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Chris Ingram

Chris Ingram (born 9 June 1943) is a British businessman, entrepreneur and art collector with strong benevolent links to Woking.

Early life
Chris Ingram is one of four children and the only son born to Thomas and Gladys Ingram. His father was a Police Inspector in the Surrey Constabulary which, at that time, involved many relocations around West Surrey.

He attended Woking Grammar School; having obtained six O'Levels of mediocre grades, he left sixth form abruptly after only six months to become a messenger boy at a London advertising agency.

Advertising career
Ingram started his advertising career in 1960, aged 16 at Pictorial Publicity. Six months later, after the agency was taken over by John Pearce and Ronnie Dickenson, Collett Dickenson Pearce ("CPD") was formed. CPD rapidly became world-famous for its creative advertising. The media department in which Ingram then worked as a junior was a service department to the main creative agency.

Ingram then moved between several advertising agencies (including Greenlys where he met his wife, Janet).

In 1964 he joined KMP, one of the hot agencies of the 1960s. The freedom and encouragement of the principals resulted in his becoming a board director aged 26 years. KMP was floated on the London Stock Exchange in 1969 and subsequently embarked on a hasty acquisition spree. At Ingram's prompting, the by-then group of ad agencies (KIMPHER) formed a stand-alone media company, 'The Media Department', in 1972, which was to be the forerunner of the modern media agency, splitting for the first time, the media and creative functions of the full-service advertising agency.

The KIMPHER Group was badly hit by the three-day week and Ingram left in 1976 to start Chris Ingram Associates (CIA). After a shaky start, when there was very limited demand for the concept of a specialist media agency, the company later gained traction and expanded rapidly through the 1980s. CIA floated on the Stock Exchange in 1989. A series of rapid acquisitions commenced in 1993 to create a European network of agencies reflecting the emerging 'Single Market'.

During this period the idea of a stand-alone media company became gradually accepted as the norm. The Financial Times((')) analysis in 2000 of the previous decade showed that CIA was the world's best performing advertising stock of the 1990s.

Ingram was judged 'London Entrepreneur of the Year' in 2000 in the Ernst & Young awards and later, Business Services UK Winner.

By now CIA (with a holding company, Tempus) was employing 2,600 people in 67 offices across 29 countries with a turnover of $3 billion. However, the company was not truly global and in 1998 all the major agencies had decided to join the trend of the separation of creative from media, resulting in the appearance of much larger competitors in the market.

Meantime, WPP was progressively increasing its stake in the publicly quoted Tempus, and by 2001 it was approaching 25%.

The board of Tempus took the covert decision to sell the company. After a period of courtship, Havas, which also had an incomplete global network, made a bid based on a multiple of 34 pre-tax profits. A battle ensued between WPP and Havas which ended abruptly following the terrorist attacks of 9/11. Havas withdrew immediately, leaving WPP's bid as the only one.

A series of historic appeals was made by WPP, who claimed a material adverse change (called 'a MAC Attack' in the Financial Times at that time). After two appeals to the Stock Exchange, WPP was forced to follow through with its bid, netting £432 million cash for Tempus shareholders on 6 November 2001.

Life after CIA
Ingram re-entered the advertising and marketing sector in 2003 with The Ingram Partnership, a strategic brand consultancy that was positioned to be "the McKinsey of Marketing" with a series of high-profile hirings. Despite achieving considerable publicity and client plaudits, the venture was not a success. Losses accumulated and Ingram closed the London office in 2007. He retained a 30% interest in the New York office and sold the Hong Kong office back to one of the founders.

In parallel with the launch of The Ingram Partnership, Ingram set up a very small investment fund, Genesis Investments, financed from the sale of CIA with his son Jonathan, to make eight to ten investments of approx £0.5m each in companies in the media sector.

The last investment was in Decision Technologies Limited (whose main brand is Consumer Choices), a price comparison site. At the same time Jonathan Ingram joined as COO. This company was judged to be No. 24 in the Sunday Times TechTrack100 of 2011.

Ingram set up Ingram Enterprise in 2007 to advise, support and invest in small businesses. These range from micro businesses in East Africa to emerging businesses in London and New York, whether start-ups or those transitioning from small to medium-sized.

From 2009 to 2013 he was chairman of Sports Revolution, a UK-based sports media and marketing agency. In 2009, Ingram bought out the majority shareholder, Pi Capital. The business expanded rapidly to add consultancy and in-stadia digital media. In September 2012, Steve Lansdown (co-founder of Hargreaves Lansdown and owner of Bristol City Football Club), acquired a significant minority through his investment vehicle, STIG.

In 2014, Ingram became an Enterprise Fellow of The Prince's Trust

London Business School
Although not an alumnus, Ingram is closely involved with the Innovation and Entrepreneurship Faculty at London Business School where he is a major donor. Recently he has joined the Deloitte Institute of Innovation and Entrepreneurship at The School.

In its original guise as the Foundation for Entrepreneurial Management, Ingram was involved from the outset eventually served as Acting chairman. He provided the seed funding for a joint venture between the University of Arts and London Business School: The Centre for Creative Business. This was a HEFCE funded initiative to bring business skills to the creative industry. He served as chairman on this joint venture from 2007 to 2008 and was made an Honorary Fellow in 2007.

Woking Football Club
Ingram became chairman of his boyhood club Woking F.C. in 2002, saving the club from administration. He still continues, as chairman of the holding company, to try to secure Woking's long-term financial stability through redevelopment of the ground.

Art
Ingram started to collect art seriously in 2000 and soon after that he chose to specialise in Modern British Art. It was after the sale of Tempus to WPP on 6 November 2001, that he was able to rapidly boost his collection.

The collection expanded into his office space at The Ingram Partnership (2003–2007) and when the company closed, the collection ended up in storage at Christies in Nine Elms. Coincidentally, Woking Borough Council asked him to help fund a new gallery and museum which prompted the idea to base the collection at a public place for the public's benefit.

The new gallery was named The Lightbox which won the Art Fund prize in 2008 and now houses the majority of the 450 piece Ingram Collection with a regular programme of free exhibitions. Ingram is keen that as many people as possible enjoy the collection and encourages an active loan programme, the key pieces of sculpture in The Ingram Collection were exhibited at Sotheby's in January 2011. A further 17 pieces were also loaned to the Royal College of Arts for their 175th Anniversary Show in October 2012.

The collection is now actively used in the community, helping schools, prisons and mental health organisations.

title: Chris Ingram


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Wikipedia:Featured article candidates/Boston, Massachusetts

Boston, Massachusetts
This article has gone through a failed FAC and two peer reviews. Since then, the article has seen a lot of improvement. The question now becomes: is the article ready to be featured? Pentawing 03:36, 27 October 2005 (UTC)
 * Support. It's good.  It's really good.  No reservations about using this as a model for articles on American cities.  Jkelly 03:51, 27 October 2005 (UTC)
 * Support Pentawing has built this to a great article, with outstanding leadership. Kudos to Pentawing. Fg2 04:08, 27 October 2005 (UTC)
 * Support, excellent Everyking 04:57, 27 October 2005 (UTC)
 * Looks good. I cleaned up a few typos, but nothing big. Well-referenced, nice pictures, thorough content. — BRIAN 0918 • 2005-10-27 05:24
 * Support =Nichalp   «Talk»=  05:37, 27 October 2005 (UTC)
 * Object. It's very, very, very close to being there.  However, there are a few minor points to hit:
 * In a few places (specifically the ==History== section), the prose is choppy, and there are a few instances of subject/verb disagreement—specifically the first section in History. The colonists weren't founded on 9/17/1630, the city was...but the way the sentence is written makes it sound like the city had always been there and the colonists were discovered on that date. :)
 * Look out for single-sentence paragraphs. I caught a couple of them; either merge them into an adjacent paragraph or expand them.
 * I'm not entirely sure that "State and federal agencies" and "Crime" deserve their own subsections under ==Law and Government==. Rather than the 4 short paragraphs that are there now, could they be merged into 2 or 3 longer ones simply within the confines of ==Law and Government==?
 * This was pointed out to me on my talk page during the Cleveland FAC, so I don't know if it's a legit objection...but census figures from the 2000 Census should probably be in past tense, seeing as they're going on six years old in a few months.
 * Under ==Education==, there are some hanging right parentheses; are they missing a left pair, or are they just an oversight?
 * Overall, very good work. I'd be glad to help out in any way with this, seeing as how a city article I was intricately involved with just went through FAC.  Take care --  Pack n Canes  |   say something!   07:09, 27 October 2005 (UTC)
 * I think I have taken care of the problems, but I did it very quickly. Hence, I need someone else to check my work. Pentawing 07:38, 27 October 2005 (UTC)
 * It's been checked, and you did take care of them. I did a little more copyediting to smooth over some of the prose, but it looks excellent now.  Support; great job.  Pack n Canes  |   say something!   19:10, 27 October 2005 (UTC)]

 * Support - Excellent work! A couple of things to consider
 * Explain BosWash rather than link it or just delete it. Something like "Boston has begun to resemble other parts of the continuous string of Northeast seaboard cities dubbed the BosWash megalopolis." I went ahead and changed it, but it may not need to be there
 * An explanation of the Brahmins may be helpful for people unfamiliar with the term, though you do describe their wealth
 * I pay my gas bill to NSTAR as well! I don't know, are there multiple providers?
 * The ePodunk reference is pretty lame. I understand the NPOV desire, but...
 * There are a few red links. Not a big deal, but there's only a few!
 * InvictaHOG 21:49, 27 October 2005 (UTC)

