rate. --Kvng (talk) 15:09, 17 October 2010 (UTC)

 * It could be either 256 20-bit A/D running in parallel at the sampling rate, or 256x the sampling rate with 1 A/D.

 * I think this potential ambiguity is adequately addressed in the current text. ~Kvng (talk) 20:02, 15 April 2020 (UTC)

Oversampling and colour handling
Hi! I'm a dumb end-user of old analog video game console scalers. I read that some scalers use oversampling in order to achieve a pseudo-4:4:4 processing. I don't really undertstand what it means in simple English, and I don't know what it implies when the analog source already exhibits signs of chroma subsampling. Some paragraphs about that in the article would be appreciated. Please. 😅 -Philippemorin123 (talk) 19:08, 20 December 2022 (UTC)

title: Talk:Oversampling


text:
Delta-sigma modulation

Delta-sigma (ΔΣ; or sigma-delta, ΣΔ) modulation is an oversampling method for encoding signals into low bit depth digital signals at a very high sample-frequency as part of the process of delta-sigma analog-to-digital converters (ADCs) and digital-to-analog converters (DACs). Delta-sigma modulation achieves high quality by utilizing a negative feedback loop during quantization to the lower bit depth that continuously corrects quantization errors and moves quantization noise to higher frequencies well above the original signal's bandwidth. Subsequent low-pass filtering for demodulation easily removes this high frequency noise and time averages to achieve high accuracy in amplitude which can be ultimately encoded as pulse-code modulation (PCM).

Both ADCs and DACs can employ delta-sigma modulation. A delta-sigma ADC (e.g. Figure 1 top) encodes an analog signal using high-frequency delta-sigma modulation and then applies a digital filter to demodulate it to a high-bit digital output at a lower sampling-frequency. A delta-sigma DAC (e.g. Figure 1 bottom) encodes a high-resolution digital input signal into a lower-resolution but higher sample-frequency signal that may then be mapped to voltages and smoothed with an analog filter for demodulation. In both cases, the temporary use of a low bit depth signal at a higher sampling frequency simplifies circuit design and takes advantage of the efficiency and high accuracy in time of digital electronics.

Primarily because of its cost efficiency and reduced circuit complexity, this technique has found increasing use in modern electronic components such as DACs, ADCs, frequency synthesizers, switched-mode power supplies and motor controllers. The coarsely-quantized output of a delta-sigma ADC is occasionally used directly in signal processing or as a representation for signal storage (e.g., Super Audio CD stores the raw output of a 1-bit delta-sigma modulator).

While this article focuses on synchronous modulation, which requires a precise clock for quantization, asynchronous delta-sigma modulation instead runs without a clock.

Motivation
When transmitting an analog signal directly, all noise in the system and transmission is added to the analog signal, reducing its quality. Digitizing it enables noise-free transmission, storage, and processing. There are many methods of digitization.

In Nyquist-rate ADCs, an analog signal is sampled at a relatively low sampling frequency just above its Nyquist rate (twice the signal's highest frequency) and quantized by a multi-level quantizer to produce a multi-bit digital signal. Such higher-bit methods seek accuracy in amplitude directly, but require extremely precise components and so may suffer from poor linearity.

Advantages of oversampling
Oversampling converters instead produce a lower-bitdepth result at a much higher sampling frequency. This can achieve comparable quality by taking advantage of:

 * Higher accuracy in time (afforded by high-speed digital circuits and highly accurate clocks).
 * Higher linearity afforded by low-bit ADCs and DACs (for instance, a 1-bit DAC that only outputs two values of a precise high voltage and a precise low voltage is perfectly linear, in principle).
 * Noise shaping: moving noise to higher frequencies above the signal of interest, so they can be easily removed with low-pass filtering.
 * Reduced steepness requirement for the analog low-pass anti-aliasing filters. High-order filters with a flat passband cost more to make in the analog domain than in the digital domain.

Frequency/resolution tradeoff
Another key aspect given by oversampling is the frequency/resolution tradeoff. The decimation filter put after the modulator not only filters the whole sampled signal in the band of interest (cutting the noise at higher frequencies), but also reduces the sampling rate, and hence the representable frequency range, of the signal, while increasing the sample amplitude resolution. This improvement in amplitude resolution is obtained by a sort of averaging of the higher-data-rate bitstream.

Improvement over delta modulation
Delta modulation is an earlier related low-bit oversampling method that also uses negative feedback, but only encodes the derivative of the signal (its delta) rather than its amplitude. The result is a stream of marks and spaces representing up or down of the signal's movement, which must be integrated to reconstruct the signal's amplitude. Delta modulation has several drawbacks. The differentiation alters the signal's spectrum by amplifying high-frequency noise, attenuating low-frequencies, and dropping the DC component. This makes its dynamic range and SNR inversely proportional to signal frequency. Delta modulation suffers from slope overload if signals move too fast. And it is susceptible to transmission disturbances that result in cumulative error.

Delta-sigma modulation rearranges the integrator and quantizer of a delta modulator, so that the output carries information corresponding to the amplitude of the input signal instead of just its derivative. This also has the benefit of incorporating desirable noise shaping into the conversion process, to deliberately move quantization noise to frequencies higher than the signal. Since the accumulated error signal is lowpass filtered by the delta-sigma modulator's integrator before being quantized, the subsequent negative feedback of its quantized result effectively subtracts the low frequency components of the quantization noise while leaving the higher frequency components of the noise.

1-bit delta-sigma modulation is pulse-density modulation
In the specific case of a single-bit synchronous ΔΣ ADC, an analog voltage signal is effectively converted into a pulse frequency, or pulse density, which can be understood as pulse-density modulation (PDM). A sequence of positive and negative pulses, representing bits at a known fixed rate, is very easy to generate, transmit, and accurately regenerate at the receiver, given only that the timing and sign of the pulses can be recovered. Given such a sequence of pulses from a delta-sigma modulator, the original waveform can be reconstructed with adequate precision.

The use of PDM as a signal representation is an alternative to PCM. Alternatively, the high frequency PDM can later be downsampled through a processed called decimation and requantized to convert it into a multi-bit PCM code at lower sampling frequency closer to the Nyquist rate of the frequency band of interest.

History and variations
The seminal paper combining feedback with oversampling to achieve delta modulation was by F. de Jager of Philips Research Laboratories in 1952. The principle of improving the resolution of a coarse quantizer by use of feedback, which is the basic principle of delta-sigma conversion, was first described in a 1954-filed patent by C. Chapin Cutler of Bell Labs. It was not named as such until a 1962 paper by Inose et al. of University of Tokyo, which came up with the idea of adding a filter in the forward path of the delta modulator. However, Charles B Brahm of United Aircraft Corp in 1961 filed a patent "Feedback integrating system" with a feedback loop containing an integrator with multi-bit quantization shown in its Fig 1.

Wooley's "The Evolution of Oversampling Analog-to-Digital Converters" gives more history and references to relevant patents. Some avenues of variation (which may be applied in different combinations) are the modulator's order, the quantizer's bitdepth, the manner of decimation, and the oversampling ratio.

Higher-order modulator
Noise of the quantizer can be further shaped by replacing the quantizer itself with another ΔΣ modulator. This creates a 2$st$-order modulator, which can be rearranged in a cascaded fashion (Figure 2). This process can be repeated to increase the order even more.

While 1$nd$-order modulators are unconditionally stable, stability analysis must be performed for higher-order noise-feedback modulators. Alternatively, noise-feedforward configurations are always stable and have simpler analysis. $nd$

Multi-bit quantizer
The modulator can also be classified by the bit depth of its quantizer. A quantizer that distinguishes between N-levels is called a log2N bit quantizer. For example, a simple comparator has 2 levels and so is 1 bit quantizer; a 3-level quantizer is called a "1.5" bit quantizer; a 4-level quantizer is a 2-bit quantizer; a 5-level quantizer is called a 2.5-bit quantizer. Higher bit quantizers inherently produce less quantization noise.

One criticism of 1-bit quantization is that adequate amounts of dither cannot be used in the feedback loop, so distortion can be heard under some conditions (more discussion at ).

Subsequent decimation
Decimation is strongly associated with delta-sigma modulation, but is distinct and outside the scope of this article. The original 1962 paper didn't describe decimation. Oversampled data in the early days was sent as is. The proposal to decimate oversampled delta-sigma data using digital filtering before converting it into PCM audio was made by D. J. Goodman at Bell Labs in 1969, to reduce the ΔΣ signal from its high sampling rate while increasing its bit depth. Decimation may be done in a separate chip on the receiving end of the delta-sigma bit stream, sometimes by a dedicated module inside of a microcontroller, which is useful for interfacing with PDM MEMS microphones, though many ΔΣ ADC integrated circuits include decimation. Some microcontrollers even incorporate both the modulator and decimator.

