text:
User talk:Takometer

Nucleophile participation mechanism
The mechanistic scheme should incorporate the solvent participation mechanism. For example in methanol, the carbonyl oxide undergoes attack to give an alpha-methoxyl hydroperoxide. This can be conveniently incorporated by an arrow going right in the current scheme. I lack the technical skills to do this. If you let me have the ChemDraw original, I can do the editting DavidRKelly 17:56, 23 June 2007 (UTC)

Ozonolysis picture
Thanks a lot for the mechanism image- long needed! Walkerma 7 July 2005 19:20 (UTC)

Enzyme
Hi. I saw that you recently removed the Featured Article candidate sign from Talk:Enzyme because you didn't feel the article was good enough. While I agree with you, the procedure is to vote here on the subject instead of eliminating the candidacy. I've fixed the page, and any objections you can add on the candidacy page would help people improve the article. Enjoy your time here,

Dave (talk) 18:25, August 9, 2005 (UTC)

C4 Carbon fixation!
Thanks For the heads up on my shitty pyrophosphate, don't know how I missed it. Thanks again! It's all fixed now! Adenosine | Talk 10:06, 23 March 2006 (UTC)

Insulin image
If I understand the history correctly, you are responsible for posting the new dual image of insulin. Thank you and please thank its creator (not you if I understand correctly); it's a lovely image and very good work. It's a major contributor to the article's quality. I think it's now among the best on WP, at least the parts I see regularly. Thank you again. ww 22:48, 24 March 2006 (UTC)

 * I did make this image, if you mean the one with the monomer and hexamer structures. I did not make the picture of the actual crystals, but I did make the one of the hexamer structure with zinc ions.  These sorts of images are rather simple to make, with the free software pymol.  Insulin's 3d coordinates were taken from the crystal nmr structure deposited in the PDB under 1ai0. Chang, X.,  Jorgensen, A.M.,  Bardrum, P.,  Led, J.J. --Takometer 01:24, 25 March 2006 (UTC)
 * I read the history and checked image filename just to accomplish one thing: congratulate the image poster. THANK YOU! I am learning nutrition, and have no background in chemistry (I took French instead), so I'm infinitely grateful for the little explaining blurb below it. Nastajus 03:51, 8 April 2006 (UTC)
 * Hi Takometer! Will you please be so kind and move your picture to Commons, so that I can use it in the german version of Insulin. Kind Regards from Austria, Rudi PumpingRudi Now also in the en-Universe. PumpingRudi 20:43, 5 November 2006 (UTC)

Programmed evolution evolution
How did Programmed evolution evolve? -- Kim van der Linde at venus 19:25, 23 May 2006 (UTC)

programmed evolution
This article, which you seem to have written, appears to violate our No original research policy. Please consult that policy, and also Cite sources and revise the article accordingly - otherwise, it will be challenged. Slrubenstein  |  Talk 10:08, 24 May 2006 (UTC)

Error in cyanogen bromide picture
Hi... I just noticed that there's an error in the figure you made for the cyanogen bromide article. It's the peptide bond of the substrate, that has been drawn erronously. I haven't used chem drawing programs for a while, so I'm not so enthusiastic about fixing it myself... :-) Kjaergaard 05:25, 9 June 2006 (UTC)

Image copyright problem with Image:B4p.jpg
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Codon usage in Genetic Code pic
I was wondering if you could respond to the question posted at Talk:Genetic code about your picture of the genetic code. There seems to be a discrepancy / confusion about the codon usage bias numbers.

Is there an SVG version of this image? If it's trivial to do, you should consider uploading an SVG version since that's the preferred format for this sort of graphic.

Finally, although it's small, I think you shouldn't have a credit within the image. From Image use policy: "Always specify on the description page where the image came from (the source), such as scanning a paper copy, or a URL, or a name/alias and method of contact for the photographer. For screenshots this means what the image is a screenshot of (the more detail the better). Do not put credits in images themselves." As I understand it, it's contrary to the policy of wikipedia to claim credit for any contributions within the article itself, including images. Madeleine ✉ ✍ 21:57, 3 February 2008 (UTC)

Ok, I'm taking it off. I've had pictures I've made stolen off of wikipedia frequently, this one was too important for me to just let go. I wasn't aware of the credit issue. I refuse to take my name off this particular image, it was too much work, simple. Takometer (talk) 03:23, 5 February 2008 (UTC)

 * I'm sorry the implications of the creative commons licensing weren't clear to you - images used on wikipedia must be released under with a copyright that allows reuse, modification, and commercial usage. I appreciate your intent to contribute and I understand that it's sometimes not worth giving up ownership. The image did look like a lot of work. :) Madeleine

✉ ✍ 22:27, 10 February 2008 (UTC) —Preceding unsigned comment added by Madeleine Price Ball (talk • contribs)
 * Uhm, I DO understand what the CC licence means, when I say "stolen" I mean reused WITHOUT CREDIT. I don't care if people copy it, so long as my name appears on it.  Imprinting my name in the raster image was a (admittedly non-foolproof) way to ensure that the CC licence was honored.  When the crediting information appears on the Image page, it is sufficiently decoupled from the image that a "right click/save as" does not preserve the crediting information.  Sorry, I just don't have enough trust in people to not abuse and honor that.  Most people, however, will not go to the trouble of removing the name from the raster image.

Programmed evolution
A proposed deletion template has been added to the article Programmed evolution, suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but this article may not satisfy Wikipedia's criteria for inclusion, and the deletion notice should explain why (see also "What Wikipedia is not" and Wikipedia's deletion policy). You may prevent the proposed deletion by removing the  notice, but please explain why you disagree with the proposed deletion in your edit summary or on its talk page.

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I would appreciate some feedback ...
on the genetic code talk page before the figure being discussed is inserted. Doug youvan (talk) 02:53, 1 June 2008 (UTC)

 * Thanks for the recent undo: Those really are the properties that K&D deduced from experimental values "inside" proteins. There are exceptions, such a the protonated glutamic acid at E104 in the photosynthetic reaction center. Mutation EL104L did not cause bisymmetric electron transfer, and that residue is particularly well-studied by spectroscopists.  Also, I don't know if I can find the reference, but the K-D scale can be reduced from its current fine scale (~ -4.5 to +4.5) to a very coarse scale (-1, 0, 1) and it still predicts transmembrane protein domains just fine. Doug youvan (talk) 16:12, 9 June 2008 (UTC)

Image licensing
Hey there...

I am going through a number of images that have some minor licensing issues. I came across Image:Staudinger.png which you uploaded. The licensing on this image is not complete as it was uploaded many years ago. I wonder if you could follow the link to the image page and correct the licensing with a GFDL license (or other free license). If you have any questions or issues, please drop me a note on my talk page. Thanks. --Jordan 1972 (talk) 14:21, 11 October 2008 (UTC)

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Proposed Image Deletion
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ArbCom elections are now open!
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title: User talk:Takometer


text:
Beauveria bassiana

Beauveria bassiana is a fungus that grows naturally in soils throughout the world and acts as a parasite on various arthropod species, causing white muscardine disease; it thus belongs to the group of entomopathogenic fungi. It is used as a biological insecticide to control a number of pests, including termites, thrips, whiteflies, aphids and various beetles. Its use in the control of bed bugs and malaria-transmitting mosquitos is under investigation.

Taxonomy
The species is named after the Italian entomologist Agostino Bassi, who discovered it in 1835 in silkworms (Bombyx mori). Bassi performed the first infection experiments, and determined the fungus to be the cause of the muscardine disease, which then led to carriers transmitting it by airborne means. Later the same year, the fungus was named Botrytis bassiana by Giuseppe Gabriel Balsamo-Crivelli. The species epithet honours Bassi, the discoverer:

In 1911 Jean Beauverie did further study and the next year Jean Paul Vuillemin made it the type species of his new genus, Beauveria, a name which honors Beauverie.

The name B. bassiana has long been used to describe a species complex of morphologically similar and closely related isolates. Rehner and Buckley have shown that B. bassiana consists of many distinct lineages that should be recognized as distinct phylogenetic species and the genus Beauveria was redescribed with a proposed type for B. bassiana in 2011.

The species was formerly also known as Tritirachium shiotae, among other synonyms.