 * I did some copyediting to address these issues except for the ePodunk reference (to maintain NPOV), and electricity and gas providers (I am only aware of NSTAR and KeySpan). Pentawing 00:36, 28 October 2005 (UTC)
 * NSTAR provides gas to much of Boston. I don't know about KeySpan, but I'd check to make sure that your list is complete. As for ePodunk, a review of their rankings shows Boston as the top college town among cities with more than 300,000 people, not the top college town. They do not compare head to head across populations as far as I saw. I think that you should either find another source or change the assertion InvictaHOG 13:47, 28 October 2005 (UTC)
 * I reworded the ePodunk assertion to note that Boston is at the top of the 300,000 people or more category. Pentawing 22:10, 28 October 2005 (UTC)

 * Comment: Just a minor (perhaps petty) quibble, so I won't make this an objection: the infobox stikes me as absurdly large. Either the (rather non-descriptive) photo needs to be chopped, or something needs to be trimmed elsewhere. Also, it would be nice if it sat flush with the side of the page. --Cyberjunkie | Talk 09:54, 28 October 2005 (UTC)
 * I replaced the image with one of the Bay Bay skyline and resized is to 250px. However, I can't be able to have it flush with the side of the page since the infobox is within another template that someone else created . The only way to solve this is to move the infobox into the article itself and have an admin delete the unused template. As for the infobox size, this can't be helped since it is based on another format that is being used at other city articles (e.g. Louisville, Kentucky and Los Angeles, California). Pentawing 22:10, 28 October 2005 (UTC)
 * Support: This page has been greatly improved since the last time it was a featured article candidate. Wonderful work, Pentawing.--AaronS 15:34, 28 October 2005 (UTC)
 * Support. This article has seen some major improvement since this topic first came up.  Sahasrahla 03:00, 29 October 2005 (UTC)
 * Object. The history section seems to me to be too sketchy, and needs significant expansion and a bit more gravitas. As it stands, the most important piece of local history would appear to be the "Banned In Boston" phenomenon, which is noteworthy but not, on balance, terribly important. The role of the Irish in Boston (to say nothing of other immigrant groups) is barely addressed; the long-running controversy over school desegregation in the recent past is simply ignored treated too superficially. And the last paragraph of the history section sound like the product of the local tourism bureau; it's not really an encyclopedic tone. Monicasdude 21:31, 29 October 2005 (UTC)
 * There is a History of Boston, Massachusetts sub-article that has more details, including information concerning other immigrant groups and the Boston busing situation of the 1970s. However, I can't expand the history section without going over the 40 kB limit unless you can tell me exactly what you think is lacking in the history section. Pentawing 22:07, 29 October 2005 (UTC)
 * I added in a notation about the busing situation of 1974 and major Irish figures who have a major presence in Boston politics. I also reworded the last paragraph to a previous version. Pentawing 04:17, 30 October 2005 (UTC)
 * I'm sorry, but I still find the history section inadequate. There's almost no discussion of events between (roughly) 1820 and 1970, and most other historical discussion is just too sketchy. I really don't think that saying "During the early 1770s, Bostonians initiated the American Revolution" is particularly accurate, for example.  I can't tell you "exactly" what to put in to fill the huge gaps in the history section, but it probably should be rewritten from scratch -- the "History of Boston" article isn't very good, as an article or as a starting point. Monicasdude 01:04, 1 November 2005 (UTC)
 * I'll see what I can do, but you have to be specific as to why the history section is "sketchy" (what you believe is sketchy may be fine to someone else). Again, I have to note that the history section is merely a summary, that it should not contain every detail imaginable (which are covered in the sub-article). Pentawing 01:11, 1 November 2005 (UTC)
 * Support looks damn fine... lets feature it (front page next anniversary of the Tea Party? - Thats December 16th folks :)  ALKIVAR ™[[Image:Radioactive.svg|18px|]] 06:16, 31 October 2005 (UTC)
 * Comment. The link to  'see also Neighborhoods in Boston, Massachusetts'  is located at the bottom of the Demographics section, not the Geography section which deals with this subject. Was that intentional? I haven't read the second half of the article yet but look forward to being able to support. Adz 00:05, 3 November 2005 (UTC)
 * The  'see also Neighborhoods in Boston, Massachusetts'  was placed in the demographics section instead of the geography section since the article focused on the population makeup of each neighborhood rather than the geology of the each part of the city. Pentawing 04:03, 3 November 2005 (UTC)
 * Medium Object (Changed vote to support below). Some key parts & sections could do with rewriting & more flesh to them. Overall, this article just doesn't feel right to me, but the again, it's just my opinion. Especially the sports & culture & lower down sections need work. Spawn Man 02:44, 3 November 2005 (UTC)
 * Can you be specific as to which sections have problems and why? Thanks. Pentawing 04:03, 3 November 2005 (UTC)
 * As stated above, the sports, culture & sections that are lower down on the article page are in need of some lengthening. They have much more potential, but are still around 4 paragraphs long, & the health section only being 1 paragraph long. Other than that it is an awesome article & would gladly support it if the lower sections were given some much needed attention... Spawn Man 22:10, 3 November 2005 (UTC)
 * There are more details about culture in Culture in Boston, Massachusetts (the section in the Boston article itself is a summary of that sub-article). The same applies to the transportation section. The summaries were to address another user's concern (Nichalp) that the sections were too long and should go into sub-articles (plus as a means of keeping the article close to about 35kB as he prescribed). I'll see what I can do with health and medicine. Pentawing 22:23, 3 November 2005 (UTC)
 * I do not think the page size should limit the growth of an article. Some articles have been 72KB long!!!! Spawn Man 22:33, 3 November 2005 (UTC)
 * comment: Then we need to come to some sort of consensus on what summary style really is. This is a problem I've had as well.  I don't mind using summary style, but there needs to be some (even unwritten) understanding of exactly what a featured article's summary style should look like.  It's ridiculous to me that you create one objection by satisfying someone else's objection.  Pack n Canes  |   say something!   22:41, 3 November 2005 (UTC)
 * I expanded sections which do not have a corresponding sub-article to cover the details. Please let me know if you see something else that could be added. Pentawing 01:49, 4 November 2005 (UTC)
 * Yes indeed I see something, could you please expand on the references section, as I know there are many other books on Boston out there. After that you will have my full support... Spawn Man 03:23, 4 November 2005 (UTC)
 * I added two references that I found through Google Print. I will look for more sources when I get the chance to visit the local library this weekend. Pentawing 20:48, 4 November 2005 (UTC)
 * You have far exceeded my expectations, you now have my Full SUPPORT. Thanks.... Spawn Man 23:05, 4 November 2005 (UTC)
 * Support, article is well written and formatted, and summarises the relevant subatricles well. One tiny quibble is the see alsos at the end of sections, could these be absorbed into the text if possible?--nixie 02:44, 4 November 2005 (UTC)

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


text:
String (music)

In music, strings are long flexible structures on string instruments that produce sound through vibration. Strings are held under tension so that they can vibrate freely, but with control. This is to make the string vibrate at the desired pitch, with looser strings producing lower pitches, and tighter strings producing higher pitches. However, a vibrating string produces very little sound in of itself. Therefore, most string instruments have a sounding board to amplify the sound.

There are two main kinds of strings; plain and wound. "Plain" strings are simply one piece of long cylindrical material, commonly consisted of nylon or gut. "Wound" strings have a central core, plus other material which is tightly wound around the string (usually made of various metals).

Prior to World War II, strings of many instruments (including violins and guitars) were composed of a material known as catgut, a type of cord made from refined natural fibers of animal intestines. This was the status quo until the 1950s, when mainstream popularity fell for gut strings, and steel and nylon strings became more favored in string making. Although catgut is still prized by many musicians today, due to its unique sound. The invention of wound strings (particularly steel) was a crucial step in string instrument technology, because a metal-wound string can produce a lower pitch than a plain gut string of similar thickness. This enabled stringed instruments to be made with thinner bass strings.

On string instruments that the player plucks or bows directly (e.g., double bass), this enabled instrument makers to use thinner strings for the lowest-pitched strings, which made the lower-pitch strings easier to play. On stringed instruments in which the player presses a keyboard, causing a mechanism to strike the strings, such as a piano, this enabled piano builders to use shorter, thicker strings to produce the lowest-pitched bass notes, enabling the building of smaller upright pianos designed for small rooms and practice rooms.

String construction
The end of the string that mounts to the instrument's tuning mechanism (the part of the instrument that turns to tighten or loosen string tension) is usually plain. Depending on the instrument, the string's other, fixed end may have either a plain, loop, or ball end (a short brass cylinder) that attaches the string at the end opposite the tuning mechanism. When a ball or loop is used with a guitar, this ensures that the string stays fixed in the bridge of the guitar. When a ball or loop is used with a violin-family instrument, this keeps the string end fixed in the tailpiece. Fender Bullet strings have a larger cylinder for more stable tuning on guitars equipped with synchronized tremolo systems. Strings for some instruments may be wrapped with silk at the ends to protect the string. The color and pattern of the silk often identify attributes of the string, such as manufacturer, size, intended pitch, etc.

Roundwound
Roundwound strings are the simplest and most basic wound strings, they have round wire wrapped in a tight spiral around either a round or hexagonal core. Such strings are usually simple to manufacture, are the least expensive, and are convenient. Despite these advantages, they have several drawbacks, however:
 * Roundwound strings have a bumpy surface profile (the bumps of the winding) that produce friction on the player's fingertips. This causes squeaking sounds when the player's fingers slide over the strings, especially when used on electric guitar with a guitar amplifier or with an acoustic guitar amplified through a PA system. (Some artists use this sound creatively, such as hardcore punk and heavy metal music electric guitarists who scrape the pick down the lower-pitched strings for an effect.)
 * Roundwound strings' higher friction surface profile may hasten fingerboard and fret wear, compared with smoother flatwound strings.
 * When the core is round, the winding is less secure and may rotate freely around the core, especially if the winding is damaged after use.