Decimation filters most commonly used for ΔΣ ADCs, in order of increasing complexity and quality, are:

 * 1) Boxcar moving average filter (simple moving average or sinc-in-frequency or sinc$st$ filter): This is the easiest digital filter and retains a sharp step response, but is mediocre at separating frequency bands and suffers from intermodulation distortion. The filter can be implemented by simply counting how many samples during a larger sampling interval are high. The 1974 paper from another Bell Labs researcher, J. C. Candy, "A Use of Limit Cycle Oscillations to Obtain Robust Analog-to-Digital Converters" was one of the early examples of this.
 * 2) Cascaded integrator–comb filters: These are called sinc$§6.1$ filters, equivalent to cascading the above sinc$1$ filter N times and rearranging the order of operations for computational efficiency. Lower N filters are simpler, settle faster, and have less attenuation in the baseband, while higher N filters are slightly more complex and settle slower and have more droop in the passband, but better attenuate undesired high frequency noise. Compensation filters can however be applied to counteract undesired passband attenuation. Sinc$N$ filters are appropriate for decimating sigma delta modulation down to four times the Nyquist rate. The height of the first sideload is -13·N dB and the height of successive lobes fall off gradually, but only the areas around the nulls will alias into the low frequency band of interest; for instance when downsampling by 8, the largest aliased high frequency component may be -16 dB below the peak of the band of interest with a sinc$1$ filter but -40 dB below for a sinc$N$ filter, and if only interested in a narrower bandwidth, even fewer high frequency components will alias into it (see Figures 7–9 of Lyons article).
 * 3) Windowed sinc-in-time (brick-wall in frequency) filters: Although the sinc function's infinite support prevents it from being realizable in finite time, the sinc function can instead be windowed to realize finite impulse response filters. This approximated filter design, while maintaining almost no attenuation of the lower-frequency band of interest, still removes almost all undesired high-frequency noise. The downside is poor performance in the time domain (e.g. step response overshoot and ripple), higher delay (i.e. their convolution time is inversely proportional to their cutoff transition steepness), and higher computational requirements. They are the de facto standard for high fidelity digital audio converters.

Reduction of baseband noise by increasing oversampling ratio and ΔΣM order

When a signal is quantized, the resulting signal can be approximated by addition of white noise with approximately equal intensity across the entire spectrum. In reality, the quantization noise is, of course, not independent of the signal and this dependence results in limit cycles and is the source of idle tones and pattern noise in delta-sigma converters. However, adding dithering noise (Figure 3) reduces such distortion by making quantization noise more random.

ΔΣ ADCs reduce the amount of this noise in the baseband by spreading it out and shaping it so it is mostly in higher frequencies. It can then be easily filtered out with inexpensive digital filters, without high-precision analog circuits needed by Nyquist ADCs.

Oversampling to spread out quantization noise
Quantization noise in the baseband frequency range (from DC to $$2f_0$$) may be reduced by increasing the oversampling ratio (OSR) defined by

 * $$\mathrm{OSR}\,=\,\frac{f_s}{2f_0} = 2^d$$

where $$f_\mathrm{s}$$ is the sampling frequency and $$2f_0$$ is the Nyquist rate (the minimum sampling rate needed to avoid aliasing, which is twice the original signal's maximum frequency $$f_0$$). Since oversampling is typically done in powers of two, $$d$$ represents how many times OSR is doubled.

As illustrated in Figure 4, the total amount of quantization noise is the same both in a Nyquist converter (yellow + green areas) and in an oversampling converter (blue + green areas). But oversampling converters distribute that noise over a much wider frequency range. The benefit is that the total amount of noise in the frequency band of interest is dramatically smaller for oversampling converters (just the small green area), than for a Nyquist converter (yellow + green total area).

Noise shaping
Figure 4 shows how ΔΣ modulation shapes noise to further reduce the amount of quantization noise in the baseband in exchange for increasing noise at higher frequencies (where it can be easily filtered out). The curves of higher-order ΔΣ modulators achieve even greater reduction of noise in the baseband.

These curves are derived using mathematical tools called the Laplace transform (for continuous-time signals, e.g. in an ADC's modulation loop) or the Z-transform (for discrete-time signals, e.g. in a DAC's modulation loop). These transforms are useful for converting harder math from the time domain into simpler math in the complex frequency domain of the complex variable $$\text{s} = \sigma + j \omega$$ (in the Laplace domain) or $$\text{z} = A e^{j\phi}$$ (in the z-domain).

Analysis of ΔΣ ADC modulation loop in Laplace domain
Figure 5 represents the 1$1$-order ΔΣ ADC modulation loop (from Figure 1) as a continuous-time linear time-invariant system in the Laplace domain with the equation:

$$[ \text{in} (\text{s}) - \Delta \Sigma \text{M} (\text{s}) ] \cdot \frac{1}{\text{s}} + \text{noise} (\text{s}) = \Delta \Sigma \text{M} (\text{s}) \, .$$

The Laplace transform of integration of a function of time corresponds to simply multiplication by $$\tfrac{1}\text{s}$$ in Laplace notation. The integrator is assumed to be an ideal integrator to keep the math simple, but a real integrator (or similar filter) may have a more complicated expression.

The process of quantization is approximated as addition with a quantization error noise source. The noise is often assumed to be white and independent of the signal, though as explains that is not always a valid assumption (particularly for low-bit quantization).

Since the system and Laplace transform are linear, the total behavior of this system can be analyzed by separating how it affects the input from how it affects the noise: $3$

$$\Delta \Sigma \text{M}_{\text{total}} (\text{s}) = \Delta \Sigma \text{M}_\text{in} (\text{s}) + \Delta \Sigma \text{M}_\text{noise} (\text{s}) \, .$$

Low-pass filter on input
To understand how the system affect the input signal only, the noise is temporarily imagined to be 0:

$$[\text{in}(\text{s})-\Delta \Sigma \text{M}_\text{in} (\text{s})] \cdot \frac{1}\text{s} + 0 = \Delta \Sigma \text{M}_\text{in} (\text{s}) \, ,$$

which can be rearranged to yield the following transfer function:

$$\frac{\Delta \Sigma \text{M}_\text{in} (\text{s})}{\text{in}(\text{s})} = \frac{\tfrac{1}{\text{s}}}{1 + \tfrac{1}\text{s}} = \frac{1}{\text{s}+1} \, .$$

This transfer function has a single pole at $$\text{s} = \text{-1}$$ in the complex plane, so it effectively acts as a 1$st$-order low-pass filter on the input signal. (Note: its cutoff frequency could be adjusted as desired by including multiplication by a constant in the loop).

High-pass filter on noise
To understand how the system affects the noise only, the input instead is temporarily imagined to be 0:

$$[0 - \Delta \Sigma \text{M}_\text{noise} (\text{s}) ] \cdot \frac{1}\text{s} + \text{noise}(\text{s}) = \Delta \Sigma \text{M}_\text{noise} (\text{s}) \, ,$$

which can be rearranged to yield the following transfer function:

$$\frac{\Delta \Sigma \text{M}_\text{noise} (\text{s})}{\text{noise}(\text{s})} = \frac{1}{1 + \tfrac{1}\text{s}} = \frac{s}{\text{s}+1} \, .$$

This transfer function has a single zero at $$\text{s} = 0$$ and a single pole at $$\text{s} = \text{-1},$$ so the system effectively acts as a high-pass filter on the noise that starts at 0 at DC, then gradually rises until it reaches the cutoff frequency, and then levels off.

Analysis of synchronous ΔΣ modulation loop in z-domain
The synchronous ΔΣ DAC's modulation loop (Figure 6) meanwhile is in discrete-time and so its analysis is in the z-domain. It is very similar to the above analysis in Laplace domain and produces similar curves. Note: many sources $nd$ also analyze a ΔΣ ADC's modulation loop in the z-domain, which implicitly treats the continuous analog input as a discrete-time signal. This may be a valid approximation provided that the input signal is already bandlimited and can be assumed to be not changing on time scales higher than the sampling rate. It is particularly appropriate when the modulator is implemented as a switched capacitor circuit, which work by transferring charge between capacitors in clocked time steps. Integration in discrete-time can be an accumulator which repeatedly sums its input $$x[n]$$ with the previous result of its summation $$y[n] = x[n] + y[n-1].$$ This is represented in the z-domain by feeding back a summing node's output $$y(\text{z})$$ though a 1-clock cycle delay stage (notated as $$\text{z}^\text{-1}$$) into another input of the summing node, yielding Its transfer function $$\tfrac{1}{1-\text{z}^\text{-1}}$$ is often used to label integrators in block diagrams.