Relation to Cordyceps and other fungi
Beauveria bassiana is the anamorph (asexually reproducing form) of Cordyceps bassiana. The latter teleomorph (the sexually reproducing form) has been collected only in eastern Asia.

Description
B. bassiana is a white mould when grown on culture, producing white spore balls made up of many conidia that are single-celled, haploid, and hydrophobic. The short, ovoid conidiogenous cells that produce the conidia have a narrow apical extension called a rachis, which elongates into a long zig-zag extension.

Ecology

The insect disease caused by the fungus is a muscardine which has been called white muscardine disease. When the microscopic spores of the fungus come into contact with the body of an insect host, they germinate, penetrate the cuticle, and grow inside, killing the insect within a matter of days. Afterwards, a white mold emerges from the cadaver and produces new spores. A typical isolate of B. bassiana can attack a broad range of insects; various isolates differ in their host range.

Beauveria bassiana parasitizing the Colorado potato beetle has been reported to be, in turn, the host of a mycoparasitic fungus Syspastospora parasitica. This organism also attacks related insect-pathogenic species of the Clavicipitaceae.

A fungus attributed to be B. bassiana was observed to cause infections in a captive American alligator and B. bassiana was implicated in causing a pulmonary disease in captive tortoises. The reptiles were in captivity and under temperature stress which may explain their susceptibility to the fungus. When a tortoise was kept at 22 °C and injected with 0.5 mL of 106 spores of B. bassiana into the lung, no mortality was observed, while a second contaminated tortoise died when kept only at 16 °C.

A microevolutionary experiment in 2013 showed that the Greater wax moth (Galleria mellonella) was able to adapt its defense mechanisms during 25 generations, while being under constant selective pressure from B. bassiana. The moth developed resistance, but apparently, at a cost.

Wagner and Lewis reported the ability of B. bassiana to grow as an endophyte in corn.

Toxicity
The fungus rarely infects humans or other animals, so it is generally considered safe as an insecticide. However, at least one case of human infection by B. bassiana has been reported in a person with a suppressed immune system. Additionally, the spores may exacerbate breathing difficulties.

Uses
Beauveria bassiana can be used as a biological insecticide to control a number of pests such as termites, whiteflies, and many other insects. Its use in the control of malaria-transmitting mosquitos is under investigation. As an insecticide, the spores are sprayed on affected crops as an emulsified suspension or wettable powder or applied to mosquito nets as a mosquito control agent.

As a species, B. bassiana parasitizes a very wide range of arthropod hosts. However, different strains vary in their host ranges, some having rather narrow ranges, like strain Bba 5653 that is very virulent to the larvae of the diamondback moth and kills only few other types of caterpillars. Some strains do have a wide host range and should, therefore, be considered nonselective biological insecticides. These should not be applied to flowers visited by pollinating insects. Known targets of the species include:
 * Aphids
 * Whiteflies
 * Mealybugs
 * Psyllids
 * Chinch bug
 * Lygus bugs
 * Grasshoppers
 * Stink bugs (Halyomorpha halys)
 * Thrips
 * Termites
 * Fire ants
 * Flies
 * Stem borers
 * Fungal gnats
 * Shoreflies
 * Beetles
 * Bark beetle
 * Black vine weevil
 * Boll weevil
 * Cereal leaf beetle
 * Coffee berry borer
 * Colorado potato beetle
 * Emerald ash borer (in conjunction with the parasitoid wasp Tetrastichus planipennisi)
 * Japanese beetle
 * Mexican bean beetle
 * Red palm weevil
 * Strawberry root weevil
 * Caterpillars
 * Codling moth
 * Douglas fir tussock moth
 * European corn borer
 * Invasive silkworms
 * Apple clearwing moth
 * Mites

Preliminary research has shown the fungus is 100% effective in eliminating bed bugs exposed to cotton fabric sprayed with fungus spores. It is also effective against bed bug colonies due to B. bassiana carried by infected bugs back to their harborages. The tested strain of B. bassiana caused rapid mortality (3–5 days) after short-term exposure. In a 2017 follow-up study, pyrethroid-resistant bed bugs had >94% mortality after treatment with a commercial preparation of B. bassiana.

Containment leak
In March 2013, genetically modified B. bassiana was found in a number of research laboratories and greenhouses outside of a designated containment area at Lincoln University in Christchurch, New Zealand. The Ministry for Primary Industries investigated the leak.

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

title: Beauveria bassiana


text:
Talk:Dolby noise-reduction system

Untitled
You can always listen to a dolby tape on a not-dolby compatible (i.e. linear) tape deck - how is that possible? The material should sound awkward, but it doesn't. Is there something like backwards compatibility implemented in Dolby NR technology? Thanks, --Abdull 20:12, 10 Jun 2005 (UTC)

Dolby B simply compands the dynamic range of the audio to reduce noise. See Companding, if it's still unclear.

 * I also disagree with the use of Companding as a catch-all term for Dolby NR. Dolby is more of a pre-emphasis system while dbx is heavily companding based.

 * Actually, Dolby B isn't quite as simple as that. For one thing, it is frequency-dependent, operating principally above 5 kHz. It also doesn't really compress the dynamic range per se. By improving the signal-to-noise ratio during recording, the net effect is to more closely preserve the dynamic range of the original recording. Without decoding during playback, the signal will contain boosted high-frequency information (including tape hiss). It is still listenable—and may even sound better than decoded playback unless the Dolby tracking is accurate, which it often isn't—but it will contain surplus high frequencies and noise.Rivertorch 02:42, 7 October 2006 (UTC)

 * To the trained ear* a Dolby B recording played on non-Dolby B equipment would sound distorted, though people with trained ears would be using equipment with noise reduction, or more likely hand-tweaked record decks connected to industrial speakers via solid gold cables. *(probably if a normal person compared the playback with and without NR, they'd notice the difference as well as the extra noise) boffy_b 01:35, 6 January 2006 (UTC)

 * In my experience, a Dolby B recording, played back on non-Dolby B equipment, sounds a little bright - enough for the average listener to recognize if pointed out - and can be reasonably well corrected by reducing the treble tone control. However, a Dolby C recording, played back on non-Dolby equipment sounds painfully bright, with wildly variable levels of tape hiss breaking through. Tone controls cannot tame this result.David Clewlow (talk) 23:20, 4 January 2015 (UTC)

Can someone write a description of Dolby S noise reduction as used on domestic cassettes.

 * Dolby S was not used on US domesitc cassettes in the pre-recorded market. Lots of reasons behind it. Mostly because Dolby B was out first and was able to gain market acceptance, it was also the cheapest and easiest to implement. Dolby B tapes also didn't sound as bad when played on non Dolby playback systems, unlike C or S which tend to sound off without thier respective systems. Some places issued tapes in Dolby C and i imagine possibly Dolby S, but most of these were special orders from places specializing in audiophile releases, but they were never mass distributed. Most recordings using C or S are indviual recordings.DewDude 16:58 06 Oct 2006

Is Dolby SR noise-reduction (for professional audio recording) the same as the SR-encoding used on 35mm motion picture (film) prints? Can this be mentioned in the main article?

 * Before Dolby Digital, DTS, Sony SDDS, most "Dolby-Stereo" (cinema surround sound) soundtracks were distributed on the 35mm optical print, encoded in Dolby A (I think.) Sometime in the 1990s, Dolby upgraded their optical sound processors (for movie theaters) to support Dolby SR.  —Preceding unsigned comment added by 67.127.228.164 (talk) 00:15, 19 October 2008 (UTC)

The description of Dolby HX Pro is inadequate, and describes tape bias more than Dolby HX Pro. Can someone expand please?

 * No, not really. The reason being that HX Pro was a system that dynmically modified the bias signal applied to the recording dependant of the incoming audio signal. Higher frequencies don't need as much bias to be recorded as they're almost liner to the tape already. It's not a noise reduction method by any means, just an improvement of the way the audio was recorded onto the tape which would have a positive effect when played back on ANY player. It's difficult to expand it any further. --DewDude 16:50 06 Oct 2006

The link "Commercializing the Dolby Noise Reduction System" is broken and I could not find the appropriate article on a search of the target website (or elsewhere). --87.114.10.157 16:17, 4 December 2006 (UTC)

Dolby E
This page should probably have a discussion of Dolby E, even thought it's not really a noise reduction system. jhawkinson 03:56, 24 September 2007 (UTC)

Dolby HX Pro description - there is a sentence that does not make sense
The following sentence in the dolby hx section does not make sense:

"With fixed frequency and amplitude high frequency strong signals the amount of bias signal needed is reduced."