Flatwound
Flatwound strings are strings that have either a round or hex core, and have winding wire that has a rounded square cross-section that has a shallower profile (in cross-section) when tightly wound. This makes for more comfortable playing, and decreased wear for frets and fretboards (this makes them a popular choice for fretless instruments). Squeaking sounds due to fingers sliding along the strings are also decreased significantly. Flatwound strings also have a longer playable life because of smaller grooves for dirt and oil to build up in.

On the other hand, flatwound strings sound less bright than roundwounds and tend to be harder to bend, thus produce vibrato. Flatwounds also are more expensive than roundwounds because of less demand, less production, and higher overhead costs. Manufacturing is also more difficult, as precise alignment of the flat sides of the winding must be maintained (some rotation of the winding on roundwound strings is acceptable).

Modern bowed strings are plain (typically the higher-pitched, thinner strings) or flatwound, to allow smooth playing and reduce bow hair breakage. There is a niche market for roundwound fiddle strings.

Halfround, halfwound, ground wound, pressure wound
Halfround (also referred to as halfwound, ground wound, or pressure wound strings) are string that are cross between roundwound and flatwound. Such strings are usually made by winding round wire around a round or hex core first, then polishing, grinding (thus the name, ground wound) or pressing the exterior part of the winding until it is practically flat. This results in the flat, comfortable playing feel of flatwounds, along with less squeaking, with a brightness generally between roundwounds and flatwounds. The polishing process removes almost half of the winding wire's mass; thus, to compensate for it, manufacturers use winding wire of a heavier gauge. Because of the extra manufacturing process involved, they are normally more expensive than roundwounds, but less than flatwounds.

Core types
There are two types, or shapes, of core wire typically used in wound strings.

Hexcore
Hexcore strings are composed of hexagonal core wire and a tight (usually round) winding. Hexcore string design prevents the winding from slipping around the core – which can occur with round core strings. This may improve tuning stability, flexibility, and reduce string breakage, compared to round core strings.

Round core
Round core strings are composed of regular round core and a tight (usually round) winding. Round core is the traditional "vintage" way of manufacturing and results in a greater contact between the winding and the core of the string.

Gauge

Bowed instrument strings, such as for the violin or cello, are usually described by tension rather than gauge. Fretted instruments (guitar, banjo, etc.) strings are usually described by gauge—the diameter of the string. The tone of a string depends partly on weight, and, therefore, on its diameter—its gauge. Usually, string manufacturers that do not describe strings by tension list string diameter in thousandths of an inch (0.001 in = 0.0254 mm). The larger the diameter, the heavier the string. Heavier strings require more tension for the same pitch and are, as a consequence, harder to press down to the fingerboard. A fretted instrument that is restrung with different string gauges may require adjustment to the string height above the frets (the "action") to maintain playing ease or keep the strings from buzzing against the frets. The action height of fretless instruments is also adjusted to suit the string gauge or material, as well as the intended playing style.

Guitar
Steel strings for six-string guitar usually come in sets of matched strings. Sets are usually referenced either by the gauge of the first string (e.g., 9), or by pair of first and last (e.g., 9–42); measurements in thousands of an inch are the de facto standard, regardless of whether Imperial units are used in a country. Some manufacturers may have slightly different gauge sequences; the sample data below comes from D'Addario string charts for regular, round-wound, nickel-plated strings.

Acoustic guitar
String gauge is subject to the personal preferences of the musician, but acoustic guitars are typically strung with a heavier gauge than electric guitars. The need for projection due to lack of amplification is one of the main reasons for this.

Bass guitar
Bass guitar strings are sometimes made for a particular scale length and come in short, medium, long and extra long (sometimes called super long) scale. Almost all bass guitar strings are made wound. Typical bass guitar strings come in the following gauges:

Bowed strings
Since the 20th century, with the advent of steel and synthetic core strings, most bowed instrument string makers market their strings by tension rather than by diameter. They typically make string sets in three tension levels: heavy, medium, and light (German stark, mittel, and weich). These tension levels are not standardized between manufacturers, and do not correlate to specific diameters. One brand's medium strings may have quite a different tension from another brand's medium. Based on available historical records, gut strings were sold before 1900 in a similar way.

On the other hand, modern gut core strings with metal winding, typically have been sold either ungauged for less expensive brands, or by specific gauge. The Gustav Pirazzi company in Germany introduced the Pirazzi meter (PM) measurement early in the 20th century. One PM equals .05 mm. For example, a 14 1/2 PM gauge string has is .725 mm in diameter. Pirazzi (now known as Pirastro) continues to sell its Oliv, Eudoxa, and Passione brand premium gut core strings by PM gauge. Each string is available in 5 or more discrete gauges. Manufacturers of traditional plain gut strings, often used in historically informed performance, sell their products by light/medium/heavy, by PM, by mm or some combination.

Core materials
Steel forms the core of most metal strings. Certain keyboard instruments (e.g., harpsichord) and the Gaelic harp use brass. Other natural materials, such as silk or gut—or synthetics such as nylon and kevlar are also used for string cores. (Steel used for strings, called music wire, is hardened and tempered.) Some violin E strings are gold-plated to improve tone quality.

Steel
Steel or metal strings have become the foundation of strings for the electric guitar and bass. They have a pleasingly bright tone when compared to nylon strung guitars. Their metal composition varies greatly, sometimes using many different alloys as plating. Much of the history of metal strings evolved through innovations with the piano. In fact, the first wound metal strings ever used were used in a piano. However, when it came to getting super small diameter strings with good elastic properties, the electric guitar took the metal string to the next level adapting it for the use of pickups.

Because of the higher tension of steel strings, steel-strung guitars are more robustly made than 'classical' guitars, which use synthetic strings. Most jazz and folk string players prefer steel-core strings for their faster response, low cost, and tuning stability.

Nylon
Nylon (typically 610 or 612) string, traditionally used for classical music, has a more mellow tone, and the responsiveness of it can be enjoyed typically for folk but other styles of music use it as well (for example, Willie Nelson performs on a nylon strung guitar). Nylon strings are made of a softer, less dense material and are under less tension than steel strings (about 50% less). This means they can be used on older guitars that can't support the tension of modern steel strings.

Nylon strings do not work with magnetic pickups, which require ferrous strings that can interact with the magnetic field of the pickups to produce a signal.

Currently, stranded nylon is one of the most popular materials for the cores of violin, viola, cello, and double bass strings. It is often sold under the trade name of Perlon. Nylon guitar strings were first developed by Albert Augustine Strings in 1947.

Gut
The intestine, or gut, of sheep, cattle, and other animals (sometimes called catgut, though cats were never used as a source for this material) is one of the first materials used to make musical strings. In fact, the Ancient Greek word for string, "khordḗ," has "gut" as its original meaning.

Animal intestines are composed largely of elastomers, making them very flexible. But they are also extremely hygroscopic, which makes them susceptible to pitch fluctuation as a result of changing humidity. Exposure to moisture from the sweat of a musician's hands can cause plain (unwound) gut strings to fray and eventually break. This is not as much of a problem with wound gut strings, in which the gut core, being protected from contact with perspiration by the metal winding (and underlayer, if there is one), lasts a much longer time. Nonetheless, as such a gut string ages and continually responds to cyclic changes in temperature and humidity, the core becomes weak and brittle, and eventually breaks. Furthermore, all gut strings are vulnerable to going out of tune due to changes in atmospheric humidity.

However, even after the introduction of metal and synthetic core materials, many musicians still prefer to use gut strings, believing that they provide a superior tone. Players associated with the period performance movement use wound and unwound gut strings as part of an effort to recreate the sound of music of the Classical, Baroque, and Renaissance periods, as listeners would have heard it at the time of composition.

For players of plucked instruments, Nylgut strings are a recently developed alternative to gut strings. They are made from a specialty nylon and purport to offer the same acoustic properties as gut strings without the tuning problems.

Fluoropolymers (aka "Carbon")
Fluoropolymer strings are available for classical guitar, harp, and ukulele. This is the same material used for monofilament fishing lines, and a typical chemical used is PVDF. These strings are usually traded under descriptions like fluorocarbon, carbon fiber, or carbon, which is scientifically incorrect.

The so-called Carbon material has a higher density than nylon, so that a nylon string can be replaced by a carbon string of smaller diameter. This improves the precision of higher fretted notes, and the resulting vibrational behaviour leads to a more brilliant sound with improved harmonics. In particular, classical guitarists who feel that a nylon G string sounds too dull can use strings that include a carbon G string.

Other polymers
Other polymers, including polyetheretherketone and polybutylene terephthalate, have also been used.

Silk
Silk was extensively used in China for traditional Chinese musical instruments until replaced by metal and nylon strings in the 1950s. Only purely silk strings used for the guqin are still produced, while some silver-wound silk strings are still available for classical guitars and ukuleles. The quality in ancient times was high enough that one brand was praised as 'ice strings' for their smoothness and translucent appearance.

Winding materials
Aluminum, silver, and chrome steel are common windings for bowed instruments like violin and viola, whereas acoustic guitar strings are usually wound with bronze and piano strings are usually wound with copper. To resist corrosion from sweat, aluminium may be used as a resistant alloy such as hydronalium. Classical guitar strings are typically nylon, with the basses being wound with either silver or bronze. Electric guitar strings are usually wound with nickel-plated steel; pure nickel and stainless steel are also used. Bass guitar strings are most commonly wound with stainless steel or nickel. Copper, gold, silver, and tungsten are used for some instruments. Silver and gold are more expensive and are used for their resistance to corrosion and hypoallergenicity.