In a ΔΣ DAC, the quantizer may be called a requantizer or a digital-to-digital converter (DDC), because its input is already digital and quantized but is simply reducing from a higher bitdepth to a lower bitdepth digital signal. This is represented in the z-domain by another $$\text{z}^\text{-1}$$ delay stage in series with adding quantization noise. (Note: some sources may have swapped ordering of the $$\text{z}^\text{-1}$$ and additive noise stages.)

The modulator's z-domain equation arranged like Figure 6 is:$$[\text{in}(\text{z}) - \Delta\Sigma\text{M}(\text{z})] \cdot \frac{1}{1-\text{z}^\text{-1}} \cdot \text{z}^\text{-1} + \text{noise}(\text{z}) = \Delta\Sigma\text{M}(\text{z}) \, ,$$which can be rearranged to express the output in terms of the input and noise:$$\Delta\Sigma\text{M}(\text{z}) = \text{in}(\text{z}) \cdot \text{z}^\text{-1} + \text{noise}(\text{z}) \cdot (1 - \text{z}^\text{-1}) \, .$$The input simply comes out of the system delayed by one clock cycle. The noise term's multiplication by $$(1 - \text{z}^\text{-1})$$ represents a first difference backward filter (which has a single pole at the origin and a single zero at $$\text{z}{=}1$$) and thus high-pass filters the noise.

Higher order modulators
Without getting into the mathematical details, $rd$ cascading $$\Theta$$ integrators to create an $\Theta^\text{th}$-order modulator results in:$$\Delta\Sigma\text{M}_\Theta(\text{z}) = \text{in}(\text{z}) \cdot \text{z}^\text{-1} + \text{noise}(\text{z}) \cdot (1 - \text{z}^\text{-1})^\Theta \, .$$Since this first difference backwards filter is now raised to the power $$\Theta$$ it will have a steeper noise shaping curve, for improved properties of greater attenuation in the baseband, so a dramatically larger portion of the noise is above the baseband and can be easily filtered by an ideal low-pass filter.

Theoretical effective number of bits
The theoretical signal-to-noise ratio (SNR) in decibels (dB) for a sinusoid input travelling through a $\Theta^\text{th}$-order modulator with a $$2^d$$ OSR (and followed by an ideal low-pass decimation filter) can be mathematically derived to be approximately: $st$

$$\text{SNR}_\text{dB} \approx 3.01 \cdot (2 \cdot \Theta + 1) \cdot d - 9.36 \cdot \Theta - 2.76 \, .$$The theoretical effective number of bits (ENOB) resolution is thus improved by $\Theta + \tfrac{1}{2}$ bits when doubling the OSR (incrementing $$d$$), and by $d - \tfrac{3}{2}$  bits when incrementing the order. For comparison, oversampling a Nyquist ADC (without any noise shaping) only improves its ENOB by $$\tfrac{1}{2}$$ bits for every doubling of the OSR, which is only $§6$ of the ENOB growth rate of a 1$st$-order ΔΣM. These datapoints are theoretical. In practice, circuits inevitably experience other noise sources that limit resolution, making the higher-resolution cells impractical.

Relationship to delta modulation

Delta-sigma modulation is related to delta modulation by the following steps (Figure 7): $§6.1$ If quantization were homogeneous (e.g., if it were linear), the above would be a sufficient derivation of their hypothetical equivalence. But because the quantizer is not homogeneous, delta-sigma is inspired by delta modulation, but the two are distinct in operation.
 * 1) Start with a block diagram of a delta modulator/demodulator.
 * 2) The linearity property of integration, $ \int a + \int b = \int (a + b)$, makes it possible to move the integrator, which reconstructs the analog signal in the demodulator section, in front of the delta modulator.
 * 3) Again, the linearity property of integration allows the two integrators to be combined and a delta-sigma modulator/demodulator block diagram is obtained.

From the first block diagram in Figure 7, the integrator in the feedback path can be removed if the feedback is taken directly from the input of the low-pass filter. Hence, for delta modulation of input signal $v_{in}$, the low-pass filter sees the signal
 * $$ \int \operatorname{Quantize}\left( \text{v}_\text{in} - \text{v}_{\text{feedback}_\Delta} \right) dt .\,$$

However, delta-sigma modulation of the same input signal places at the low-pass filter
 * $$ \operatorname{Quantize}\left( \int \left( \text{v}_\text{in} - \text{v}_{\text{feedback}_{\Delta\Sigma}} \right) dt \right).\,$$

In other words, doing delta-sigma modulation instead of delta modulation has effectively swapped the ordering of the integrator and quantizer operations. The net effect is a simpler implementation that has the profound added benefit of shaping the quantization noise to be mostly in frequencies above the signals of interest. This effect becomes more dramatic with increased oversampling, which allows for quantization noise to be somewhat programmable. On the other hand, delta modulation shapes both noise and signal equally.

Additionally, the quantizer (e.g., comparator) used in delta modulation has a small output representing a small step up and down the quantized approximation of the input while the quantizer used in delta-sigma must take values outside of the range of the input signal.

In general, delta-sigma has some advantages versus delta modulation:
 * The structure is simplified as
 * only one integrator is needed,
 * the demodulator can be a simple linear filter (e.g., RC or LC filter) to reconstruct the signal, and
 * the quantizer (e.g., comparator) can have full-scale outputs.
 * The quantized value is the integral of the difference signal, which
 * makes it less sensitive to the rate of change of the signal, and
 * helps capture low frequency and DC components.

Analog-to-digital conversion example
Delta-sigma ADCs vary in complexity. The below circuit focuses on a simple 1st-order, 2-level quantization synchronous delta-sigma ADC without decimation.

Simplified circuit example
To ease understanding, a simple circuit schematic (Figure 8a) using ideal elements is simulated (Figure 8b voltages). It is functionally the same Analog-to-Digital ΔΣ modulation loop in Figure 1 (note: the 2-input inverting integrator combines the summing junction and integrator and produces a negative feedback result, and the flip-flop combines the sampled quantizer and conveniently naturally functions as a 1-bit DAC too).

The 20 kHz input sine wave s(t) is converted to a 1-bit PDM digital result Q(t). 20 kHz is used as an example because that is considered the upper limit of human hearing.

This circuit can be laid out on a breadboard with inexpensive discrete components (note some variations use different biasing and use simpler RC low-pass filters for integration instead of op amps).

For simplicity, the D flip-flop is powered by dual supply voltages of VDD = +1 V and VSS = -1 V, so its binary output Q(t) is either +1 V or -1 V.

2-input inverting integrator
The 2-input inverting op amp integrator combines s(t) with Q(t) to produce undefined:$$ \varepsilon(t) = -\frac{1}{RC}\int (s(t) + Q(t)) dt .$$The Greek letter epsilon is used because undefined contains the accumulated error that is repeatedly corrected by the feedback mechanism. While both its inputs s(t) and Q(t) vary between -1 and 1 volts, undefined instead only varies by a couple millivolts about 0 V.

Because of the integrator's negative sign, when undefined next gets sampled to produce Q(t), the +Q(t) in this integral actually represents negative feedback from the previous clock cycle.

Quantizer and sampler flip-flop
An ideal D flip-flop samples undefined at the clock rate of 1 MHz. The scope view (Figure 8b) has a minor division equal to the sampling period of 1 μs, so every minor division corresponds to a sampling event. Since the flip-flop is assumed to be ideal, it treats any input voltage greater than 0 V as logical high and any input voltage smaller than 0 V as logical low, no matter how close it is to 0 V (ignoring issues of sample-and-hold time violations and metastability).

Whenever a sampling event occurs:

 * if undefined is above the 0 V threshold, then Q(t) will go high (+1 V), or
 * if undefined is below the 0 V threshold, then Q(t) will go low (-1 V).

Q(t) is sent out as the resulting PDM output and also fed back to the 2-input inverting integrator.

Demodulation
The rightmost integrator performs digital-to-analog conversion on Q(t) to produce a demodulated analog output r(t), which reconstructs the original sine wave input as piece-wise linear diagonal segments. Although r(t) appears coarse at this 50x oversampling rate, r(t) can be low-pass filtered to isolate the original signal. As the sampling rate is increased relative to the input signal's maximum frequency, r(t) will more closely approximate the original input s(t).

Digital-to-analog conversion
It is worth noting that if no decimation ever took place, the digital representation from a 1-bit delta-sigma modulator is simply a PDM signal, which can easily be converted to analog using a low-pass filter, as simple as a resistor and capacitor.