What on Earth does that mean? No really, I can't even guess what is trying to be said in this sentence.

I can't edit the text myself because I have absolutely no clue what was supposed to be intended by this sentence. I don't think it's simply a case of missing punctuation - it's absolute gibberish.

I hope someone can rewrite it,

Thanks

Daniel —Preceding unsigned comment added by Dpolwarth (talk • contribs) 23:10, 17 April 2008 (UTC)

 * I fixed the sentence, but the entire article needs copyediting. I'll try to get to that later today, but I'm wondering whether the HX section really shouldn't have its own article. The article, which is misnamed in the first place because it's about systems (plural), has "noise reduction" in the title. Although HX and HX Pro can boost the S/N ratio slightly, they are not NR systems per se. Rivertorch (talk) 23:48, 17 April 2008 (UTC)

What makes even less sense is that HX Pro is not a noise reduction system (it even notes it at the start of its section!), yet it appears in a noise reduction article. Surely it should be split out? d a n n o 19:54, 8 September 2009 (UTC)

 * Agreed to an extent. Dolby HX Pro isn't a noise reduction system, but it does help any 'flavour' of Dolby NR to track more accurately on playback, so I've amended the section accordingly. Although it's difficult to find any supporting citations, it's an inevitable consequence of the improved amplitude linearity that HX Pro brings to the tape itself during the recording phase. This effect is particularly noticeable (and very easily measurable) when trying to calibrate Dolby C on a non-HX Pro deck versus an HX Pro deck. All else being equal, an HX Pro deck will always outperform one without it in this respect, particularly when using Type-I or Type-II tapes. Gruntsplat (talk) 13:09, 14 December 2016 (UTC)

 * Yes, HX Pro probably deserves its own article. (Fwiw, while HX Pro isn't a noise reduction system per se, it does improve the S/N ratio by permitting higher recording levels.) Rivertorch (talk) 15:58, 2 April 2010 (UTC)

Dolby A
About 25 years ago when as the engineer for a radio station, I read an article in a technical magazine on the history of the Dolby noise reduction system. It mentioned that the reason why the Doors 1st record has such a bright high end sound is that the Dolby playback settings were accidentally not turned on after the tapes had been encoded. The explanation given was that it was new technology at the time and a secondary recording engineer was not familiar with it. Timeline wise this seems plausible. Has anyone found any verification of this?22yearswothanks (talk) 02:43, 21 March 2010 (UTC)

Neutrality disputed tag
It is premature to say that analog recording is obsolete. Even some CDs are going back to analog remastering to try to improve their sound. Our latest auditions of music on Bluyray, mainly concert videos, indicate that there is still a wide gap between the actual music produced by real instruments and the digitally recorded rendition of these. Analog is still the most capable of the trueist reproduction of the music dynamics and spatial dimensionality, discounting the high SNR possible with digital recordings. Digital is mainly preferred for its convenience.(207.35.47.66 (talk) 00:01, 23 March 2011 (UTC)RVK, March 22, 2011)

 * The current version reads; In other words, Dolby NR is not becoming obsolete for analog recording, but analog recording itself is less prevalent as digital recording has become more widespread. This seems quite reasonable and factual without being POV or OR, regardless of one's opinion. Ubcule (talk) 12:29, 4 September 2013 (UTC)

 * The above cited current version surprised me when I got to the end of it and saw that its neutrality was questioned. I thought it was a very fair statement. Yes, some analog recording is still being done, but the mainstream uses of Dolby have more or less evaporated. Also, the people using analog tape are most often the die-hard purists many of whom did not embrace any noise reduction system to begin with. So, I think it is a fair statement. Rlhess (talk) 21:33, 22 April 2015 (UTC)

 * In reply to immediately above: That depends on a person's definition of "die-hard purists". True audiophiles nearly always embraced Dolby B and C as they'd usually have decks of sufficiently high quality for both to work entirely correctly thus improving the perceptual transparency of the medium. The improvement with Dolby C arguably brought cassette very close to CD-quality at sensible listening volumes with 20dB of noise reduction along with greatly extended reproducible frequency range at normal recording levels with the aid of spectral skewing. 20Hz to 20kHz (+/- 0.5dB) at 0dB record/playback level is a reality on some high-end cassette decks with Dolby C even with budget Type-II tapes. Nearly all of those who've ever complained about Dolby B or C colouring the sound in some way either haven't heard it working properly or have used suspect testing methodology. The problem of poorly performing decks crippling noise reduction transparency was the reason for Dolby themselves insisting that any deck to be installed with Dolby S must pass their own tests for meeting certain minimum performance criteria. GIGO. Gruntsplat (talk) 13:11, 13 December 2016 (UTC)

 * The neutrality of the claim made on this talk page of 'analog superiority' is also in dispute. Blind controlled studies where the listener has no knowledge of the actual sound source have proven time after time that current digital technology, when inserted into a channel, is audibly transparent compared to a single straight analog channel when playing a live performance in an isolated room at comfortable listening levels (actually the studies proved this with CD-audio digital technology that is 'inferior' to current technology). Claim of 'analog superiority' is only encyclopedic in the analog-vs-digital article on the (dying) controversy and is now widely recognized as fallacious.CherylJosie (talk) 20:56, 4 November 2013 (UTC)

'Spectral Skewing'??
The Dolby C section refers to audio 'spectral skewing' but links to a Wikipedia article on gas chromatography where spectral skewing refers to the change in detected mass spectrum due to the destruction of some (lighter?) components from the ionization(?) process. I suspect there may be another form of 'spectral skewing' that refers to audio spectrum or some similar term such as 'spectral masking' etc. but the link to mass spectrometry is obviously wrong. Does anyone know what the correct technical explanation is? CherylJosie (talk) 20:01, 4 November 2013 (UTC)

 * I removed the offending bit because the entire sentence was opaque and baffling. It was supposed to be informing the reader about the technical basis for Dolby C but it revealed nothing and just caused more questions. Binksternet (talk) 20:54, 4 November 2013 (UTC)

 * Spectral skewing was part of Dolby SR for professional use, not for Dolby C. 89.204.155.163 (talk) 03:27, 26 October 2015 (UTC)

 * The above statement is false. Spectral skewing is part of Dolby C and always has been. A quick read of any of the freely available datasheets for Dolby B-C NR devices makes this perfectly clear. Please check reputable sources to confirm statements before claiming them to be fact. Gruntsplat (talk) 12:00, 13 December 2016 (UTC)

Dolby B controversy
There is no discussion about the belief that Dolby B "dulled" the sound. About 30 years ago, I ran uncontrolled tests using a Nakamichi NR-200 simultaneous encode/decode Dolby B/C processor, and a similar dbx II processor, without a tape recorder in the path. I convinced myself that the claim was correct. Dolby B slightly "dulled" the sound, while dbx had no apparent effect. I have a theory as to why this occurred (Dolby's clipping of overshoots during recording caused incorrect playback decoding). Of course, now that Dolby and dbx are effectively obsolete for tape recording, what difference does it make? WilliamSommerwerck (talk) 20:57, 21 March 2014 (UTC)

 * If you wanted to add something about this issue then you would need to refer to previously published sources rather than your own experience. Unfortunately, much of the 1980s audio engineering literature is still not digitized, so you would have to study the magazines and journals in archives where they can be found. Coincidentally, Dolby Labs in San Francisco has a huge library of such magazines and if you make prior arrangements with them, you can spend a day reading there. You might not want to tell them exactly what you are after. Binksternet (talk) 23:09, 21 March 2014 (UTC)

 * Agreed. One person's opinion doesn't count for much. Dolby B's defenders suggested that reducing background his made the sound subjectively less-bright -- which is why I tested without a tape recorder in the path. It isn't practical to visit SF, and I have no idea where I would start searching. (I just did a quick Googling, and found the only references to Dolby B dulling the sound were related to incorrect setup -- which was common.) WilliamSommerwerck (talk) 13:50, 22 March 2014 (UTC)