Some "historically-informed" strings use an open metal winding with a "barber pole" appearance. This practice improves the acoustic performance of heavier gauge gut strings by adding mass and making the string thinner for its tension. Specimens of such open wound strings are known from the early 18th century, in a collection of artifacts from Antonio Stradivari. "Silk and steel" guitar strings are overwound steel strings with silk filaments under the winding.

Phosphor bronze
Phosphor bronze was introduced by D'Addario in the early 1970s. Phosphor bronze is said to keep its "new" sound longer than other strings. Small amounts of phosphorus and zinc are added to the bronze mixture. This makes the phosphor bronze slightly more corrosion resistant than 80/20 bronze.

80/20 bronze
80/20 bronze strings are 80 percent copper and 20 percent zinc. The zinc also gives it a brighter tone, additional hardness and slows down the aging process. With additional string coating, they are preserved even more. Although, If some of the coating is applied poorly, the strings can lose their tone in just a matter of hours, and if left in high humidity can turn a hint of green because of the copper and corrode with time. The name "80/20 bronze" is a misnomer since bronze is by definition an alloy of copper and tin. "80/20 bronze" strings would be more correctly referred to as brass.

Nickel-plated steel
Some acoustic players use strings, wound with nickel-plated-steel, meant for electric guitar. The properties of the nickel-plated strings make it a good choice for flattop guitars with sound hole-mounted magnetic pickups.

String corrosion and prevention

All metal strings are susceptible to oxidation and corrosion. Wound strings commonly use metals such as brass or bronze in their winding. These two metals are very vulnerable to corrosion. The sebaceous gland in the player's skin produces oils that can be acidic. The oils, salts, and moisture from the player's fingers are the largest source of corrosion. The composition of the oil and the oxygen in the air also helps to oxidize and corrode the strings. In steel strings the oxygen reacts with the iron in the steel and it creates rust. As a result, the string loses its brilliance over time. Water, another by-product of oxidation, increases the potential for acid corrosion in oils. Wound strings, such as bronze acoustic strings, are very difficult to keep fresh sounding due to the lack of corrosion resistance. To help solve the corrosion problem strings are either metal plated or polymer coated. The polymer coating is claimed to reduce finger squeak and fret wear, and has better tuning capability. Some companies sell lubricating oils that slow down the oxidation process, increasing the string's life-span. These special lubricating oils are applied to the strings as a barrier to the air, to help slow the oxidation process.

Coating and plating
Some common types of metal plating on strings include tin, nickel, gold, and silver. Some metals such as gold and silver give the strings a different sound. Among strings coated with a polymer, (polytetrafluoroethylene) Teflon is the most commonly used. Teflon is resistant to many corrosive agents such as: chlorine, acetic acid, sulfuric acid, and hydrochloric acid. On the microscopic level Teflon has very tightly packed polymeric chains, and these tightly packed chains create a slippery surface that not only helps keep the oil from the player's hands off the strings but makes them smooth to play as well. Ethylene tetrafluorothylene (ETFE) is another polymer that is sometimes used to coat strings. It is abrasion and cut resistant and has many characteristics similar to Teflon.

Boiling strings (guitar and bass)
Some musicians boil guitar or bass strings to rejuvenate them. The high temperature of the boiling water helps free the strings of oil, salt, and grime from the player's hands. When a string is played, very small metal shavings from fret wear may break off and lodge between the windings of the strings. Heating the strings can expand these particles and separate them from the windings. Some players use deionized water to boil strings, believing that mineral deposits in tap water may aid corrosion of the string core. After boiling, strings may have less elasticity and be more brittle, depending on the quality of the alloys involved. Putting the strings through a cycle in the dishwasher has also been known to work.

String vibration
A string vibrates in a complex harmonic pattern. Every time the player sets a string in motion, a specific set of frequencies resonate based on the harmonic series. The fundamental frequency is the lowest, and it is determined by the density, length and tension of the string. This is the frequency we identify as the pitch of the string. Above that frequency, overtones (or harmonics) are heard, each one getting quieter the higher it is. For example, if the fundamental pitch is 440 Hz (A above middle C), the overtones for an ideal string tuned to that pitch are 880 Hz, 1320 Hz, 1760 Hz, 2200 Hz, etc. The note names for those pitches would be A, A, E, A, C♯, etc. Due to the physical nature of the strings, however, the higher up the overtones go, the more out of tune (or "false") they are to the fundamental. This is an important consideration for piano tuners, who try to stretch the tuning across the piano to keep overtones more in tune as they go up the keyboard.

In a phenomenon called sympathetic vibration, a string seems to vibrate by itself. This happens when sound waves strike the string at a frequency close to the string's fundamental pitch or one of its overtones. The string is connected to this similar sound wave through the air, which picks up the vibrations of the sound waves at the same frequency, and in turn causes the string to vibrate on its own. When an outside source applies forced vibration that matches a string's natural frequency, the string vibrates.

Resonance can cause audio feedback. For example, in a setup with an acoustic guitar and a PA system, the speaker vibrates at the same natural frequency of a string on the guitar and can force it into vibrational motion. Audio feedback is often seen as an undesirable phenomenon with an acoustic guitar that is plugged into the PA system, because it causes a loud howling sound. However, with electric guitar, some guitarists in heavy metal music and psychedelic rock purposely create feedback by holding an electric guitar close to a powerful, loud guitar amplifier speaker cabinet, with the distortion turned up loud, creating unique high-pitched, sustained sounds. Jimi Hendrix and Brian May were notable users of electric guitar feedback.

For a typical high-E nylon string, the maximum transverse force is roughly 40 times greater than the maximum longitudinal force amplitude. However, the longitudinal force increases with the square of the pulse amplitude, so the differences diminish with increasing amplitude. The elastic (Young's) modulus for steel is about 40 times greater than for nylon, and string tensions are about 50% greater, so the longitude and transverse force amplitudes are nearly equal.

Tensile properties
Tuning a stringed instrument such as a guitar to pitch puts the strings under a large amount of strain, which indicates the amount of stress inside the string. Stress is relative to the stretch or elongation of the strings. As the string is tuned to a higher pitch, it gets longer and thinner. The instrument can go out of tune because if it has been stretched past its elastic limit, it will not recover its original tension. On a stress vs. strain curve, there is a linear region where stress and strain are related called Young's modulus. A newer set of strings will often be in a region on the stress vs. strain curve past the Young's modulus called the plastic region. In the plastic region, plastic deformation occurs—deformation the material cannot recover from. Thus, in the plastic region, the relationship is not linear (Young's modulus is no longer a constant). The elastic region is where elastic deformation is occurring, or deformation from where the string can recover. The linear (i.e. elastic) region is where musicians want to play their instrument.

title: String (music)


text:
Dative construction

The dative construction is a grammatical way of constructing a sentence, using the dative case. A sentence is also said to be in dative construction if the subject and the object (direct or indirect) can switch their places for a given verb, without altering the verb's structure (subject becoming the new object, and the object becoming the new subject). The latter case is not to be confused with the passive voice, where only the direct object of a sentence becomes the subject of the passive-voiced sentence, and the verb's structure also changes to convey the meaning of the passive voice. The dative construction tends to occur when the verb indicates a state rather than an action.

German
In German, the dative construction sometimes occurs with the verb sein ("to be"). Compare:

 * Ich bin kalt ("I am cold")
 * Mir ist kalt (literally "To me is cold")

The first example implies that the speaker has a cold personality. The subject here (ich, "I") is in the nominative case. The second construction is used when one wants to say "I am (feeling) cold" in German. While in English the subject of the sentence "I am cold" is "I", in German the subject of the sentence "Mir ist kalt" is kalt, and mir ("me"-DATIVE) is the indirect object. The use of the nominative form equivalent to "I" is only possible with a different meaning: "Ich bin kalt"='I am cold (in personality)'. "Mir" behaves like a subject and can control infinitives:

"Mir war zu kalt um zur Kirche zu gehen"

me.DAT was too cold for to.the.Fem.D church to go.INF

'I was too cold to go to church' ("I" go, not "cold")

Icelandic
Dative constructions are extremely common in Icelandic. Their use is similar to that of German, although perhaps somewhat more widespread. The following example is exactly the same as the German one given above:

 * Ég er kaldur ("I am cold")
 * Mér er kalt (literally means, "cold is to me")

The implication of the first example is the same as in German, that the speaker has a cold personality rather than feeling physically cold. Dative constructions appear in many fixed expressions such as this, such as mér er alveg sama ("I don't care", lit. "to me it's completely the same"), henni er annt um umhverfið ("she cares about the environment", lit. "to her is dear about the environment") and þú getur fengið nýjan síma þér að kostnaðarlausu ("you can get a new phone free of charge", lit. "you can get a new phone to you at no cost").

Passive constructions in Icelandic also require the subject to be in the dative if the verb in question governs the dative, e.g., tímaáætluninni var breytt ("the timetable was changed"), skjölunum var eytt ("the documents were deleted") and framkvæmdum var frestað um tvær vikur ("works were delayed by two weeks"). Compare to passive constructions where the verb governs the accusative: búðin var opnuð á föstudaginn ("the shop was opened on Friday") and bréfið var sent fyrir hádegi ("the letter was sent before noon"). Verbs that govern the genitive behave in the same way as verbs governing the dative, e.g. þín verður saknað ("you will be missed").

Finally, certain verbs require the subject to be in the dative. This is particularly common with verbs of emotion or opinion. For example:

 * Mér finnst hann góður kennari. ("I think he's a good teacher", lit. "to me [it] finds [that] he [is] a good teacher")
 * Önnu þykir erfitt að hætta. ("Anna finds it hard to stop", lit. "to Anna [it] seems difficult to stop")

This phenomenon is not only restricted to the dative case, some verbs require their subject to be in the accusative:

 * Krakkana langar í ís. ("The kids want ice cream")

In all of the above instances, the verbs used in these constructions are in the third-person singular form.