However, in general, a delta-sigma DAC converts a discrete time series signal of digital samples at a high-bitdepth into a low-bitdepth (often 1-bit) signal, usually at a much higher sampling rate. That delta-modulated signal can then be accurately converted into analog (since lower bitdepth DACs are easier to be highly-linear), which then goes through inexpensive low-pass filtering in the analog domain to remove the high-frequency quantization noise inherent to the delta-sigma modulation process.

Upsampling
As the discrete Fourier transform and discrete-time Fourier transform articles explain, a periodically-sampled signal inherently contains multiple higher frequency copies or "images" of the signal. It is often desirable to remove these higher-frequency images prior to the performing the actual delta-sigma modulation stage, in order to ease requirements on the eventual analog low-pass filter. This can be done by upsampling using an interpolation filter and is often the first step prior to performing delta-sigma modulation in DACs. Upsampling is strongly associated with delta-sigma DACs but not strictly part of the actual delta-sigma modulation stage (similar to how decimation is strongly associated with delta-sigma ADCs but not strictly part of delta-sigma modulation either), and the details are out of the scope of this article.

Digital-to-digital delta-sigma modulation
The modulation loop in Figure 6 in can easily be laid out with basic digital elements of a subtractor for the difference, an accumulator for the integrator, and a lower-bit register for the quantization, which carries over the most-significant bit(s) from the integrator to be the feedback for the next cycle.

Multi-stage noise shaping
This simple 1$(equations 8-11)$-order modulation can be improved by cascading two or more overflowing accumulators, each of which is equivalent to a 1$(equations 12-21)$-order delta-sigma modulator. The resulting multi-stage noise shaping (MASH) structure has a steeper noise shaping property, so is commonly used in digital audio. The carry outputs are combined through summations and delays to produce a binary output, the width of which depends on the number of stages (order) of the MASH. Besides its noise shaping function, it has two more attractive properties:
 * simple to implement in hardware; only common digital blocks such as accumulators, adders, and D flip-flops are required
 * unconditionally stable (there are no feedback loops outside the accumulators)

Naming
The technique was first presented in the early 1960s by professor Yasuhiko Yasuda while he was a student at the University of Tokyo. The name delta-sigma comes directly from the presence of a delta modulator and an integrator, as firstly introduced by Inose et al. in their patent application. That is, the name comes from integrating or summing differences, which, in mathematics, are operations usually associated with Greek letters sigma and delta respectively.

In the 1970s, Bell Labs engineers used the terms "sigma-delta" because the precedent was to name variations on delta modulation with adjectives preceding "delta", and an Analog Devices magazine editor justified in 1990 that the functional hierarchy is "sigma-delta", because it computes the integral of a difference.

Both names sigma-delta and delta-sigma are frequently used.

Asynchronous delta-sigma modulation
Kirkkert and Miller published a continuous-time variant called "Asynchronous Delta Sigma Modulation" (ADSM or ASDM) in 1975 which uses either a Schmitt trigger (i.e. a comparator with hysteresis) or (as the paper argues is equivalent) a comparator with fixed delay.

In the example in Figure 9, when the integral of the error exceeds its limits, the output changes state, producing a pulse-width modulated (PWM) output wave.

Amplitude information is converted, without quantization noise, into time information of the output PWM. To convert this continuous time PWM to discrete time, the PWM may be sampled by a time-to-digital converter, whose limited resolution adds noise which can be shaped by feeding it back.

title: Delta-sigma modulation


text:
User talk:Violetriga/Templates6

On my laptop display, the "pastel colors" are a little too pastel -- I didn't notice they were there until I looked at the screen from an angle. --Carnildo 19:13, 15 Apr 2005 (UTC)
 * Thanks for that feedback. This laptop screen is rather rubbish, so I've tried to create it with decent displays in mind - I may well have gone overboard on the lightness of the shade though.  I'll test a slightly darker shade when I get chance to go on my decent monitor.  Cheers, violet/riga (t) 19:17, 15 Apr 2005 (UTC)

 * The colors look a lot better on my entirely-too-dark CRT monitor. --Carnildo 06:19, 16 Apr 2005 (UTC)

I like the design here, but the two shades of purple look too close to my eye, almost as if someone were looking at the display for /featured and guessing at the hex triplet to use for /farc without actually reading the source. —Korath (Talk) 21:22, Apr 15, 2005 (UTC)
 * Much better now, thanks. —Korath (Talk) 21:35, Apr 15, 2005 (UTC)

 * Would you entertain some criticism? I think your templates are very beautiful, but I have some technical issues with them. You can tell me to go away if you like. — Xiong 熊 talk 03:49, 2005 Apr 16 (UTC)

 * Thanks, and I always welcome feedback, positive or otherwise. violet/riga (t) 09:57, 16 Apr 2005 (UTC)

title: User talk:Violetriga/Templates6


text:
Great Britain at the 2000 Summer Olympics

Great Britain, represented by the British Olympic Association (BOA), competed at the 2000 Summer Olympics in Sydney, Australia. British athletes have competed in every Summer Olympic Games. 310 competitors, 181 men and 129 women, took part in 179 events in 23 sports. These were the first Summer Olympics in which the team of selected athletes was officially known as Team GB in a highly successful attempt to unify all the competing athletes across all the sports and events and boost team morale. Going into the games following their exceptionally poor performance in Atlanta widespread expectations of the team were low.

The Sydney Games was at the time the best performance by Great Britain in the Summer Olympic Games since 1920, with British competitors winning a total of 28 medals, 11 of which were gold. This represented a vast improvement in performance over the previous Summer Olympics in 1996, in which Great Britain won only one gold medal and 15 in total, and was the first of five consecutive Summer Olympics in which Great Britain would not only dramatically increase its overall performance and expectations but also see them dramatically increase its overall Summer Olympics medal tally. This was also the first Summer Olympic Games where British competitors benefited from £58.9m of National Lottery funding when it was introduced in 1997.

Medallists

 * style="text-align:left; width:78%; vertical-align:top;"|
 * style="text-align:left; width:22%; vertical-align:top;"|

Multiple medallists
The following Team GB competitors won multiple medals at the 2000 Olympic Games.

Archery
The three British archers had a combined record of 3-3.

Athletics

 * Key
 * Note–Ranks given for track events are within the athlete's heat only
 * Q = Qualified for the next round
 * q = Qualified for the next round as a fastest loser or, in field events, by position without achieving the qualifying target
 * NR = National record
 * N/A = Round not applicable for the event
 * Bye = Athlete not required to compete in round

 * Men
 * Track & road events

 * Field events

 * Combined events – Decathlon

 * Women
 * Track & road events

 * Field events

 * Combined events – Heptathlon

Badminton

 * Men

 * Women

 * Mixed

Road

 * Men

 * Women

Track

 * Sprint

 * Pursuit

Qualification legend: FA=Gold medal final; FB=Bronze medal final

 * Keirin

 * Time trial

 * Omnium

Diving

 * Men

 * Women

Fencing
Three fencers, two men and one woman, represented Great Britain in 2000.

Gymnastics
Lisa Mason, Annika Reeder, Emma Williams, Sharna Murray, Kelly Hackman & Paula Thomas represented Great Britain. The Team placed 10th which was the highest placing attained by GBR Women's Artistic Gymnastics at an Olympic Games.

Artistic

 * Men

 * Women
 * Team

 * Individual finals

Men's tournament

 * Squad

Head coach: Barry Dancer

 * 1) Simon Mason (GK)
 * 2) David Luckes (GK)
 * 3) Jon Wyatt (c)
 * 4) Julian Halls
 * 5) Tom Bertram
 * 6) Craig Parnham
 * 7) Guy Fordham
 * 8) Ben Sharpe
 * 9) Mark Pearn
 * 10) Jimmy Wallis
 * 11) Brett Garrard
 * 12) Bill Waugh
 * 13) Daniel Hall
 * 14) Michael Johnson
 * 15) Calum Giles
 * 16) David Hacker

 * Group stage

 * 5th–8th classification

 * Crossover

 * 5th–6th place final

Women's tournament

 * Squad

Head coach: Chris Spice

 * 1) Carolyn Reid (GK)
 * 2) Hilary Rose (GK)
 * 3) Kirsty Bowden
 * 4) Jane Smith
 * 5) Melanie Clewlow
 * 6) Christina Cullen
 * 7) Kath Johnson
 * 8) Lucilla Wright
 * 9) Jane Sixsmith
 * 10) Rhona Simpson
 * 11) Denise Marston-Smith
 * 12) Helen Richardson
 * 13) Fiona Greenham
 * 14) Pauline Stott (c)
 * 15) Kate Walsh
 * 16) Mandy Nicholson

 * Group stage

 * 7th–10th classification

 * Crossover

 * 7th–8th place final

Judo

 * Men

 * Women

Rowing

 * Men

Qualification Legend: FA=Final A (medal); FB=Final B (non-medal); FC=Final C (non-medal); FD=Final D (non-medal); FE=Final E (non-medal); FF=Final F (non-medal); SA/B=Semifinals A/B; SC/D=Semifinals C/D; SE/F=Semifinals E/F; R=Repechage
 * Women

Sailing
Great Britain competed in ten of the eleven Sailing events at the Sydney Olympics. They won three gold medals and two silver medals.