 * Yes, Paul White wrote in 1997's The Sound On Sound Book of Home Recording Made Easy that "Dolby B is often accused of sounding dull on domestic hi-fi cassette decks, but I suspect this is largely due to poor machine alignment or a failure to both record and play back using Dolby B." My own experience of dull sound is from the alignment of the recorded cassette being a little bit different than the alignment of the playback deck, especially with Dolby C which was more finicky. This is supported by a 1994 review in Stereo Review magazine which said "All too often, response or azimuth variations between decks cause the Dolby systems to magnify or dull the highs..." I don't know the author or article name.
 * Getting back to your experiment, I don't think I've ever read a review of Dolby B in which the reviewer listened to a purely electrical signal path, without transduction to magnetic tape. Binksternet (talk) 17:24, 22 March 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 2 one external links on Dolby noise-reduction system. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20121002034259/http://www.dolby.com/uploadedFiles/English_(US)/Professional/Technical_Library/Technologies/Dolby_Spectral_Recording_(SR)/33_SpectralRecordingPaper.pdf to http://www.dolby.com/uploadedFiles/English_(US)/Professional/Technical_Library/Technologies/Dolby_Spectral_Recording_(SR)/33_SpectralRecordingPaper.pdf
 * Added archive https://web.archive.org/20121021010816/http://www.dolby.com:80/uploadedFiles/English_(US)/Professional/Technical_Library/Technologies/Dolby_A-type_NR/212_Dolby_B,_C_and_S_Noise_Reduction_Systems.pdf to http://www.dolby.com/uploadedFiles/English_(US)/Professional/Technical_Library/Technologies/Dolby_A-type_NR/212_Dolby_B,_C_and_S_Noise_Reduction_Systems.pdf

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 04:55, 29 August 2015 (UTC)

Dolby C
The description of Dolby C behaviour is entirely wrong. It has never been the same as two Dolby B chips 'bolted together' in terms of behaviour as the current description implies. I'd noticed this description being used all over the Internet and wondered where the misinformation was coming from. It would appear as though this Wiki article may be the source. I will attempt to rewrite this in a week or so unless anyone else has any objections. Gruntsplat (talk) 13:16, 14 December 2016 (UTC)

EDIT: Scrub that. I've just been issued a warning for not providing a reference to a minor edit I made that was an addition to someone else's accepted content where they'd provided no reference either. If one contributor is expected to provide a reference whilst another isn't, this clearly leads to biased content, so I have no interest in further involvement. Hopefully someone else will look at the linked datasheet and provide the necessary complete rewrite including a brief description of spectral skewing.Gruntsplat (talk) 17:16, 15 December 2016 (UTC)
 * , I do hope you decide to stay and help out on this article. Sometimes valid edits are reverted, and while it's unfortunate it shouldn't turn you completely off from Wikipedia. You clearly know what is right and wrong with this article, so if you leave it will be one fewer person who can accurately update/change/fix/etc it. I'm happy to provide input and/or advice proceeding forward; if you have a question just ping me using . The first key is definitely finding sourcing for this stuff, which may be difficult if there is as much misinformation spreading as you claim (which I believe). Anyway, please give it a think. Primefac (talk) 17:42, 15 December 2016 (UTC)
 * Concur with Primefac. Please stay. Allow me to mention that a lot of long-standing content on WP got there before we had more strict attention to referencing requirements. So it is not so much a matter of "other editor didn't have to provide refs" but rather "other editor is sort of grandfathered in, but not really." It is still the case btw that any unreferenced content may be challenged and removed (see WP:V), no matter how long it's been there. Jeh (talk) 19:31, 15 December 2016 (UTC)
 * I was about to say something about this. Dolby C isn't supposed to be the same as two Dolby B chips together. As well as I remember, Dolby C chips were slow to arrive, so some did it that way. Whether designed, authorized, or whatever by Dolby labs, I don't know.  I am pretty sure the first Dolby C deck I bought had the C chip.  (and also dbx, which I used more)  Gah4 (talk) 20:39, 20 August 2020 (UTC)
 * isn't supposed to be... very well said. The decks with B/C NR made of pairs of B ICs (e.g. Akai GX-F91) were certified by Dolby, but they were not fully compatible with decks built around dedicated B/C ICs (different detector arrangements that couldn't be fixed with external components). However, at the very basic level "two Dolby B-style (sic) expanders plus an antisaturation reversal filter" is a fairly decent summary. Retired electrician (talk) 00:16, 13 November 2020 (UTC)
 * I was about to say something about this. Dolby C isn't supposed to be the same as two Dolby B chips together. As well as I remember, Dolby C chips were slow to arrive, so some did it that way. Whether designed, authorized, or whatever by Dolby labs, I don't know.  I am pretty sure the first Dolby C deck I bought had the C chip.  (and also dbx, which I used more)  Gah4 (talk) 20:39, 20 August 2020 (UTC)
 * isn't supposed to be... very well said. The decks with B/C NR made of pairs of B ICs (e.g. Akai GX-F91) were certified by Dolby, but they were not fully compatible with decks built around dedicated B/C ICs (different detector arrangements that couldn't be fixed with external components). However, at the very basic level "two Dolby B-style (sic) expanders plus an antisaturation reversal filter" is a fairly decent summary. Retired electrician (talk) 00:16, 13 November 2020 (UTC)

Graphics needed
Understanding this subject would be helped with appropriate graphics- equalization curves, even circuit diagrams.

Public-use graphics might be found in the various patent documents, if no one has the capability to re-do copyrighted drawings. 71.230.16.111 (talk) 22:33, 10 June 2020 (UTC)

I have updated the article to explain that compression occurs during recording and expansion occurs during playback. However, it may be useful to change the article to use the words Emphasis (telecommunications) and de-emphasis to better explain what is actually happening in Dolby NR. Please look at the article on emphasis and give me your thoughts. — Preceding unsigned comment added by 80.193.55.114 (talk) 22:41, 2 August 2020 (UTC)

title: Talk:Dolby noise-reduction system


text:
Wikipedia:Articles for deletion/Mission: Impossible III

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was KEEP. JeremyA 22:51, 19 Jun 2005 (UTC)

Mission: Impossible III
This page is wrong for very many reasons: there is no information, no sources, no verifiability; Wikipedia is not a Crystal Ball; user has a history of vandalism; &c. Delete or speedy this, please. jglc | t | c 20:12, 10 Jun 2005 (UTC)
 * To clarify this VfD: At the time that I put it up for voting, the only text on the page was the following:
 * "A wonderful movie, as one of the producers, I know it will go far. I'm not really a producer though, i'm just some random guy who happened to see one scene filming."
 * In its current incarnation, as a stub for future development as the movie is filmed, goes into postproduction, and is released, it is a keep. jglc | t | c 01:49, 11 Jun 2005 (UTC)

 * Delete Article writer lies in the text, than admits to lying. Nothing more than speculation. --Scimitar 20:42, 10 Jun 2005 (UTC)
 * Keep as rewritten. --Scimitar 22:12, 10 Jun 2005 (UTC)
 * Delete Decided to rewrite it - for now. Make an article about it in the future. Wikipedia is not a crystal ball. However, it seems the movie just got green lighted. Reuters --Chill Pill Bill 20:43, 10 Jun 2005 (UTC)
 * Fair enough. I'll be looking for your rewrite. :) jglc | t | c 20:45, 10 Jun 2005 (UTC)
 * Comment Looks good. jglc | t | c 21:15, 10 Jun 2005 (UTC)
 * Keep. --Sn0wflake 21:22, 10 Jun 2005 (UTC)
 * Keep. Now it makes sense. DS1953 21:38, 10 Jun 2005 (UTC)
 * Keep Wikipedia should be comprehensive and this sort of thing is of wide interest, though not of interest to me. CalJW 00:19, 11 Jun 2005 (UTC)
 * Yeah, I know, but the entry as previously written was nonsense. It's fine now. jglc | t | c 00:42, 11 Jun 2005 (UTC)
 * Keep. Doesn't qualify for the "crystal ball" rule because it is confirmed upcoming event for which planning is under way (a la Casino Royale (2006 movie)). 23skidoo 01:02, 11 Jun 2005 (UTC)
 * Keep ChillPillBill's rewrite. As for Halo (movie) this is a movie with verifiable information about it and is notable because of the success of the first two films. Capitalistroadster 01:10, 11 Jun 2005 (UTC)
 * KeepThe movie is now confirmed - no need for deletion. --Sb2k4 15:39, 14 Jun 2005 (UTC)
 * Keep--Taku 23:27, Jun 17, 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .


text:
God's Wife of Amun

God's Wife of Amun (Egyptian: ḥm.t nṯr n ỉmn) was the highest-ranking priestess of the Amun cult, an important religious institution in ancient Egypt. The cult was centered in Thebes in Upper Egypt during the Twenty-fifth and Twenty-sixth dynasties (circa 740–525 BC). The office had political importance as well as religious, since the two were closely related in ancient Egypt.