Hindustani
Dative constructions are common in Hindustani. It always makes use of a pronoun or noun in the dative case which acts as the subject and the copula verb "to be" (होना, ɦonɑ) in the 3rd person conjugations. Dative construction in Hindi has no restrictions on type of verb that can be used with it. Hence any verb in any grammatical aspect, mood, or tense of Hindi can be used in the dative construction. The following are some examples showing dative construction:

Passive forms construction in Hindi can make use of both the nominative and the dative case as subjects without any change of meaning. When the subject is nominative the nuance is such that the focus is only on the receiver (subject) being on the receiving end of the action, and when dative pronoun is used the nuance is such that the focus is on the doer that did the action to the receiver (even though the doer might not be present in the sentence). It is the nuance that decides which grammatical case noun/pronoun to use, the meaning/translation of both are the same. However, the verb agreement pattern in both constructions are different. When the dative case is used, the verb shows agreement in gender and number with the direct object (or, takes the default masculine when no object is present), but when the subject is in the nominative case, the verb shows agreement with the nominative subject of the sentence, also, the copula agrees with the nominative subject in its conjugation and it cannot be restricted to the third person. An example showing the equivalency of the usage of dative and nominative pronouns in the passive construction is below:

Notes:

 * 1) गया (gəyɑ) & गयी (gəyi) are the singular masculine and feminine forms of the perfective participle of the light-verb जाना (jɑnɑ) [to go] which is used for passive voice construction.
 * 2) मारा (mɑɾɑ) is the perfective participle of the verb मारना (mɑɾnɑ) [to kill].

Spanish
A number of verbs in Spanish employ a dative construction. Many of these verbs express psychological states; the most common one is gustar, which is equivalent to English like (but syntactically functions like be pleasant to). The verb agrees with the formal/morphological subject, but the subject is usually placed after the verb instead of before, as usual. The dative construction requires a clitic pronoun; if the dative argument is a full noun phrase or needs to be explicitly stated, it is shown by a phrase with the preposition a.

 * Me gusta el verano. ("I like the summer")
 * A mí me gusta más la primavera. ("[As for me,] I like the spring better")
 * A Juan le gustan las rubias. ("Juan likes blondes")
 * A ella le gustas. ("She likes you")

Other verbs which show this pattern are apasionar ("to be passionate about"), antojarse ("to have a feeling for"), encantar ("to adore"), faltar ("to be lacking"), quedar ("to be remaining") and sobrar ("to be in excess").

Serbo-Croatian
In Serbo-Croatian (as in other Slavic languages), the dative construction is often used, mostly in the same manner as in German:

Hladan sam.

cold.ADJ-MASC.NOM.SG be-1SG

literally "I am cold", meaning "I am a cold person".

Hladno mi je.

cold-ADV 1st-DAT.SG be-3SG

literally "It is cold to me", meaning "I am (feeling) cold".

Some verbs, like nedostajati ("lack") use dative constructions:

Nedostaju mu zubi.

lack-3PL he-DAT.SG Teeth-NOM.PL

literally "Teeth to him lack".

Georgian dative construction
The dative construction is very common in Georgian. The dative construction of Georgian differs somewhat from German, in that the dative case agrees with a certain person marking on the verb. The dative construction occurs in the perfect (not perfective) tense of transitive verbs and in all the tenses of some verbs, such as "to want", "to have", "to forget" and "to remember". These verbs are also called "indirect verbs" by some generativists. Compare:

 * Bavshvebi tsqals svamen ("children are drinking water") imperfective aspect-present tense, NOM-DAT
 * Bavshvebs tsqali dauleviat ("children have drunk water") perfect aspect-present tense, DAT-NOM
 * Bavshevebma tsqali da-li-es ("children drank water") perfective aspect-past (aorist) tense, ERG-NOM

In Georgian, the -s suffix is the dative case marker. In the first sentence, bavshvebi ("children") is the subject and in the nominative case. Tsqals ("water") is the object and in the dative case (with the suffix -s attached). In the second sentence, however, the subject (children) is in the dative case (with -s), and the object (water) is in the nominative case. The verb in the imperfective and perfective sentences are conjugated in accordance with the subject of the sentence (regardless of the case of the subject); they are both third person plural. Perfect verbs also agree in part with their dative case subjects (in this case the -u- between da- and -leviat), but only have third person verb endings (singular form for all singular persons and ALSO first person plural; plural form for 2nd/3rd person plural). Therefore, "I have drunk water" would be:

 * (me) damilevia (-a is singular, -at is plural)

The dative construction is also a separate class of verbs (Class IV) which have the semantics of experience, cognitive processes, and possession (all common DAT-construction predicates in languages which have them). An example of this can be given with the possessive verb kona ("to have"):

 * Kals tsigni akvs ("The woman has a book")
 * Kals tsigni hkonda ("The woman had a book")
 * Kals tsigni hkonia ("The woman has had a book")

In all the tenses, the subject kals ("woman") is in the dative case, and the object tsigni ("book") is in the nominative case. Etymologically, the root is also found in the future forms of the copula 'be', making it very much like the Latin dative possession construction 'mihi est X'. Again, all singular persons have an agreeing proclitic pronoun on the verb, but a third person singular verb ending (-a or -s).

 * (me) tsigni makvs ("I have a book")

Finnish
The genitive case is used in dative constructions. The "dative genitive" (datiivigenetiivi) is no longer productive in Finnish language, and it is often replaced with other cases, except in frozen expressions, e.g. luojan kiitos (thanks to god).

 * Minä olen kylmä. = I am cold (cold personality).
 * Minun on kylmä. = "To me is cold."
 * More often in modern language: Minulla on kylmä. = "At me is cold."

The dative genitive is often used with verb infinitives.
 * Minun pitää tehdä se. = "To me has to do it." = I have to do it.
 * Minun tekee mieli syödä makeisia. = "To me makes mind to eat candies..." = I'd like to eat candies.
 * Minun tekee pahaa ajatellakin sitä. = "To me makes bad to even think about it." = I feel bad just thinking it.

Latin
Latin uses a dative construction for indirect objects (dativus possessivus).
 * Mihi est liber. = "To me is book." = I have a book.

Hungarian
Hungarian uses a similar construction to Latin for rendering possession without the verb to have which is missing from Hungarian.

title: Dative construction


text:
Talk:AlphaSmart

Dana WiFi
Can someone please verify that some Dana models do not have Wifi via giving an article link, which I doubt you can find. However, more so, please comment a note here that you own a Alphasmart Dana device that does _not_ have Wifi. Thank you. 98.112.79.86 (talk) 06:40, 27 September 2010 (UTC)
 * There used to be two models, the Dana without wifi simply called the Dana, and the Dana wireless. — Preceding unsigned comment added by 24.240.74.46 (talk) 03:08, 12 February 2013 (UTC)

Comments
'Loo folks... I intend to do a massive re-edit of this stub, as I belive that I could get this thing into a full fleged article. I have had MANY years of experience with AlphaSmarts, as I used them all throughout middle and highschool till graduation. I'm gonna start right now in a WP document first, and post it when its somewhat done, and add links and hypertext a bit latter. Oh, one other thing, I think the title of this page should be: AlphaSmart, as that is how it is branded. CoolFox 18:46, May 26, 2005 (UTC)

Update: I have the majority of the article done now, I went ahead and posted it. I'll clean it up and put it into sections, add a table of contents, and maybe add a photo latter. I still need to make an entrie on the Dayna, and add more info on the Neo. CoolFox 21:30, May 26, 2005 (UTC)

Hey, CoolFox, thanks for all the work on putting up info on the various AlphaSmart products. Are you also active over at the AlphaSmart Community Center? I'm going to be here more often from now on. Chet, 21:46, 2 November 2005 (MY Time)

Didn't these things have floppy drives? or at least some of them? I seem to remember using one around 97 or so and saving to a floppy. Maybe it was a knockoff or something --cpritchett42 19:04, 31 December 2005 (UTC)

None of the Alphasmarts had floppy drives, but there were a few NEC and HP alphasmart like devices that were meant for strict word proccessing. These devices recorded the text to a DOS formated floppy and wrote it to a .txt file, and had a parallel port for printing. Some also had a built in miniature dot-matix printer. Those devices were much more complex, and were more designed to subistitute a computer for those who were overly intimidated by a full-fledged computer. Think of it as a mid-way between a typewritter and a computer. --CoolFox 00:16, 7 April 2006 (UTC)

I used three Alphasmart models and none of them featured the ability to read floppys, it's possible that it was put in to a model and then retracted in later years but I kinda doubt it. Deathawk 16:31, 27 January 2006 (UTC)

Autosave?
This article mentions that the Autosave feature was introduced in the 2000 model released in 1997, however I disticntly remember using one of the older models in sixth grade (around 96ish) and it saving automticly. I know this wasn't one of the newer models as it was a greyish brown color instead of the traditional blue. Deathawk 16:31, 27 January 2006 (UTC)

Hrm... I really don't know. I'm actually reading off of the old alphasmart spec sheets and user manuals. The Alphasmart Pro might have had an autosave feature, but... I'd need to look at one again. The manual might have some errata. Thanks for the headsup. --CoolFox 00:20, 7 April 2006 (UTC)

HAHA! ALL of the models have what you call "Autosave". It integral to how alphasmarts work. (CoolFox smacks his head). When you let the machine idle for a few miliseconds, thats when it saves the most recent keystrokes. Whenever you turn the machine off, (or it power's itself off), it does an "autosave". Where in the 2000's section did you see a specificallity about autosave? I don't see it. Thanks. --CoolFox 00:30, 7 April 2006 (UTC)