 * Men

 * Women

 * Open
 * Fleet racing

 * Match racing

Swimming

 * Men

Qualifiers for the latter rounds (Q) of all events were decided on a time only basis, therefore positions shown are overall results versus competitors in all heats. * Competed in the heats only

 * Women

Qualifiers for the latter rounds (Q) of all events were decided on a time only basis, therefore positions shown are overall results versus competitors in all heats.

Tennis

 * Men

 * Women

Triathlon
The three British triathletes that finished the inaugural Olympic triathlon placed highly, with none lower than fifteenth place and two in the top ten. However, three more British athletes did not finish the competition.


text:
Patty Loveless

Patty Loveless (born Patricia Lee Ramey, January 4, 1957) is an American country music singer. She began performing in her teenaged years before signing her first recording contract with MCA Records' Nashville division in 1985. While her first few releases were unsuccessful, she broke through by decade's end with a cover of George Jones's "If My Heart Had Windows". Loveless issued five albums on MCA before moving to Epic Records in 1993, where she released nine more albums. Four of her albums—Honky Tonk Angel, Only What I Feel, When Fallen Angels Fly, and The Trouble with the Truth—are certified platinum in the United States. Loveless has charted 44 singles on the Billboard Hot Country Songs charts, including five which reached number one: "Timber, I'm Falling in Love", "Chains", "Blame It on Your Heart", "You Can Feel Bad", and "Lonely Too Long".

Loveless's music is defined by a mix of sounds, including neotraditional country, country pop, and bluegrass music, with her singing voice garnering favorable comparisons to Loretta Lynn and Emmylou Harris. Recurring songwriters whose work she has recorded include Matraca Berg, Kostas, Jim Lauderdale, and Steve Earle. She has collaborated with Vince Gill, George Jones, and Dwight Yoakam, among others. Nearly all of her albums were produced by her husband, Emory Gordy Jr. Although she largely retired from performing in 2009, Loveless has sporadically contributed to other artists' works in subsequent years. She has won five awards from the Country Music Association, two from the Academy of Country Music, and two Grammy Awards.

Loveless was inducted into the Country Music Hall of Fame on October 22, 2023.

Early life
Patty Loveless was born Patricia Lee Ramey on January 4, 1957, in Pikeville, Kentucky to Naomi (née Bowling; 1921–2006) and John Ramey (1921–1979). She is the sixth of seven children. Through her patriline, Loveless is a distant cousin of country singers Loretta Lynn and Crystal Gayle. She was raised in nearby Elkhorn City, Kentucky, where her father worked in a coal mine. He contracted black lung disease as a result of the job, forcing the family to move to Louisville, Kentucky, to facilitate his medical treatments. John Ramey died of the disease in 1979.

By the time she was 11, she began playing guitar and writing songs with her brother Roger, which led to the two of them performing together at local events. The two were discovered at one such show by the Wilburn Brothers. The duo did not consider her mature enough for a musical career at the time and encouraged her to keep performing. After she graduated high school, she began touring with the Wilburn Brothers as a vocalist in their touring band. In 1973 she married the band's drummer, Terry Lovelace, the same year and moved with him to Charlotte, North Carolina. At this point, she altered the spelling of her name to Patty Loveless, a variant of her married name.

Loveless spent much of the late 1970s playing rock cover songs at various venues in the Midwestern United States. By the mid-1980s, she moved back to Nashville, Tennessee, to pursue a career as a country artist. At the time, Loveless said she was inspired by the rise of neotraditional country in the mid-1980s through such acts as Dwight Yoakam, The Judds, and Randy Travis. In Nashville, she sang demo recordings for other artists and signed a songwriting contract with Acuff-Rose Music in 1985. Loveless recorded five of her own songs on a demo tape, which her brother Roger sent to MCA Records' Nashville division. Tony Brown (a record producer who was also serving as that label's president of artists and repertoire) helped sign Loveless to the label in July 1985.

1985–1990: early years
Loveless began recording music for MCA with production assistance from both Brown and Emory Gordy Jr., a producer whom Roger had befriended. Prior to working with Loveless, Gordy was a member of Emmylou Harris's backing band, the Hot Band. MCA Nashville released Loveless's debut single in late 1985 titled "Lonely Days, Lonely Nights". This was followed by "Wicked Ways", "I Did", and "After All". All four singles peaked outside the top 40 on the American Billboard Hot Country Songs charts. Because of their failures, MCA executives initially did not want to release an album. However, Loveless noted that "I Did" was highly popular among fans and concertgoers despite its low chart showing and successfully convinced label executives to allow the release of a full album.

That album, the self-titled Patty Loveless, was released in 1986. Gordy and Brown produced the project and were among the contributing musicians, as were guitarists Reggie Young and Richard Bennett. Contributing songwriters included Guy Clark, Jo-El Sonnier, and Karen Staley. Loveless had written "I Did" at age 17 after undergoing a breakup, and it is the only single in her career that she wrote. She had originally recorded "After All" as a demo for songwriters Jimbeau Hinson and Harry Stinson, who had intended for the song to be recorded by Reba McEntire. When McEntire chose not to record the song, the two songwriters allowed Loveless to keep it. Loveless supported her debut album by touring with George Jones, which led to the two singing "Roll in My Sweet Baby's Arms" together in concerts. An uncredited review in Cashbox of "Lonely Days, Lonely Nights" called it "a boot-tapper that shows off her strong voice and rhythmic phrasing." The same magazine published a favorable review of "I Did", which stated that the song "really does seem to come from the heart" and had a "classic sound". During the same period, she also divorced first husband, Terry Lovelace.

Loveless's second MCA album was 1988's If My Heart Had Windows. The lead single was the Curtis Wright composition "You Saved Me" (which fell outside the country top 40). It was followed by her first top-10 hit, a cover of George Jones's 1967 single "If My Heart Had Windows". The third and final single was a cover of Steve Earle's "A Little Bit in Love". By mid-1988, Loveless's rendition had peaked at number two on the Billboard country charts. A review written by Thom Jurek of AllMusic praised these two covers in particular, also stating that her "integrity, down-home sincerity, and utterly stunning voice have helped to create a streak of fine recordings and chart success". Jack Hurst of the Chicago Tribune was mixed toward the album, praising Loveless's voice, but criticizing the production as being more country pop in nature. Coinciding with the album's release, Loveless was inducted into the Grand Ole Opry in 1988. Throughout 1988, Loveless also gained exposure in the United Kingdom by performing at an annual country music festival held at Wembley Arena.

In late 1988, Loveless's third album was released called Honky Tonk Angel. Shortly after the album's release, she and Gordy married. The lead single was "Blue Side of Town", which was co-written by Hank DeVito (another member of Emmylou Harris's Hot Band). This song achieved a top-five peak, as did a cover of Lone Justice's "Don't Toss Us Away". After these came her first number-one single, "Timber, I'm Falling in Love". Brown discovered the song when seeking material for the album. It was written by Greek-American songwriter Kostas, who at the time was not considering a career in country. Due to the success of "Timber, I'm Falling in Love", Kostas went on to write more songs for Loveless and for other country artists. "The Lonely Side of Love" (another song written by Kostas) peaked in the country top ten by late 1989. In early 1990, the album's final single "Chains" became her second to top the country chart. MCA promoted the album through CMT, which included a prize drawing where fans could win a trip to see Loveless perform at Billy Bob's Texas, a nightclub in Fort Worth, Texas. In addition, the label gave away autographed posters and signed Loveless to an endorsement deal with Justin Boots. Honky Tonk Angel was later certified platinum by the Recording Industry Association of America (RIAA) for shipments of one million copies. Brian Mansfield described the album as "the album that established Loveless as a major presence". Wendy Dudley of the Calgary Herald praised Loveless's "robust vocals", comparing them favorably to those of Patsy Cline.

1990–1991: final years with MCA
In 1990 Loveless released her fourth studio album, On Down the Line. She charted within the top five with the album's title track, another composition by Kostas. Next came a cover of Lucinda Williams's "The Night's Too Long", which reached number 20. The disc also spawned "I'm That Kind of Girl" and "Blue Memories", respectively co-written by Matraca Berg and Karen Brooks. Both made their chart appearances in early 1991. On Down the Line achieved a gold certification honoring shipments of 500,000 copies. Alex Henderson wrote of the album on AllMusic, "Unpredictable and consistently inspired, On Down the Line remains one of Loveless's finest albums." Hurst wrote that "Loveless's world-class vocal power has seemed for three albums to be searching for material that could engage her soul, and she appears to have found it in this collection".