Although the title is first attested in the Middle Kingdom, its full political potential was not realized until the advent of the Eighteenth Dynasty.

History of the office
The shorter version of the title, God's Wife, is in use by the time of the Twelfth Dynasty, when the title is attested for the non-royal women Iy-meret-nebes and Neferu. As early as the First Intermediate Period, there is mention of a "Wife of the God" in reference to the god Min. The full title of God's Wife of Amun is only used during and after the Eighteenth Dynasty.

Rise and fall in the Eighteenth Dynasty
At the beginning of the New Kingdom, the God's Wife of Amun royal title started to be held by royal women (usually the wife of the king, but sometimes by the mother of the king), when its extreme power and prestige was first evident. The New Kingdom began in 1550 BC with the Eighteenth Dynasty. These were the rulers who drove the Hyksos out of Egypt and their native city was Thebes, which then became the leading city in Egypt. They believed that their local deity, Amun, had guided them in their victory and the cult rose to national importance. Adjustments to the rituals and myths followed.

The title, God's Wife of Amun, "referred to the myth of the divine birth of the king, according to which his mother was impregnated by the god Amun." While the office theoretically, was sacred, it was essentially wielded as a political tool by the serving Egyptian pharaoh to ensure "royal authority over the Theban region and the powerful priesthood of Amun" there. The royal lineage was traced through its women, and the rulers and the religious institutions were inexorably woven together in traditions that remained quite stable over a period of three thousand years. This title was used in preference to the title, Great Royal Wife, which was the title of the queen who was the consort to the pharaoh and who officiated at the temple. The new title conveyed that the pharaoh would be a demigod upon birth. Previously the pharaoh was considered to become divine only at death.

The first royal wife to hold this new title (not to be mistaken with the title of God's Wife) was Queen Ahmose-Nefertari, the wife of Ahmose I, and this event is recorded in a stele in the temple of Amun at Karnak, and the role was a priestly post of importance in the temple of Amun in Thebes. She then passed it on to her daughter Ahmose-Meritamun, who in turn handed it to Hatshepsut, who used it before she ascended the throne as pharaoh.

Both Ahmose-Nefertari and Hatshepsut sometimes used the title as an alternative to that of "King's Principal Wife", which shows how important they felt the role was. Hatshepsut passed the title on to her daughter Neferure.

A series of scenes in Hatshepsut's Chapelle Rouge show the God's Wife of Amun (her daughter) and a male priest undergoing a ritual or ceremony that seems to be aimed at destroying the names of enemies. Other scenes elsewhere show the God's Wife of Amun worshiping the deities, being purified in the sacred lake, and following the king into the sanctuary. These again show the importance of the role, but give very little indication of the tasks and responsibilities involved.

Hatshepsut was the daughter of Thutmose I and, upon his death, she became the wife of the youthful Thutmose II who was her young half-brother, born to a lesser wife than her mother. She seems to have been a de facto co-regent with him, having a great deal of influence upon the affairs of state. They had only one child who survived childhood, a daughter, Neferure, to whom the title of God's Wife of Amun was passed.

Upon the death of her husband Thutmose II, Hatshepsut was appointed regent for the very youthful Thutmose III, who was not born to her—the royal wife and queen of his father—rather, he was born of a lesser wife. He was her stepson and nephew. Shortly thereafter, Hatshepsut was named pharaoh.

Her daughter, Neferure, took her place in many functions that required a royal queen serving as the Great Royal Wife and, as God's Wife of Amun in the temple, while Thutmose III remained as co-regent to Hatshepsut. He became the head of the armies.

Hatshepsut died after a 22-year reign and, Thutmose III became pharaoh. At the end of a thirty-year reign of his own, he entered into a co-regency with a son by a lesser wife who would become, Amenhotep II. Neferure had died without leaving another heir, but there were others in line to become pharaoh, so the co-regency assured that these royal offspring with closer ties to Hatshepsut would be removed from the line of descent, and Thutmose III's chosen heir would rule. The records of holders of the title, God's Wife of Amun, after Thutmose III became pharaoh deviate from the established pattern, perhaps because of the line of royalty issue. After Neferure the list notes, Iset, the mother of Thutmose III, but it is quite certain that she never officiated, and was awarded the title after her death. Next is, Satiah, a lesser wife of Thutmose III in the early part of his reign. She is followed by Merytre-Hatshepsut, another lesser wife of Thutmose III, who became the mother of his ultimate heir. She was the daughter of the Divine Adoratrice of Amun, Huy. Next on the list is, Meritamen, a daughter of Thutmose III and Merytre-Hatshepsut, thereby the sister of his ultimate heir. After all of those changes during his long reign, the office holder was the daughter of Thutmose III, returning to the traditional association.

Amenhotep II seems to be the one who initiated the attempts to remove records of Hatshepsut's reign while his father was an old man and continued these efforts after he became pharaoh in his own right, claiming many of her achievements as his own, but failing to be thorough.

Amenhotep II also tried to break traditions by preventing the names of his wives from being recorded and introducing women who were not from the royal lineage into the line of descent—without success—as his designated heir was overlooked. After his death, which is estimated as 1400 BC, Thutmose IV was selected from the royal lineage as the next pharaoh.

The power and prestige of the role of the God's Wife of Amun was greatly diminished by Amenhotep II. He may have declined to have one, unless it remained as his sister, Meritamen. The woman listed as holding the office next is Tiaa. That is the name of a wife of his who was the mother of Thutmose IV and it is possible that she was named to this title by her son since he gave her other titles, however, the daughter of Thutmose IV also was named Tiaa.

Later in that dynasty, with religious changes affecting the status of the cult, the title then fell out of favour. The pharaoh Amenhotep IV, ruling from 1353 or 1351, initially followed the religious traditions. Soon he instituted a new religion that elevated Aten, not only to become the dominant cult, but as a monotheistic cult, suppressing the worship of others. The pharaoh changed his name to Akhenaten and moved his court to a new capital he had built, Akhetaten Horizon of Aten, at the site known today as Amarna. He and his royal wife, Nefertiti (whom he treated as a co-regent) became the intermediaries between Aten and the people. The worship of Amun was especially targeted for suppression and many of his temples were defaced and no idols were permitted. Aten became The Aten, represented only as a solar disk. Religious rituals were performed in open air settings.

The death of Akhenaten occurred circa 1336 BC and it was not long before the traditional religious practices began to resume. It is possible that Nefertiti ruled under another name and, perhaps, was an influence in the royal family until near the end of the rule of Tutankhamun (1333–1324 BC), but if she did, she did not prevent the revival. Tutankhamun began ruling as a child of nine under the name of Tutankhaten. Some think that he was the son of Akhenaten by a minor wife. During his reign his name was changed away from the deity of his father, replacing aten with amun. This marks the beginning of a transition back to Thebes as the capital as well.

The last ruler of the Eighteenth Dynasty, Horemheb (1320–1292 BC), restored the priesthood of Amun, but he prevented the Amun priesthood from resuming the powerful position they had held before Akhenaten dissolved the powerful cult and moved the capital away from their city. Horemheb had reformed the army and had developed a loyal chain of command within it. By appointing priests to the cult of Amun from the high ranks of his trusted army, he avoided any attempts to reestablish the powerful relationships that had provoked the drastic change made by Akhenaten.