Picture
I have an AlphaSmart 2000 that I can get a good photo of. I hope to replace the copyrighted version currently on the page with a GFDL one that didn't come straight from the marketing department at Alphasmart. —The preceding unsigned comment was added by TexasDex (talk • contribs).
 * Please sign your comments with four tildes ( ~ ). The image is fair use as a logo, but it would be fine if you could upload a high-quality image similar to that one. Chris53516 13:26, 16 August 2006 (UTC)

Hardware
What about hardware specifications? 87.236.11.2

Hardware specifications generally aren't released for Alphasmart devices. I know the Neo has a 32 megahertz dragonball processor and 2 MB of flash, but that's about it.Nathanww 05:32, 4 January 2007 (UTC)nathanww

 * What about CPU type and speed and Palm OS version for the Dana? 16bit greyscale? Sure about that? —Preceding unsigned comment added by Bizzybody (talk • contribs) 06:30, 4 February 2009 (UTC)

Please add internal hardware details to the article. What modifications/alternate uses are possible? -96.237.4.211 (talk) 21:59, 11 June 2009 (UTC)

community forum
A few years ago I (and other AlphaSmart users) chatted about things in a online community forum. Today I tried to find it again, but drew a blank. --68.0.120.35 23:24, 13 March 2007 (UTC)
 * If it's still active, please add a link to it at the end of the article.
 * If the forum was shut down, perhaps that would be notable enough to mention in the article. (Why was it shut down?)
 * Perhaps I'm just mis-remembering the technology forum at NaNoWriMo, which often talks about AlphaSmart products. Would that be relevant enough to post in the article?

It was removed a while ago, but now there's one on FlickrNathanww 21:28, 17 March 2007 (UTC)

One of the sections repeats information already discussed in the article.
The secret messages are discussed in two diffrent parts of the article. Because to my knowledge only one model has the secret messages, I believe that the one that has it's own section should be removed. GameFreak2413 (talk) 23:54, 31 January 2009 (UTC)

Hidden Message
I currently possess an Alphasmart and tested the whole "hidden message section, it doesn't work. 76.110.198.70 (talk) 21:59, 13 March 2009 (UTC)
 * I also attempted the "42" hidden message on my AlphaSmart 3000 calculator applet, with no result. Is this supposed to work, or is this a joke that needs to be removed? 70.104.10.85 (talk) 18:27, 4 October 2009 (UTC)

42?
Quote from Phrases from The Hitchhiker's Guide to the Galaxy: If you go to an Alphasmart 3000's calculator and type in any equation that equals 42, it will come up with the message: The answer to life, the universe, and everything. —Preceding unsigned comment added by 114.77.223.5 (talk) 01:02, 12 April 2009 (UTC)

No it won't. The 3000 does not do that. I just put 42 into the calculator 42 times; nothing happened but 42 forty-twos.---As said on this site, <i>The wii version will Have wii compatibility</i> (talk) 15:54, 16 November 2010 (UTC)

Improper/badly written section
In the founding part of the article I found this line, which is not only incorrect but is also hard to read. Since their products are discussed elsewhere in the article, I will remove the line for now. "The company's first product was the AlphaSmart Keyboard followed by the Dana and then the Neo." Kasm279 (talk) 22:26, 11 October 2011 (UTC)

Neo discontinued for Neo 2
The Neo has been discontinued and replaced with the Neo 2. Didn't find anything on what's changed, but they do offer a $25 trade in on any other Alphasmart. The company is collecting the older models for students in Africa. Bizzybody (talk) 03:01, 18 August 2012 (UTC)

External links modified
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I have just modified 1 one external link on AlphaSmart. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20120825052854/http://www.renlearn.com:80/neo2/overview.aspx to http://www.renlearn.com/neo2/overview.aspx

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I just removed the "multiple issues template" as it has served no purpose for over four and a half years now. NOBODY has made edits. It seems incredibly unlikely anyone will in the foreseeable future, as the company no longer produces them and even the "Dana Hacke" has moved on and has no relevant info remaining on his website, http://www.michaelsimons.com. It looks like some bots transferred webpage references to their respective Internet Archive records. Look, the intention of the Templates is to directly encourage interaction and should only be posted if the Wikians, 1. don't have time presently to work on the article, but will revisit the article to engage with anyone who does 2. actually gets in touch with former contributors or interested parties who can and will make changes. To just post this eye pollution and f' off, letting the thing rot for over four years, well that's not a contribution. That's not constructive criticism, but self-satisfied superiority complexes doing vandalism. Vandalism with a sneer. I'm very sorry Wikipedia has decided to let itself self-destruct in ways like this. Hopefully it will make people interested in a new, better replacement for this project. Because letting people post that an article sucks years after anyone has stopped contributing... Hell, even making efforts to take the entire article down is much more healthy and helpful. but that requires a little bit of effort and something more than the equivalent of First Post. Cuvtixo (talk) 07:25, 6 November 2020 (UTC)

Promotional and Subjective Language
The introduction and history sections contain promotional and subjective language.

Should a peacock be added to the intro? 92.233.95.39 (talk) 01:34, 7 February 2024 (UTC)

title: Talk:AlphaSmart


text:
Link budget

A link budget is an accounting of all of the power gains and losses that a communication signal experiences in a telecommunication system; from a transmitter, through a communication medium such as radio waves, cable, waveguide, or optical fiber, to the receiver. It is an equation giving the received power from the transmitter power, after the attenuation of the transmitted signal due to propagation, as well as the antenna gains and feedline and other losses, and amplification of the signal in the receiver or any repeaters it passes through. A link budget is a design aid, calculated during the design of a communication system to determine the received power, to ensure that the information is received intelligibly with an adequate signal-to-noise ratio. Randomly varying channel gains such as fading are taken into account by adding some margin depending on the anticipated severity of its effects. The amount of margin required can be reduced by the use of mitigating techniques such as antenna diversity or multiple-input and multiple-output (MIMO).

A simple link budget equation looks like this:

 * Received power (dBm) = transmitted power (dBm) + gains (dB) − losses (dB)

Power levels are expressed in (dBm), Power gains and losses are expressed in decibels (dB), which is a logarithmic measurement, so adding decibels is equivalent to multiplying the actual power ratios.

In radio systems
For a line-of-sight radio system, the primary source of loss is the decrease of the signal power as it spreads over an increasing area while it propagates, proportional to the square of the distance (geometric spreading).
 * Transmitting antennas can be Omnidirectional, Directional, or Sectorial, depending on the way in which the antenna power is oriented. An omnidirectional antenna will distribute the power equally in every direction of a plane, so the radiation pattern has the shape of a sphere squeezed between two parallel flat surfaces. They are widely used in many applications, for instance in WiFi Access Points. Directional antennas concentrate the power in a specific direction, called the bore sight, and are widely used in point to point applications, like wireless bridges and satellite communications. Sectorial antennas concentrate the power in a wider region, typically embracing 45º, 60º, 90º or 120º. They are routinely deployed in Cellular towers.

Simplifications needed
The free space loss is easily calculated using  Friis transmission equation which states that the loss is proportional to the square of the distance and the square of the frequency. Additionally losses are incurred in most radio links, including atmospheric attenuation by gases, rain, fog and clouds. Fading due to variations of the channel, multipath losses and antenna misalignment. In non line of sight links, diffraction and reflection losses are the most important since the direct path is not available.

Transmission line and polarization loss
In practical situations (deep space telecommunications, weak signal DXing etc.) other sources of signal loss must also be accounted for
 * The transmitting and receiving antennas may be partially cross-polarized.
 * The cabling between the radios and antennas may introduce significant additional loss.
 * Fresnel zone losses due to a partially obstructed line of sight path.
 * Doppler shift induced signal power losses in the receiver.

Endgame
If the estimated received power is sufficiently large (typically relative to the receiver sensitivity), which may be dependent on the communications protocol in use, the link will be useful for sending data. The amount by which the received power exceeds receiver sensitivity is called the link margin.

Equation
A link budget equation including all these effects, expressed logarithmically, might look like this:

P_\text{RX} = P_\text{TX} + G_\text{TX} - L_\text{TX} - L_\text{FS} - L_M + G_\text{RX} - L_\text{RX} \, $$ where:
 * $$P_\text{RX}$$, received power (dBm)
 * $$P_\text{TX}$$, transmitter output power (dBm)
 * $$G_\text{TX}$$, transmitter antenna gain (dBi)
 * $$L_\text{TX}$$, transmitter losses (coax, connectors...) (dB)
 * $$L_\text{FS}$$, path loss, usually free space loss (dB)
 * $$L_\text{M}$$, miscellaneous losses (fading margin, body loss, polarization mismatch, other losses, ...) (dB)
 * $$G_\text{RX}$$, receiver antenna gain (dBi)
 * $$L_\text{RX}$$, receiver losses (coax, connectors, ...) (dB)

The loss due to propagation between the transmitting and receiving antennas, often called the path loss, can be written in dimensionless form by normalizing the distance to the wavelength:

 * $$L_\text{FS}\text{(dB)} = 20\log_{10}\left(4\pi{\text{distance} \over \text{wavelength}}\right)$$ (where distance and wavelength are in the same units)

When substituted into the link budget equation above, the result is the logarithmic form of the Friis transmission equation.

In some cases, it is convenient to consider the loss due to distance and wavelength separately, but in that case, it is important to keep track of which units are being used, as each choice involves a differing constant offset. Some examples are provided below.

 * $$L_\text{FS}$$ (dB) ≈ 32.45 dB + 20 log10[frequency (MHz)] + 20 log10[distance (km)]
 * $$L_\text{FS}$$ (dB) ≈ −27.55 dB + 20 log10[frequency (MHz)] + 20 log10[distance (m)]
 * $$L_\text{FS}$$ (dB) ≈ 36.6  dB + 20 log10[frequency (MHz)] + 20 log10[distance (miles)]

These alternative forms can be derived by substituting wavelength with the ratio of propagation velocity (c, approximately $3 m/s$) divided by frequency, and by inserting the proper conversion factors between km or miles and meters, and between MHz and (1/s).