Loveless ended her tenure on MCA with Up Against My Heart in 1991. Its lead single was the top-five song, "Hurt Me Bad (In a Real Good Way)", co-written by (and featuring backing vocals from) Deborah Allen. Dolly Parton, Mac McAnally, and Vince Gill also sang on several album tracks. The closing track was a cover of Lyle Lovett's "God Will". Follow-up singles, "Jealous Bone" and "Can't Stop Myself from Loving You", were less successful on Billboard. Alanna Nash of Entertainment Weekly rated the album "A+", comparing the music favorably to Loretta Lynn and Emmylou Harris. The editors of Country Music: The Encyclopedia attributed the commercial failure of Up Against My Heart to the increased success of other women on the MCA label such as Wynonna Judd and Trisha Yearwood. In 1992, Loveless ended her contract with MCA and fired her brother Roger from his position as her manager. Her last MCA release was a Greatest Hits package in 1993. After its release, this compilation was certified gold.

1992–1997: move to Epic Records and peak success
Loveless signed with Epic Records in late 1992 following her departure from MCA. While between labels she was featured on Dwight Yoakam's 1992 single "Send a Message to My Heart" (from his 1990 album If There Was a Way). Before she could begin recording, she was diagnosed with an aneurysm on one of her vocal cords. This had developed from a vocal strain endured from multiple years of touring. Although the aneurysm was surgically removed in October 1992, she required a month of vocal rest and therapy before singing again. After recovery, she rebounded with what was considered a milestone record with her Epic Records debut, Only What I Feel (1993). The album again featured Gordy as both producer and bass guitarist. Vince Gill and Joe Diffie provided backing vocals, while musical contributions included keyboardist Barry Beckett, steel guitarist Paul Franklin, and strings by members of the Nashville String Machine. Her first single for Epic was "Blame It on Your Heart", co-written by Kostas and Harlan Howard. In mid-1993, this song became Loveless's third number-one single on Billboard. Also in 1993, she was one of many featured vocalists on George Jones's "I Don't Need Your Rockin' Chair", which won the Country Music Association's Vocal Event of the Year for everyone involved.

Only What I Feel accounted for three more singles between then and 1994: "Nothin' but the Wheel", "You Will", and "How Can I Help You Say Goodbye". The latter songs both reached the Billboard country top ten. "You Will" was co-written by Pam Rose and Mary Ann Kennedy (then of the country duo Kennedy Rose), and was originally recorded by Anne Murray in 1991. Actor Burton Collins came up with the concept of "How Can I Help You Say Goodbye" after his grandmother's death in 1988, but did not finish the song until much later when he met co-writer Karen Taylor-Good. Alanna Nash of Entertainment Weekly thought that Loveless's vocals had become stronger after the surgery and that the songs had themes of "understanding between the sexes". Michael McCall of AllMusic also found Loveless's voice stronger than on her MCA work, highlighting her delivery on "Nothin' but the Wheel" in particular. At the 37th Grammy Awards in 1995, "How Can I Help You Say Goodbye" was nominated for Best Female Country Vocal Performance, her first nomination from that organization.

Her second Epic album was 1994's When Fallen Angels Fly. The lead single, "I Try to Think About Elvis", peaked at number three on the country charts the same year. Also spawned as singles were the top ten songs "Here I Am", "You Don't Even Know Who I Am", and "Halfway Down". When Fallen Angels Fly later won Album of the Year from the Country Music Association. The album had not originally been considered for nomination in this category, but the Country Music Association added it after disqualifying Alison Krauss's Now That I've Found You: A Collection. She won Top Female Vocalist from the Academy of Country Music in both 1995 and 1996. "You Don't Even Know Who I Am" was nominated as Song of the Year by the Academy of Country Music and the Grammy Award for Best Female Country Vocal Performance. When Fallen Angels Fly was certified platinum in 1996. Bob Cannon of Entertainment Weekly thought that Loveless displayed a wider emotional range on the album than other contemporary female country artists, contrasting her vocal delivery on "Halfway Down" and "You Don't Even Know Who I Am". Richard McVey wrote of "Here I Am" in Cashbox magazine that "She pours out emotions through her vocals like few can".

1996–1999: continued commercial success at Epic
In 1996, Epic released her eighth studio album called The Trouble with the Truth. The album's lead single was the Matraca Berg co-write "You Can Feel Bad". It became Loveless's fourth number-one single on Billboard's country chart. The follow-up was "A Thousand Times a Day" (originally recorded by George Jones in 1993), which stopped at number 13 on the charts. It was succeeded by her fifth and final number-one single, "Lonely Too Long". After these came the top-10 hit "She Drew a Broken Heart" and then the top 20 title track. Loveless described the project as having a theme of "see[ing] things as they are, not how you wish they'd be." The Trouble with the Truth received Album of the Year nominations from both the Academy of Country Music and Country Music Association. The project accounted for two Grammy nominations – the album itself for Best Country Album in 1997, and the title track for Best Female Country Vocal Performance a year later. By 1998, the album was certified platinum. The project also contained a cover of Richard Thompson's "Tear Stained Letter". A review in Billboard criticized this cover for not fitting thematically with the album, but stated of the other tracks that she "manages to sound simultaneously contemporary and traditional". The same magazine published a review of "Lonely Too Long", stating that her voice "exudes a variety of emotion on this well-written tune". Writing for Country Standard Time, Jeffrey B. Remz praised "Loveless's overwhelming ability to tackle the emotional core of each and every song."

In late 1997, Loveless reached the top 20 of the country charts with the George Jones duet "You Don't Seem to Miss Me". This was the lead single to her ninth album, Long Stretch of Lonesome. "To Have You Back Again" and "High on Love" (another song co-written by Kostas) also charted in the top 20 from this album, while "Like Water into Wine" became her first solo single since 1987 to miss the country top 40. "You Don't Seem to Miss Me" won Vocal Event of the Year from the Country Music Association in 1998, and was nominated for Best Country Collaboration with Vocals at the 40th Annual Grammy Awards. Co-writers on the album included Kostas, Kim Richey, Jim Lauderdale, and Nitty Gritty Dirt Band member Jeff Hanna. Carole L. Phillips of The Cincinnati Post rated the album "A", noting influences of both bluegrass and rock music on "High on Love", while comparing her delivery to Loretta Lynn and Roy Orbison on other tracks. Remz praised her vocal delivery on "To Have You Back Again", "You Don't Seem to Miss Me", and the title track in particular. Long Stretch of Lonesome was certified gold in 1998. Also in 1998, she joined another multiple-artist collaboration. This was "Same Old Train", included on the 1998 tribute album A Tribute to Tradition. This song charted on Hot Country Songs that year and won Grammy Award for Best Country Collaboration with Vocals, thus giving Loveless her first Grammy.

Her next Epic release was a compilation titled Classics, issued in 1999. The album included nine singles from her previous Epic albums along with three new tracks. Two of these"Can't Get Enough" and the Vince Gill duet "My Kind of Woman/My Kind of Man" were issued as singles. Loveless and Gill had worked together on a number of occasions prior to this song; notably, she sang backing vocals on his singles "When I Call Your Name", "Pocket Full of Gold", and "Go Rest High on That Mountain". "My Kind of Woman/My Kind of Man" won both artists the Country Music Association award for Vocal Event of the Year. Remz praised the consistency of the previously released singles, but considered "Can't Get Enough" inferior by comparison. Classics was certified gold in 2002. Loveless took a brief recording hiatus at the end of the decade due to her contracting pneumonia and Gordy requiring emergency surgery for pancreatitis. One exception to this hiatus came in late 1999, when she provided backing vocals on Tim McGraw's number-one single "Please Remember Me".

2000–2005: transition to bluegrass and final years with Epic
Loveless returned in 2000 with the studio project Strong Heart. On recording the album, she said she wanted to find songs that appealed to young adults. Steve Earle contributed a harmonica part on the track "You're So Cool". It spawned two top-20 country singles with "That's the Kind of Mood I'm In" and "The Last Thing on My Mind". Despite these chart entries, the album was commercially unsuccessful, with Steve Huey of AllMusic attributing its failure to a more country pop sound than the preceding albums. Alanna Nash shared a similar opinion in a review for Entertainment Weekly, although she praised the track "My Heart Will Never Pass This Way Again" for the inclusion of fiddle music. Country Standard Time reviewer Eli Messinger was more mixed toward the project, considering it inferior to Long Stretch of Lonesome while noting the inclusion of Jimmy Hall and Travis Tritt on various tracks.