Revival during dynasties Twenty through Twenty-six
The title, God's Wife of Amun, was revived during the Twentieth Dynasty, when Ramesses VI (1145–1137 BC) conferred this office as well as the additional title of Divine Adoratrice of Amun on his daughter, Iset; the king's actions inaugurated the tradition where every subsequent holder of this office had to be "a king's daughter, and was expected to remain an unmarried virgin. In order to assist [in] the royal succession, she would adopt the daughter of the next king as her heiress."

The office of the God's Wife of Amun reached the very heights of its political power during the late Third Intermediate Period, when Shepenupet I, Osorkon III's daughter, was first appointed to this post at Thebes. The Nubian king Kashta, in turn, appointed his daughter, Amenirdis, as her successor. The high status of this office is illustrated by the tomb of Amenirdis at Medinet Habu.

Later, during the Saite Twenty-sixth Dynasty, Psamtik I would forcibly reunite Egypt in March 656 BC under his rule and compel the God's Wife of Amun serving at the time, Shepenupet II, daughter of Piye, to adopt his daughter Nitocris as her chosen successor to this position.

The office continued in existence until 525 BC under Nitocris' successor, Ankhnesneferibre, when the Persian Empire overthrew Egypt's last Saite ruler, Psamtik III (526–525 BC), and enslaved his daughter. Thereafter, the powerful office of God's Wife of Amun disappears from history.

Royal women holding the office
Holders of the office from the tenth through the twelfth dynasties are not noted on this list because they were not women from the royal line.

(hiatus – when the title was not used, due to political and religious changes that occurred and reverted again)
 * Ahhotep I – wife of Seqenenre Tao II and mother of Ahmose, the title God's Wife only appears on her coffin, first to hold this title
 * Ahmose Nefertari – daughter of Seqenenre Tao II and sister-wife of Ahmose – first royal woman known to hold the office
 * Sitkamose – probably a daughter of Kamose, may have become God's Wife only posthumously
 * Ahmose-Meritamon – daughter of Ahmose and sister-wife of Amenhotep I
 * (Ahmose-)Sitamun – daughter of Ahmose, represented as a colossal statue in front of the eight pylon at Karnak
 * Hatshepsut – daughter of Tuthmosis I and Queen Ahmose, given title of Divine Adoratrice of Amun also, became pharaoh
 * Neferure – daughter of Tuthmosis II and Queen-Pharaoh Hatshepsut, possibly first royal wife of Tuthmosis III
 * Iset – mother of Tuthmosis III, received the title of God's Wife after her death
 * Satiah – next wife of Tuthmosis III in the early part of his reign
 * Merytre-Hatshepsut – next wife of Tuthmosis III, mother of his heir, she was the daughter of the Divine Adoratrice of Amun Hui
 * Meritamen – daughter of Tuthmosis III and Merytre-Hatshepsut
 * Tiaa – wife of Amenhotep II and mother of Tuthmosis IV
 * Sitre – wife of Ramesses I, mother of Seti I, use of the title resumes after hiatus imposed by Amenhotep II
 * (Mut-)Tuy – wife of Seti I and mother of Ramesses II
 * Nefertari-Meritmut – wife of Ramesses II, Nefertari was de facto God's Wife based on epithets in her royal tomb, on scarabs, on a fragment of a statue from Dendara (PM V, 115), her insignia, and the designation of the royal couple as incarnations on earth of the divine couple Amun(-Re) and Mut(-Hathor); K. A. Kitchen mentions she is attested twice as God's wife in her tomb QV66
 * Twosret – wife of Seti II, regent for Siptah
 * Iset Ta-Hemdjert – wife of Ramesses III
 * Tyti – the wife (and daughter) of Ramesses III
 * (Dua)Tentopet – wife of Ramesses IV, she was a Divine Adoratrice of Amun
 * Aset – daughter of Ramesses VI, also given title of Divine Adoratrice of Amun, stipulation established by Ramesses for the holder of the God's Wife title to remain a virgin and facilitate the transfer of power by adopting the daughter of the next pharaoh
 * Maatkare (prenomen: Mutmhat) – daughter of Pinudjem I and Henuttawy Q
 * Henuttawy – daughter of Isetemkheb IV and Pinudjem II
 * Karomama Meritmut (prenomen: Sitamen Mutmhat) – possibly a daughter of Osorkon II
 * (?)Tashakheper – daughter of Osorkon II, may be the God's Wife mentioned during the reign of Takelot III
 * Shepenwepet I (prenomen: Khnemet-ib-amun) – daughter of Osorkon III and Karoatjet, served as God's Wife of Amun from the beginning of her father's reign, and adopted Amenirdis I
 * Amenirdis I (prenomen: Khaneferumut) – daughter of Kashta, served through the reigns of Shabaka and Shabataka
 * Shepenwepet II (prenomen: Henut-neferumut-iryetre) – daughter of Piye, served as God's Wife from the reign of Taharqa until after year 9 of Psamtik I
 * Amenirdis II – daughter of Taharqa, adopted by Shepenwepet II, may have been passed over after the death of Shepenwepet II to have the position go to Nitokris
 * Nitokris I Shepenwepet III (prenomen: Nebetneferumut) – daughter of Psamtik I
 * Ankhnesneferibre (prenomen: Hekatneferumut) – daughter of Psamtik II, adopted by Nitokris I, became God's Wife of Amun in year 4 of the reign of her brother Wahibre

title: God's Wife of Amun


text: User talk:69.196.219.151

title: User talk:69.196.219.151


text:
Bob Schneider

Robert Schneider (born October 12, 1965) is an Austin, Texas based musician and former lead singer of the rock band Ugly Americans. He has recorded and officially released over 20 studio albums and EPs, many on his own Shockorama Records label. He also regularly releases additional demos, live recordings, and other projects through various platforms. His first major record Lonelyland (2001) was licensed through Universal Records, which, along with a subsequent distribution deal through Vanguard Records, made his early releases widely available.

Schneider's primary musical style centers on an acoustic singer-songwriter presentation, with experimentations in electronic sounds, rock, and other cross-genre combinations. He is known to perform live as both a solo act, and also with various musical groups, including his own Lonelyland and Texas Bluegrass Massacre bands, and has developed a reputation for improvisation and audience involvement. He continues to have a long-standing Monday night residency at the Saxon Pub in Austin.

He is married to Laura Moore-Schneider, with whom he has two children, a son and a daughter.

Early life
Schneider was born to Robert Sr. and Katie Schneider (an opera singer/musician and teacher respectively) in Ypsilanti, Michigan. He was raised with his sister in El Paso, Texas, as well as Munich, Germany, where he moved with his family at the age of 2 so his father could receive vocal training. Schneider later recalled the experience as a marginal existence, stating that his parents "had this big plan, but my dad just didn’t have the voice". He learned guitar and piano at an early age, and often performed at his parents' parties.

Before turning to a solo career, Schneider spent years performing in various bands, often as the loud and energetic front-man. He dropped out of the University of Texas at El Paso, where he studied art while also performing in his first major band, a local funk-rock outfit called Joe Rockhead. The band independently released three albums before disbanding. Schneider subsequently performed with the Ugly Americans, sometimes as an opening act for the Dave Matthews Band, and signed with the revived Capricorn Records. In 1997, Schneider co-founded The Scabs, a funk ensemble that regularly played local Austin venues, and was described as "inspired by The Rugburns (right down to the suits and ties) [with] bawdy show tunes and puerile blues".

Schneider briefly dated actress Sandra Bullock between the years 1999 and 2001. While the relationship did not last, his songs have continued to appear in films from throughout the actress’s career.

Solo Career
In 1999 Schneider was convinced to record and release Songs Sung & Played on Guitar at the Same Time, a short collection of acoustic songs, which inspired him to officially form his own solo act, initially under the name "Lonelyland". Lonelyland went on to become the title of his first major studio album, which sold over 10,000 copies at Waterloo Records alone, and eventually led to a nationwide re-release after signing with Universal Records in 2001. The track "Big Blue Sea" in particular received significant radio play, and garnered some national attention. He was eventually dropped by Universal, but went on to record I'm Good Now in 2004, which was distributed by Vanguard Records, garnering further national attention and some critical acclaim.