Non-line-of-sight radio
Because of building obstructions such as walls and ceilings, propagation losses indoors can be significantly higher. This occurs because of a combination of attenuation by walls and ceilings, and blockage due to equipment, furniture, and even people.

 * For example, a "2 by 4" wood stud wall with drywall on both sides results in about 6 dB loss per wall at 2.4 GHz.
 * Older buildings may have even greater internal losses than new buildings due to materials and line of sight issues.

Experience has shown that line-of-sight propagation holds only for about the first 3 meters. Beyond 3 meters propagation losses indoors can increase at up to 30 dB per 30 meters in dense office environments. This is a good rule-of-thumb, in that it is conservative (it overstates path loss in most cases). Actual propagation losses may vary significantly depending on building construction and layout.

The attenuation of the signal is highly dependent on the frequency of the signal.

In waveguides and cables
Guided media such as coaxial and twisted pair electrical cable, radio frequency waveguide and optical fiber have losses that are exponential with distance.

The path loss will be in terms of dB per unit distance.

This means that there is always a crossover distance beyond which the loss in a guided medium will exceed that of a line-of-sight path of the same length.

Long distance fiber-optic communication became practical only with the development of ultra-transparent glass fibers. A typical path loss for single-mode fiber is 0.2 dB/km, far lower than any other guided medium.

Earth–Moon–Earth communications
Link budgets are important in Earth–Moon–Earth communications. As the albedo of the Moon is very low (maximally 12% but usually closer to 7%), and the path loss over the 770,000 kilometre return distance is extreme (around 250 to 310dB depending on VHF-UHF band used, modulation format and Doppler shift effects), high power (more than 100 watts) and high-gain antennas (more than 20 dB) must be used.
 * In practice, this limits the use of this technique to the spectrum at VHF and above.
 * The Moon must be above the horizon in order for EME communications to be possible.

Voyager program
The Voyager program spacecraft have the highest known path loss (308dB as of 2002 ) and lowest link budgets of any telecommunications circuit. The Deep Space Network has been able to maintain the link at a higher than expected bitrate through a series of improvements, such as increasing the antenna size from 64m to 70m for a 1.2dB gain, and upgrading to low noise electronics for a 0.5dB gain in 2000–2001. During the Neptune flyby, in addition to the 70-m antenna, two 34-m antennas and twenty-seven 25-m antennas were used to increase the gain by 5.6dB, providing additional link margin to be used for a 4× increase in bitrate.

title: Link budget


text:
Wikipedia:Articles for deletion/Evan Pryzant

 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 delete. Mindspillage (spill yours?) 04:46, 9 Jun 2005 (UTC)

Evan Pryzant
Supposedly "an author in the late 1800's." Zero Google hits. has been put there twice only to be removed without comment. Biography smells a bit of a hoax. Unverifiable. Rl 18:46, 26 May 2005 (UTC)
 * Delete probable hoax, unless verified. - Etacar11 21:42, 26 May 2005 (UTC)
 * Delete: Unverifiable. Agree zero Google hits. Let's keep tabs on the article; it's likely the VfD tag will be removed as well, as soon as the orginating author of the article sees it. --Durin 21:43, 26 May 2005 (UTC)
 * I speedied this and blocked the IP that created it for 3 days. He's been putting out utter crap for a couple of days. Library computer. --Tony Sidaway|Talk 23:17, 26 May 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: Category:1947 songs

title: Category:1947 songs


text:
Talk:O'Hay

This page was voted on for deletion at Votes for deletion/O'Hay. The final result was Merge and redirect to Hayes. --Deathphoenix 18:47, 26 May 2005 (UTC)

title: Talk:O'Hay


text:
Final Destination 3

Final Destination 3 is a 2006 American supernatural horror film directed by James Wong. A standalone sequel to Final Destination 2 (2003), it is the third installment in the Final Destination film series. Wong and Glen Morgan, who worked on the franchise's first film, wrote the screenplay. Final Destination 3 stars Mary Elizabeth Winstead and Ryan Merriman, and takes place years after the first film. Winstead plays Wendy Christensen, a high school graduate who has a premonition that a roller coaster she and her classmates are riding will derail. Although she saves some of them, Death begins hunting the survivors. Wendy realizes photographs she took at the amusement park contain clues about her classmates' deaths. With survivor and friend Kevin Fischer (Merriman), Wendy tries to use this knowledge to save the rest of the survivors and ruin Death's scheme.

The film's development began shortly after the release of Final Destination 2; Jeffrey Reddick, creator of the franchise and a co-writer of the first two films, did not return for the third one. Unlike the second film, which was a direct sequel to the first, the producers envisioned Final Destination 3 as a stand-alone film. The idea of featuring a roller coaster derailment as the opening-scene disaster came from New Line Cinema executive Richard Bryant. From the beginning, Wong and Morgan saw control as a major theme in the film. Casting began in March 2005 and concluded in April. Like the previous two installments, it was filmed in Vancouver, Canada. The first two weeks of the three-month shoot were spent filming the scenes involving the rollercoaster derailing.

Following its premiere at Grauman's Chinese Theatre on February 2, 2006, the film was released in cinemas in the United States on February 10, 2006. The DVD, released on July 25, 2006, includes commentaries, documentaries, a deleted scene and an animated video. A special-edition DVD called "Thrill Ride Edition" includes a feature called "Choose Their Fate", which acts as an interactive film, allowing viewers to make decisions at specific points in the film that alter the course of the story.

Final Destination 3 received a mixed critical response. The film was a financial success and, with box office receipts of nearly $118 million, the highest-grossing installment in the franchise at the time. A fourth film, The Final Destination, was released in August 2009.

Plot
In 2005, high school student Wendy Christensen visits an amusement park in Pennsylvania with her boyfriend Jason Wise, her best friend Carrie Dreyer, Carrie's boyfriend Kevin Fischer, and their classmates to celebrate their graduation.

As they board the Devil's Flight roller coaster, Wendy has a premonition that a camcorder, dropped by one of her friends during the ride, will land on the ride's tracks and will be run over by the train cars, causing the hydraulics securing the restraints and train cars to fail during the ride, killing everyone on board. She convinces nine people including Kevin, best friends Ashley Freund and Ashlyn Halperin, alumnus Frankie Cheeks, athlete Lewis Romero, and goth couple Ian McKinley and Erin Ulmer, not to ride the roller coaster, but fails to save Jason and Carrie, who are among the remaining passengers killed in the derailment.

Weeks later, Kevin tells Wendy about the explosion of Flight 180 and the survivors' subsequent deaths, believing they may be in a similar situation. At a tanning salon, Ashley and Ashlyn are burnt alive in malfunctioning tanning beds. Now convinced that Death is stalking them, Wendy and Kevin set out to save the remaining survivors using omens hidden in photographs of the survivors that Wendy took on the night of the crash.

When Wendy and Kevin pull into a drive-thru restaurant and observe Frankie's photo, a runaway semi-trailer truck forces them to escape Kevin's truck before it collides. The collision causes the truck's engine to burst out of the hood and grille, killing Frankie, who was in the car in front of them, as the fan sliced his skull. The next day, Wendy and Kevin fail to save Lewis, whose head is crushed by two weights from a weight machine at the school gym. They find Ian and Erin working at a hardware store, where a chain reaction from a runaway forklift allows Wendy to save Ian from his death. However, Death skips to Erin, who falls on a nail gun that shoots repeatedly through her head, killing her.

While identifying the last two survivors from the photographs, whose faces are obscured, Wendy realizes that they are her sister Julie and one of her friends, prompting Wendy and Kevin to rush to the local tricentennial fair to save them. Kevin saves Julie from being impaled on a harrow, but an airborne flagpole fatally impales Julie's friend Perry Malinowski moments later. After Wendy saves Kevin from an exploding propane canister, the trio is confronted by a grief-stricken Ian, who blames Wendy for Erin's death, until an unstable cart of firework cannons launches into a cherry picker that falls and crushes him.

Five months later, Wendy experiences more omens while riding on a subway train with her roommate Laura and her friend Sean. As Wendy is about to disembark, she suddenly reunites with Julie and Kevin, who had also boarded the train. Wendy receives another premonition that the train will crash, killing everyone on board. Panicked, the remaining survivors attempt to stop the train as it is about to crash.

Development
Final Destination 3 was originally the last part of a trilogy and had been in development since the release of Final Destination 2. Franchise creator Jeffrey Reddick and one of the co-writers of the first two films did not return for the third installment. Director James Wong said that unlike the second film, which was closely tied to the first and continued its story, the producers always envisioned Final Destination 3 as a stand-alone sequel featuring new characters. He said:[W]e really felt that the idea of Final Destination, or the fact that Death can visit you and you can cheat death ... could happen to anyone." By not using characters from the first film the producers could use a new plot, with new characters who would be unaware what was happening to them and react accordingly.

The film's original title, Cheating Death: Final Destination 3, changed during development. Craig Perry and Warren Zide's Zide/Perry Productions, and Wong and Glen Morgan's own Hard Eight Pictures that co-produced Final Destination returned to produce Final Destination 3 with Practical Pictures and Manitee Pictures. Initially, the film was to be filmed in 3D, but this was abandoned. Morgan said it was for financial reasons and because he believed fire and blood effects would not be shown properly through the red filters of anaglyph 3D systems.