She released a pair of bluegrass albums between 2001 and 2002. The first of these was Mountain Soul, which consisted of original content and cover songs. Loveless said she had wanted to do an acoustic bluegrass album since 1992 when she met Ralph Stanley. Epic Records executives agreed to let her release the project after noticing positive fan reactions whenever she sang bluegrass songs in concert. Another factor in this decision was the contemporary success of bluegrass-influenced albums such as the soundtrack of O Brother, Where Art Thou? and the works of Nickel Creek. The album included guest vocals from Earl Scruggs and Ricky Skaggs, along with covers of songs originally recorded by Porter Wagoner, Dolly Parton, and Darrell Scott. She also covered Gordy's composition "Cheap Whiskey", previously a single for Martina McBride in 1992. "Out of Control Raging Fire" (a duet with Travis Tritt) was released as a single and music video late in 2001. Messinger gave a positive review of the album for Country Standard Time, calling it "the most emotion-drenched and uncompromisingly powerful album of her career." Mountain Soul received a Grammy nomination in the category of Best Bluegrass Album after release. The tracks "The Boys Are Back in Town" and "You'll Never Leave Harlan Alive" both received Song of the Year nominations at the 2002 International Bluegrass Music Awards. This project was followed in 2002 by the Christmas bluegrass album Bluegrass & White Snow: A Mountain Christmas. It consisted mostly of traditional Christmas covers such as "Silent Night" and "Away in a Manger". Jon Randall contributed to a rendition of "Joy to the World", and Carolyn Dawn Johnson on "The Little Drummer Boy". In addition to these songs, Gordy wrote the title track and two other original compositions.

Loveless's next album was 2003's On Your Way Home. Loveless later said that she and Emory Gordy wanted to mix the "traditional" bluegrass feel of Mountain Soul with more contemporary instruments such as drums and electric guitar. She selected the first single to be a cover of Rodney Crowell's "Lovin' All Night". It became Loveless's last top-20 hit, while the title track and "I Wanna Believe" were her last chart entries altogether. Co-writers on the album included Marty Stuart, Buddy Miller, and Matraca Berg. Steven Wine of the Associated Press praised Loveless's "earthy twang", while considering the closing track "The Grandpa That I Know" the strongest lyrically. AllMusic writer Thom Jurek also praised "The Grandpa That I Know" and Loveless's overall vocal tone, as well as the inclusion of Dobro and fiddle in the production. The album led to Loveless receiving Female Vocalist of the Year nominations from both the Academy of Country Music and Country Music Association, while the title track was nominated for a Grammy Award for Best Female Country Vocal Performance. In 2004, Loveless contributed backing vocals to Alan Jackson's single "Monday Morning Church". The two also performed the song together at that year's Country Music Association awards ceremony.

The 2005 release Dreamin' My Dreams was Loveless's last release for Epic before the label closed its Nashville branch. The project was co-produced by Gordy and Justin Niebank. Contributing musicians included Lee Roy Parnell, Jon Randall, and Emmylou Harris. The album included four cover songs: Waylon Jennings's "Dreaming My Dreams with You", Richard Thompson's "Keep Your Distance", Steve Earle's "My Old Friend the Blues", and a duet with Dwight Yoakam on a cover of Delaney Bramlett's "Never Ending Song of Love". The cover of "Keep Your Distance" was the only single from the album. Brian Wahlert of Country Standard Time said of this album that Loveless and Gordy "have a knack for finding songs that express the joy and pain of everyday life in a way that anyone can relate to." He praised Loveless's vocal delivery on the song "On the Verge of Tears" in particular. Jack Bernhardt of The News and Observer considered the album her strongest release, noting the "storytelling intrigue" of the songs, while comparing Loveless's vocals favorably to those of Patsy Cline. The same year as this album, Vince Gill featured her as a duet partner on the track "Out of My Mind" from his compilation These Days.

2008–present: continued Bluegrass work and semi-retirement
In 2006, Loveless appeared on rock singer Bob Seger's Face the Promise as a duet partner on the track "The Answer's in the Question". David N. Cole, Seger's audio engineer, had recommended Loveless as a duet partner because he thought the song should be recorded as a duet. Seger was initially unsure if Loveless would approve, but the two agreed after realizing they were fans of each other's music. She then took a hiatus from recording, due in part to Epic closing its Nashville branch. In addition, her mother and mother-in-law had both died and her brother Roger had suffered a stroke. Her next album release was Sleepless Nights on Saguaro Road Records in 2008. According to an interview with CMT, Loveless chose to do a covers album dedicated to both Roger and to her sister Dottie (who died in 1996). Gordy produced and played bass on the album, with other contributors including pianist Hargus "Pig" Robbins, guitarist Al Perkins, and drummer Harry Stinson. The album featured covers of songs first cut by The Everly Brothers, George Jones, Porter Wagoner, and Webb Pierce. The lead single was a cover of Jones's "Why Baby Why". Jonathan Keefe of Slant Magazine called Loveless's vocals "interpretive" while also noting the "deliberate thematic heft" of the songs chosen. Jurek wrote of this album, "Loveless treats these songs without even a trace of nostalgia, but as the living embodiment of stories that not only transfer emotion, but reveal the hidden truths of love, life, sadness, grief, and wisdom gained by experience." In addition to this album, she sang duet vocals on the track "House of Cash" from George Strait's 2008 album Troubadour. At the 51st Annual Grammy Awards, Sleepless Nights was nominated for Best Country Album, while "House of Cash" was nominated for Best Country Collaboration with Vocals.

A year later, Loveless released her last studio album to date called Mountain Soul II. This was a follow-up to the original Mountain Soul project. Like its predecessor, it featured influences of acoustic and bluegrass music. Vince Gill, Del McCoury, and Emmylou Harris were among the contributing vocalists, the latter doing so on a cover of her own "Diamond in My Crown". Loveless also included a number of traditional Christian songs such as "Children of Abraham", which she sang a cappella. Loveless chose to include Christian material on the project as she had previously sung "Amazing Grace" with Ralph Stanley and Emmylou Harris while on tour with them. The album's lead single was a cover of Harlan Howard's "Busted". Keefe praised individual tracks such as this and the rendition of "I'm Working on a Building", but otherwise thought the album lacked the "focus" of its predecessor.

Although she largely retired from performing in 2009, Loveless has sporadically contributed to other artists' albums. She provided vocals to the track "Dear Diamond" on Miranda Lambert's 2010 album Four the Record. The same year, she joined with Danica Patrick, Caitlyn Jenner, and Michael Strahan in a program started by NASCAR titled Drive, which was done to raise awareness of chronic obstructive pulmonary disease. Loveless chose to join the program as her sister Dottie had died of the disease. She also appeared on albums by Angaleena Presley, Elizabeth Cook, Trisha Yearwood, and Carly Pearce.

In October 2022, Loveless was one of several performers at Kentucky Rising, a benefit concert held at Rupp Arena to raise funds for victims of flooding in Kentucky. Other performers at the venue included Chris Stapleton, Dwight Yoakam, Ricky Skaggs, and Tyler Childers. A month later, Loveless and Stapleton performed "You'll Never Leave Harlan Alive" together at the 56th Annual Country Music Association Awards.

Musical style
The editors of Country Music: The Encyclopedia describe Loveless as having a "straight-from-the-heart, strong yet vulnerable vocal style", which they compared favorably to Loretta Lynn and Kitty Wells. The same entry noted that Loveless had commercial success with both upbeat songs and ballads, and stated that she "may not be one of the more flashy personalities around; nevertheless, the songs she chooses to sing and the way she chooses to sing them are some of the best of what modern 'traditional' country music is all about." Steve Huey of Allmusic wrote that she "rose to stardom thanks to her blend of honky-tonk and country rock, not to mention a plaintive, emotional ballad style...but most critics agreed that she truly came into her own as an artist when she moved to Epic in the early '90s." According to The Virgin Encyclopedia of Country Music, she attributed her vocal tone to her upbringing in areas of Kentucky known for bluegrass music.

In a review of Up Against My Heart, Alanna Nash described Loveless as having a "wild-and-wounded voice". She also wrote that "[l]ike neo-traditionalist Emmylou Harris, she isn't afraid of a sassy country rock beat or progressive lyrics that paint her as a woman who knows what she wants from love". Nash also noted that Loveless had yet to win any industry awards at the time of the album's release, stating that "her lack of both flamboyance and any desire to play Nashville politics" may have been a factor. Carole L. Phillips of The Cincinnati Post stated that Loveless "fus[es] the driving emotional intensity of rock with a throaty tenor". Geoffrey Himes of The Washington Post noted a recurring theme of "loss" and "heartache" in the lyrics of Loveless's songs. An uncredited article in The Courier-News of Bridgewater, New Jersey, stated that Loveless was "[b]lessed with a natural honky-tonk moan and heart-on-sleeve vocal honesty". The same article also described "The Lonely Side of Love", "Hurt Me Bad (In a Real Good Way)", and "Can't Stop Myself from Loving You" as more traditional in style than "rock-oriented" material like "Jealous Bone" or "Chains".