During this time, Schneider began a long-running weekly songwriting game with a rotating group of friends (including names like Jason Mraz, Patty Griffin, and Matt Nathanson), which saw him creating many new songs, sometimes at a rate of one per week or more. His contracts with Universal and Vanguard provided him the freedom to develop "side projects" under his Shockorama label, which allowed him to release many of these creations. Side-projects from this period included Underneath The Onion Trees, The Galaxy Kings, and I Have Seen The End of the World and It Looks Like This. These projects initially received limited releases of approximately 10,000 copies each, though Vanguard eventually agreed to re-release some in 2006, to coincide with his next major album The Californian.

Schneider went on to sign with Kirtland Records in 2009, releasing his next major album Lovely Creatures, which featured the single "40 Dogs (Like Romeo and Juliet)", as well as Patty Griffin on the track "Changing Your Mind". It peaked at #14 on the AAA Radio Chart. Schneider released a second album with Kirtland Records in 2011 entitled "A Perfect Day", featuring the single "Let The Light In." 2013's Burden of Proof was his third and final project with the label, before he moved back to Shockorama with 2015's King Kong, the result of a crowdsourcing campaign through PledgeMusic.

During his period with Kirtland Records, Schneider began the habit of categorizing his ongoing songwriting creations and demos under yearly album labels. Many of these songs found unofficial releases through internet platforms such as Myspace, SoundCloud, Snocap, and more, while others were officially released through further side projects.

In 2017, Schneider began formerly making his massive backlog of recorded demos available to fans through Patreon. His subsequent albums were all gifted to backers prior to their releases, with Blood and Bones releasing June 8, 2018, In A Roomful Of Blood With A Sleeping Tiger releasing August 27, 2021, and The Human Torch releasing as individual tracks between December 8th and December 31st, 2023.

2023 also saw the release of FAYM, a crowd-funded graphic novel with illustrations by Justin Barker, and a story based on Schneider's long-time rock opera project of the same name.

Soundtrack contributions

 * 2000 – "Blue Skies for Everyone" was played during the opening sequence of the movie "Gun Shy," starring Liam Neeson and Sandra Bullock.
 * 2000 – "Bullets" was used in the movie "Miss Congeniality," starring Sandra Bullock.
 * 2001 – "Bullets" also appeared on the "Jay & Silent Bob Strike Back" soundtrack
 * 2002 – "Big Blue Sea" was used in the movie "40 Days and 40 Nights," starring Josh Hartnett
 * 2002 – "The World Exploded Into Love" appeared in the movie "Secrets of the Ya-Ya Sisterhood," starring Sandra Bullock
 * 2006 – "The World Exploded Into Love" closed out the first episode of the television sitcom "Men in Trees," starring Anne Heche.
 * 2009 – "Love Is Everywhere" is featured in the film and soundtrack of the movie "All About Steve," starring Sandra Bullock
 * 2009 – "Changing Your Mind" is featured in the indie film "Harmony and Me," where he also has a role as a wedding singer
 * 2019 - “Bombanaza” (instrumental version) is featured during the closing credits for the Quentin Tarantino documentary, QT8: The First Eight.
 * 2020 - "Wish the Wind Would Blow Me" and "The World Exploded Into Love" are both featured in the film "The Lost Husband," starring Josh Duhamel

Awards
Bob Schneider has won 55 Austin Music Awards, to date, for multiple different projects ranging from 1992 to 2017.

Austin Music Awards

 * 1992: Best Funk Band, Joe Rock Head
 * 1993: Best New Band, Ugly Americans; Best Funk Band, Ugly Americans
 * 1994: Best Funk Band, Ugly Americans
 * 1995: Best Funk Band, Ugly Americans
 * 1996: Best Pop Band, Ugly Americans; Best Soul/Funk Band, Ugly Americans
 * 1998: Best Funk Band, The Scabs; Best None of the Above Band, Bob Schneider and Lonelyland
 * 1999: Musician of the Year, Best Male Vocals, Best Songwriter, Band of the Year – The Scabs; Best Alternative/Punk Band, The Scabs; Best Funk Band, The Scabs; Best Concert Poster, Bob Schneider/Joe Rockhead
 * 2000: Musician of the Year, Album of the Year, Lonelyland; Best Male Vocals, Best Songwriter, Best Singer-Songwriter, Best Funk Band – The Scabs; Best Concert Poster, Bob Schneider/The Scabs; Best Album Artwork, Lonelyland
 * 2001: Musician of the Year, Best Male Vocals, Best Songwriter, Best Singer-Songwriter
 * 2003: Musician of the Year
 * 2004: Album of the Year, I'm Good Now; Song of the Year, "Cap'n Kirk"
 * 2007: Best Bluegrass Band, Bob Schneider and Texas Bluegrass Massacre
 * 2008: Band of the Year, Bob Schneider and Lonelyland; Best Male Vocals, Best Bluegrass Band – Bob Schneider and Texas Bluegrass Massacre
 * 2009: Musician of the Year, Album of the Year – Lovely Creatures; Song of the Year, "40 Dogs"; Band of the Year, Bob Schneider and Lonelyland; Best Male Vocals, Best Songwriter
 * 2010: Best Male Vocals
 * 2013: Musician of the Year, Album of the Year – Burden of Proof; Best Songwriter
 * 2015: Musician of the Year, Best Songwriter, Best Male Vocals, Album of the Year – King Kong; Song of the Year, "Stars Over Your House"; Best Residency, Bob Schneider's Lonelyland; Best Album Artwork,King Kong; Best Poster, Bob Schneider/King Kong
 * 2016: Best Residency, Bob Schneider's Lonelyland; Best Rock Band, Bob Schneider and Lonelyland

Discography
Solo Albums

 * Songs Sung and Played on Guitar at the Same Time (1998)
 * Lonelyland (2000-Shockorama) & (2001-Universal)
 * Underneath the Onion Trees (2000)
 * The Galaxy Kings (2002)
 * I Have Seen the End of the World and It Looks Like This (2003)
 * I'm Good Now (2004)
 * The Californian (2006)
 * Greatest Hits Live (2006)
 * Songs Sung & Played at the Same Time with People in the Room (2007)
 * When the Sun Breaks Down on the Moon (2007)
 * Love Is Everywhere (2009 EP)
 * Lovely Creatures (2009)
 * Live At The Paramount Theatre (2009)
 * Christmastime (2009)
 * A Perfect Day (2011)
 * Burden of Proof (2013)
 * King Kong (2015)
 * I Will Find You No Matter What: The Songs of Luc & Bob Schneider (2016) (Released as "The L")
 * Blood and Bones (2018)
 * In A Roomful Of Blood With A Sleeping Tiger (2021)
 * The Human Torch (2023)

The Scabs
 * Freebird (1998)
 * Bombtracks (1998)
 * More Than a Feeling (1999)
 * Destroyer (2000)

Ugly Americans
 * Ugly Americans (1993)
 * Ugly Americans (Live) (1994)
 * Stereophonic Spanish Fly (1996)
 * Boom Boom Baby (1998)

Joe Rockhead
 * Party Till You're Dead (1991)
 * Crazy (1992)
 * No Going Back (1992)

Unreleased Projects
Schneider has many unpublished musical projects that, while never officially released, have been made available to fans (either partially or in full) via Patreon and similar platforms. Many more unlisted projects and older demos are simply uncategorized, or grouped under a legacy "Anthology" label.

Known Albums
 * Uncocked (1996)
 * The Cassette Demos (1998)
 * Downloads Vol. 1 (2004)
 * The Californian - Disc 2 (2006)
 * The Electric Monkey (2007)
 * The Bullet And The Gun (2008)
 * FAYM (2009)
 * The Ever Increasing Need To Succeed (2010)
 * Texas Bluegrass Massacre (2010)
 * Supershit (2012)

Yearly Demo Collections
 * FAYMF (2007)
 * Supershit (2009)
 * Here’s The Deal (2012)
 * Copy That Dude (1013)
 * Mental Problems (2014)
 * Into The Great Unknown (2015)
 * Practical Guide To Everything (2016)
 * Brave New World (2017)
 * Outside The Bocks (2018)
 * Facing The Sun (2019)
 * Bricks (2020)
 * Everything Is Super Easy (2021)
 * Breaking The Legs Of Despair (2022)
 * Diamonds (2023)
 * Souvenirs From The Storm (2024)

Live Recordings
Since the 2000s, Schneider has recorded almost every one of his live performance, making the recordings available for purchase as show souvenirs (which he labels "Frunk") for the audience. Originally available only as physical double-disc CD sets, Schneider began to phase out physical media around 2010 in favor of USB drives and digital online purchasing. While the majority of recordings prior to 2012 are no longer available, the current archive is maintained on his Bandcamp.

title: Bob Schneider


text: Category:Rivers of Israel

title: Category:Rivers of Israel


text:
San Juan River (Nicaragua)

The San Juan River (Spanish: Río San Juan), also known as El Desaguadero ("the drain"), is a 192 km river that flows east out of Lake Nicaragua into the Caribbean Sea. A large section of the border between Nicaragua and Costa Rica runs on the southern bank of the river. It was part, with the lake, of a proposed route for a Nicaragua Canal in the 19th century. The idea of the project has been revived in the last decade, including the possibility of other routes within the country. The Ecocanal project has obtained a Concession from the National Assembly of Nicaragua to re-open the San Juan River to commercial barge traffic.

The Cañas–Jerez Treaty states that Nicaragua owns the waters of the river and that Costa Rica can only use it for commercial navigation on certain parts of the river at Nicaragua's discretion.

The San Juan River is home to freshwater bull sharks that also go into Lake Nicaragua in addition to a wide array of marine life and biodiversity.

History
Before the Panama Canal, the San Juan River was frequently used as a major part of the route from the Atlantic to the Pacific Ocean. Many people, including African slaves, were transported via this route. During the California Gold Rush, many people from all over the world traveled to California to mine for gold. Tens of thousands took a steamboat that was operated by the Accessory Transit Company and was directed by Cornelius Vanderbilt. The boat travelled up the San Juan River and across Lake Nicaragua; a stagecoach completed the connection to the Pacific coast.

Rapids
As one travels upstream from the Caribbean Sea to Lake Nicaragua, one encounters the following sets of rapids:
 * Raudal de Machuca
 * Raudal del Mico
 * Raudal Los Valos
 * Raudal del Castillo (Raudal del Diablo)
 * Raudal del Toro

title: San Juan River (Nicaragua)


text:
File:Steve Urkel.jpg

Licensing
Image should be fair use in the article about the movie character, as the article is discussing the appearance of the character and the stereotypes connected with it; the illustration can therefore pass as "critical commentary and analysis". Fut.Perf. ☼ 22:45, 23 February 2007 (UTC)

he:תמונה:2005 0308 urkel.jpg

title: File:Steve Urkel.jpg


text:
Muhammad Shamsuddeen III

Sultan Muhammad Shamsuddeen Iskander III,, (Dhivehi: ސުލްޠާން މުޙައްމަދު ޝަމްސުއްދީން; 20 October 1879 – 12 March 1935), son of Ibrahim Nooraddeen and Kakaage Don Goma, was the Sultan of the Maldives first from 7 May 1893 and then again from 1902.

When he was 14 years, after the death of his father Sultan Ibrahim Nooraddeen, he was nominated as the Sultan only after the people expressed their dissatisfaction with the appointment of his eight-year-old half-brother as Sultan Muhammad Imaaduddeen V against the Law of Succession in the Maldive Islands. Shamsuddeen's succession to the throne was in part favoured by the fact that he was great-nephew to Muhammad Didi Ranna Baderi Kilegefanu, the prime minister to three successive Sultans, who strongly protested to the Ceylon Governor in Colombo on behalf of his discarded great-nephew.

From Malé, Shamsuddeen wrote to his great-uncle, to return and resume the post of prime minister. At this time Haajee Imaaduddeen, nephew of the late sultan Nooraddeen, who would take over the throne after 2 months, ran the country. Ibrahim Didi and some other members of the Council of Ministers ('little knowing what evil a decade was to bring forth') encouraged Haajee Imaaduddeen to seize the throne from the young sultan as they despised Muhammad Didi's complete control over his grandnephew Sultan Shamsuddeen. However the enthronement was based on the specious plea stating a unanimous dissatisfaction by the people regarding the existing sultanate with a 'mere lad as Sultan, not able to do or undo anything himself'. By this decree Haajee Imaaduddeen was raised to the throne and named Sultan Muhammad Imaaduddeen VI, with Ibrahim Didi as his prime minister.

Shamsuddeen came back to power again in 1902 after the peaceful Malé Revolution which took place while Sultan Muhammad Imaaduddeen VI temporarily quit his kingdom with the object of marrying the high-born Egyptian Sharifa Hanim, the daughter of Abd-ur Rakhman Khami Bhey, the Consul of Persia. Muhammad Shamsuddeen III's full coronation ceremony (the Ceremony of the Assumption of the State Sword of the Kingdom of the Maldive Islands) was not held until 27 July 1905. The ceremony was attended by Sir John Keene on behalf of Edward VII, the Katheeb of Kelaa of Thiladhummathi Atoll on behalf of the inhabitants of the northern atolls of the kingdom and the Katheeb of Isdhū of Haddhunmathi Atoll on behalf of the inhabitants of the southern atolls of the kingdom.

He was arrested on 2 October 1934 and was banished to Fuvahmulah with crown prince Henveyru Ganduvaru Manippulhu. The crown prince died there but later the Sultan was brought to Malé Atoll Villigili. The sultan died in Malé at the residence of Moonimaa'ge.

He is credited with bringing the first Constitution of Maldives on 22 December 1932.

title: Muhammad Shamsuddeen III


text:
Hypsometry

Hypsometry  is the measurement of the elevation and depth of features of Earth's surface relative to mean sea level.

On Earth, the elevations can take on either positive or negative (below sea level) values. The distribution is theorised to be bimodal due to the difference in density between the lighter continental crust and denser oceanic crust. On other planets within this solar system, elevations are typically unimodal, owing to the lack of plate tectonics on those bodies.

Hypsometric curve
A hypsometric curve is a histogram or cumulative distribution function of elevations in a geographical area. Differences in hypsometric curves between landscapes arise because the geomorphic processes that shape the landscape may be different.

When drawn as a 2-dimensional histogram, a hypsometric curve displays the elevation (y) on the vertical, y-axis and area above the corresponding elevation (x) on the horizontal or x-axis. The curve can also be shown in non-dimensional or standardized form by scaling elevation and area by the maximum values. The non-dimensional hypsometric curve provides a hydrologist or a geomorphologist with a way to assess the similarity of watersheds — and is one of several characteristics used for doing so. The hypsometric integral is a summary measure of the shape of the hypsometric curve.

In the original paper on this topic, Arthur Strahler proposed a curve containing three parameters to fit different hypsometric relations:

 * $$y = \left[\frac{d-x}{x} \cdot \frac{a}{d-a}\right]^z$$,

where a, d and z are fitting parameters. Subsequent research using two-dimensional landscape evolution models has called the general applicability of this fit into question, as well as the capability of the hypsometric curve to deal with scale-dependent effects. A modified curve with one additional parameter has been proposed to improve the fit.

Hypsometric curves are commonly used in limnology to represent the relationship between lake surface area and depth and calculate total lake volume. These graphs can be used to predict various characteristics of lakes such as productivity, dilution of incoming chemicals, and potential for water mixing.

title: Hypsometry


text:
Wikipedia:Articles for deletion/Shauna Ford

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was speedy deleted by Duncharris (personal attack on schoolfriend complete with phone number) --cesarb 01:49, 11 Jun 2005 (UTC)

Shauna Ford
Page is a personal attack (seemingly by one high school student against another), lists a personal phone number, &c. Is this a candidate for a speedy? jglc | t | c 20:15, 10 Jun 2005 (UTC)
 * No, but I've removed the phone number. Meelar (talk) 20:16, Jun 10, 2005 (UTC)
 * How 'bout just a delete then. For non-notability, ostensibly. jglc | t | c 20:16, 10 Jun 2005 (UTC)
 * Delete - Clearly vanity/malicious page. Gblaz 20:17, 10 Jun 2005 (UTC)
 * Delete. Is there any way to delete the history so that private information is protected?23skidoo 01:00, 11 Jun 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text: User talk:131.151.90.102

title: User talk:131.151.90.102