Nash described Gordy's production style as "lean but muscular". Loveless told CMA Close Up in 1996 that production sessions usually began with Gordy recording just her vocals and an acoustic guitar track to determine her vocal tone for each track before adding in other instruments. Remz stated in a review of Long Stretch of Lonesome that Gordy "knows just what to do with his wife's voicelet it rip, but he doesn't overmilk it either." Loveless told The Los Angeles Times in 1995 that she looks for songs with "realism" in the lyrics. She also stated that she did not like recording songs about relationships if they cast men in a negative light; she said she initially rejected "You Don't Even Know Who I Am" for this reason until she realized the song's second verse showed the failing relationship from the male's perspective, as well. As Loveless almost never wrote songs, she often enlisted Gordy's help in song selection and arrangement.

Legacy
Because of her prolificacy in the 1990s, Loveless has been cited by several publications as having an influence on the subsequent generations of country music. In 2017, Taste of Country ranked her the 29th "most powerful woman" in country music, noting the critical success of the Mountain Soul albums. In the same article, Lauren Lucas stated that The Trouble with the Truth was a "huge influence" on her. Carly Pearce has also cited Loveless as a career influence. The two collaborated on the song "Dear Miss Loretta" from Pearce's 2021 album 29: Written in Stone.

Sara Evans, when discussing her plans to record a follow-up to her 2020 album Copy That, stated that she wanted said follow-up to have a more traditional country sound. In doing so, she also cited Loveless as one of her favorite artists, and said she wanted her upcoming album to sound like Loveless. Kevin John Coyne of Country Universe had previously compared Evans's voice to that of Loveless in a review of Evans's 1998 single "No Place That Far".

In 2023, Rolling Stone ranked Loveless at number 177 on its list of the 200 Greatest Singers of All Time. In April 2023, the Country Music Association announced that Loveless, fellow singer Tanya Tucker, and songwriter Bob McDill were the three people chosen for induction into the Country Music Hall of Fame for the calendar year 2023. She was formally inducted by her friend Vince Gill at a medallion ceremony on November 22, 2023.

Personal life
Loveless's first marriage was to Terry Lovelace, drummer for the Wilburn Brothers, in 1973. After marrying him, she altered the spelling of her surname to Loveless. According to the Virgin Encyclopedia of Country Music, this change came about because she thought it would help to keep her from being mistaken for pornographic actress Linda Lovelace. Loveless previously confirmed as such in a 1990 interview with the Richmond Times-Dispatch. She divorced Terry Lovelace in 1986. Her second marriage was to Emory Gordy Jr. in February 1989. Gordy has served as bassist and producer on nearly all of Loveless's albums. Gordy had previously played bass in Emmylou Harris's touring band the Hot Band, and has also produced albums by the Bellamy Brothers, Earl Thomas Conley, and Alabama, among others. Loveless told The Los Angeles Times in 1995 that their relationship inspired the title track of When Fallen Angels Fly, as both of them had been in prior relationships and were uncertain if they would successfully develop another until they met each other. Loveless's brother Roger, who played several key roles in her early career, died at age 72 in June 2022.

Discography

 * Studio albums
 * Patty Loveless (1987)
 * If My Heart Had Windows (1988)
 * Honky Tonk Angel (1988)
 * On Down the Line (1990)
 * Up Against My Heart (1991)
 * Only What I Feel (1993)
 * When Fallen Angels Fly (1994)
 * The Trouble with the Truth (1996)
 * Long Stretch of Lonesome (1997)
 * Strong Heart (2000)
 * Mountain Soul (2001)
 * Bluegrass & White Snow: A Mountain Christmas (2002)
 * On Your Way Home (2003)
 * Dreamin' My Dreams (2005)
 * Sleepless Nights (2008)
 * Mountain Soul II (2009)

Awards and nominations
Patty Loveless has won five Country Music Association awards, two Academy of Country Music awards, and two Grammy Awards.

title: Patty Loveless


text:
Talk:Rosarito

population is incorrect

Advertisement?

 * Current population is estimated by the city to be 130,000. It is also estimated that 10% of this population is ex-patriate, or foreign born full-time residents.:::

MadeiraPort (talk) 05:34, 5 February 2008 (UTC)MadeiraPort

Crime
There is indeed a war going on between the drug lords of Baja California, but at present the violence appears to be confined to those involved, and an occasional official/police officer, who may or may not have been a party to drug trafficking or some associated activity.

To date, there does not seem to be direct involvement with tourists to, or ex-patriot residents or Mexican national residents of Rosarito who are not involved with the internal struggle between those who want to control the drug business.

It does not seem that Rosarito itself is the focus, but rather is only peripherally involved as a city on the route to the U.S. border.

Since Wikipedia is not a news link, how would transitional, contemporary situations be dealt with?

MPMadeiraPort (talk) 02:53, 7 October 2008 (UTC)

Name change?
Any objection to retitling this article "Rosarito Beach"? This is the more common name in English. Foreign locales are usually titled by their English names (for examples, see Milan; Turin; Sweden; Central African Republic). Dohn joe (talk) 23:00, 13 August 2010 (UTC)
 * I see that it was originally titled just "Rosarito" but was renamed to the current name back in 2005. I can see the logic of saying "Playas de Rosarito is its official name so let's call it that," but on the other hand, this is the English Wikipedia, and as you say, most places in the English Wikipedia are titled by their English names. Perfect example: Mexico City is titled Mexico City, not Ciudad de México. --MelanieN (talk) 00:59, 14 August 2010 (UTC)
 * BTW if we do develop consensus here to change the name (and that could be hard because the article is typically viewed by fewer than one person a day), we will need an administrator to do the change. Since there is already a page called "Rosarito Beach" (which redirects here), there might have to be some juggling to rename this article while keeping its history. --MelanieN (talk) 21:13, 14 August 2010 (UTC)

Requested move

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

The result of the move request was: Move to Rosarito Beach Orlady (talk) 03:55, 10 September 2010 (UTC)

Playas de Rosarito, Baja California → — It should be listed under its English name since this is the English wikipedia. Example: Mexico City is the name of the article in the English Wikipedia, rather than Ciudad de México. The move could be tricky to carry out, since a page named Rosarito Beach already exists as a redirect to this article. MelanieN (talk) 00:50, 15 August 2010 (UTC)
 * Additional comment: The current title includes "Baja California" but that is probably not necessary. Other Baja cites such as Tecate, Tijuana, Cabo San Lucas, etc. do not include the name of the state unless disambiguation is needed (as for example Ensenada). --MelanieN (talk) 17:33, 15 August 2010 (UTC)

Support. Dohn joe (talk) 20:35, 15 August 2010 (UTC)

Support No actually I don't know what's going on here - there's also Playas de Rosarito Municipality, possibly this article should be just Rosarito like the Spanish equivalent.--Kotniski (talk) 14:21, 3 September 2010 (UTC)
 * People refer to the city as both Rosarito and Rosarito Beach, so either one would work as the article's title. The municipality is more like a county, and does not have a common name in English, so leaving it as Playas de Rosarito Municipality should be fine, and would point out the distinction between the municipality and the city. Dohn joe (talk) 18:12, 3 September 2010 (UTC)
 * I see. So my preference would be for plain Rosarito as the title of this article (concise while still being precise enough, and avoids the issue of whether to translate Playas).--Kotniski (talk) 07:23, 4 September 2010 (UTC)

 * Support per the Rosarito Beach Convention and Visitors Bureau and their web site usage. This is probably going to be the closest we get to an official English name. Vegaswikian (talk) 22:45, 6 September 2010 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

Name
Certainly the official name is confusing, the official site does called sometimes Rosarito and sometimes Playas de Rosarito; anyway the city name is colloquially known as Rosarito Beach, but the accurate English name is Rosarito Beaches, and so for Tijuana Beaches (Playas de Tijuana).--Jcmenal (talk) 15:14, 21 July 2011 (UTC)
 * Where is your evidence? Eldizzino (talk) 17:56, 10 July 2015 (UTC)

External links modified
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Real estate prices
I'm looking to buy a small two bedroom house or a condo. im having problems finding prices. Any ideas? 216.108.7.98 (talk) 23:36, 21 March 2023 (UTC)

title: Talk:Rosarito