Wong said that the idea of using a roller coaster derailment as the opening-scene disaster came from New Line Cinema executive Richard Bryant and was not inspired by the Big Thunder Mountain Railroad incident at Disneyland in 2003 when a derailment occurred that crushed a rider. Morgan said he searched the aisles of a store on Sunset Boulevard for days for inspiration for Erin's hardware-store death. Loss of control is a major theme he and Wong had envisioned for the film from the very beginning; both Wendy, who is afraid of losing control, and the roller coaster exemplify this. He said psychologists have confirmed one reason some people are afraid of riding a roller coaster is because they have no control over it and what happens to them.

Casting
During the casting process, Wong sought actors who could portray the main characters as heroic individuals with realistic qualities. Perry echoed this sentiment, saying that for the Wendy and Kevin characters they looked for actors who "had the charisma of movie stars, but weren't so ridiculously rarefied that you couldn't feel like you might know them". They took great care casting the supporting characters who were considered as important to the film as the main characters.

On March 21, 2005, Mary Elizabeth Winstead and Ryan Merriman—co-stars of The Ring Two (2005)—were cast as Wendy Christensen and Kevin Fischer. Winstead, who had auditioned for the second Final Destination film, won the role because her portrayal of the character's emotion impressed Wong and Morgan. Wong said he had originally intended Wendy to be a "perky blonde" and reworked the character slightly after Winstead was selected. Wong believed the actors were right for their roles. He felt Winstead "[brought] a kind of soulfulness to her role as Wendy" and though her character "is deeply affected by the accident", her strength allows her to remain in control. Wong said when Merriman arrived to audition he was sure he was "the right guy to play Kevin". He described the character as "the kind of guy you want to hang out with, your goofy best buddy, but also someone who could rise to the occasion and become a hero".

On April 9, 2005, Kris Lemche and Alexz Johnson were cast as the goth couple Ian McKinley and Erin Ulmer. Johnson, who was starring in the Canadian television series Instant Star (2004–2008), had auditioned to play Wendy's sister Julie; that role later went to Amanda Crew, who originally auditioned to play Erin. Johnson said she wore a rocker jacket during her second reading and was in a bad mood. As she was leaving, the filmmakers called her back to read some of Erin's sarcastic dialogue in a scene. Johnson thought her dry sense of humor, which the filmmakers caught, helped her land the part. Of his role, Lemche said Ian "spouts some interesting facts that seem to be just right there on the tips of his fingers". He researched most of Ian's information and during read-throughs often asked Morgan about Ian's facts. Morgan wrote Lemche notes and gave him URLs to research the information Ian gives out.

Jesse Moss was cast as Wendy's boyfriend Jason Wise. Texas Battle played athlete Lewis Romero. Chelan Simmons took the role of Ashley Freund. Sam Easton portrayed school alumnus Frankie Cheeks. Gina Holden played Kevin's girlfriend and Wendy's best friend, Carrie Dreyer. Crystal Lowe joined the cast as student Ashlyn Halperin. Tony Todd, who appeared in the first two films, did not return as the mortician Bludworth but voiced the Devil statue at the roller coaster and a subway conductor. Maggie Ma and Ecstasia Sanders played Julie's friends Perry Malinowski and Amber Regan, respectively.

Filming and effects
Like the first two installments of the franchise, Final Destination 3 was filmed in Vancouver, Canada. The Corkscrew roller coaster at Vancouver's Playland was the Devil's Flight coaster depicted in the film. Winstead and Merriman said the filming took three months with the first two weeks were spent shooting the roller coaster derailment. The rest of the filming was done out of sequence. Filming wrapped in July, but viewers at early screenings reacted negatively to the ending. This led to the filming of a new ending sequence featuring a subway train derailment in November 2005. According to Perry, in the film's revised ending, it was intended to have A. J. Cook and Michael Landes reprise their roles as Kimberly Corman and Officer Thomas Burke, respectively, from the previous movie. However, as only one of the actors was available, they decided to omit both characters entirely.

The death scenes required varying degrees of 2D and 3D graphic enhancement. The roller coaster scene necessitated 144 visual-effect shots. Custom-designed coaster cars were built and modified for the script; most of the model was hand-built and computer-designed MEL scripts added specific elements. For the coaster-crash scenes, the actors were filmed performing in front of a green screen, to which a CGI background was added. Several of the roller coaster's cars were suspended with bungee cords to film the crash; the deaths required the use of CGI onscreen effects and each actor had a corresponding CGI double.

Meteor Studios produced the roller coaster and subway crashes while Digital Dimension handled the post-premonition death scenes. The death of Ian McKinley, who is bisected by a cherry picker, proved especially challenging. A clean plate of the cherry picker falling was originally shot with a plate of Lemche acting crushed and falling to the ground with his bottom half in a partial green-screen suit. After combining those plates, Wong said "he wanted more of a gruesome punch for the shot". A standard CGI body of Lemche's height was used; several animation simulations of the body being crushed with a CGI object were filmed. The director chose the version he liked most. A new plate was then filmed with Lemche imitating the chosen animation and positioning his body at the end. Soho VFX created the scene where Ashley and Ashlyn are killed on tanning beds. It consisted of about 35 shots of CG skin, glass, fire, and smoke mixed with real fire and smoke. The subway crash in the film's epilogue used a CG environment reproducing the main aspects of the set.

Music
The score for Final Destination 3 was composed by Shirley Walker, who wrote the soundtracks of the series' previous installments. Score mixer Bobby Fernandez created a "gore-o-meter", measuring the violence of each death to ensure the score would match the scenes. Final Destination 3 is the only film in the series without a commercially released soundtrack. Musician Tommy Lee provided a cover of The O'Jays 1972 song "Love Train", which was used in the film's closing credits. Lee enjoyed "put[ting his] own darker spin on it for the movie".

Release
Several months before the film's release, New Line Cinema set up a promotional website, which linked to another site where visitors could download mobile-phone ringtones and wallpapers related to the film. As a further means of promotion, a novelization written by Christa Faust was published by Black Flame a month before the film's release. Final Destination 3 premiered at Grauman's Chinese Theatre in Hollywood on February 1, 2006. During San Diego Comic-Con 2006, Mary Elizabeth Winstead, James Wong and Ryan Merriman attended a panel on July 22 to promote the DVD release of the film. They discussed the features of "Choose Their Fate" and the filming of new sequences.

Box office
Final Destination 3 opened on February 10, 2006, in 2,880 theaters in the United States and Canada. It earned $19,173,094 on its opening weekend with an average of $6,657 per theater. The film placed second domestically behind the remake of The Pink Panther, which opened the same day and earned $20,220,412. Final Destination 3 fell to fifth in its second weekend and seventh in its third, dropping off the top-ten list on its fourth weekend. Its last screening, in 135 theaters, occurred during its tenth weekend; the film finished at 37th place with $105,940. Final Destination 3 total earnings were $54,098,051 at the domestic box office and $63,621,107 internationally, for a worldwide gross of $117,719,158. At the time of its release, the film was the most financially successful installment in the franchise; it retained this title until The Final Destination surpassed it in 2009 with a worldwide gross of $186,167,139.

Home media
The film was released as a 2-disc DVD on July 25, 2006, by New Line Home Entertainment, in widescreen and full screen formats. Special features include an audio commentary, a deleted scene, three documentaries, the theatrical trailer, and an original animated video. Wong, Morgan and cinematographer Robert Mclachlan provide the audio commentary. The deleted scene is an extended version of Wendy and Kevin's discussion after they are questioned by the police. The first documentary, Dead Teenager Movie, examines the history of slasher films. The second, Kill Shot: Making Final Destination 3, focuses on the making of the film and includes interviews with the cast and crew. Severed Piece, the third documentary, discusses the film's special effects, pyrotechnics, and gore effects. A seven-minute animated film, It's All Around You, explains the various ways people can die.

Special DVD editions labeled "Thrill Ride Edition" also include an optional feature called "Choose Their Fate", allowing viewers to make decisions at several points in the film. Most provide only minor alterations to the death scenes, but the first choice allows the viewer to stop Wendy, Kevin, Jason, and Carrie from boarding the roller coaster before the premonition, ending the film immediately. The film grossed $18.9 million in home sales.

Critical response
Review aggregator website Rotten Tomatoes reports that 43% of 116 critics gave the film a positive review, with an average rating of 5.1 out of 10. The site's critics consensus reads: "Final Destination 3 is more of the same: gory and pointless, with nowhere new to go." At Metacritic the film has a weighted average score of 41 out of 100, based on 28 critics, indicating "mixed or average reviews".

Several critics described the story as formulaic compared to the previous installments; Roger Ebert wrote that the film's main issue was its predictability and lack of tension because it was "clear to everyone who must die and in what order". Variety compared the narrative negatively with the franchise's second installment, describing the third film as lacking intricacy. The New York Times similarly described the film as lacking the "novelty of the first [or] the panache of the second". TV Guide called the periods between characters' deaths "dull", highlighting one reason the film failed to match the formula set out in the previous installments. Other reviewers were more positive; IGN praised the story—Chris Carle wrote that the "formula has been perfected rather than worn out" by the third film. Empire's Kim Newman and The Guardian found the story enjoyable, but said Final Destination 3 adhered primarily to the structure set out by the rest of the franchise.

The film's tone and death scenes were positively received by critics. Writing for ReelViews, James Berardinelli described Final Destination 3 as incorporating more humor compared to its predecessors and said it worked to the film's benefit. The Seattle Times agreed the film's humorous tone helped to elevate it and said fans of the franchise would enjoy the death sequences. Sarah Dobbs of Den of Geek! said the tone made Final Destination 3 the high point of the franchise. She commended the film's style as a "brightly coloured [and] slightly silly meditation on how we're all gonna die one day, so we might as well do it explosively". The tanning bed and nail gun scenes were singled out as the best death sequences from the film and the franchise.

Some critics praised Winstead's performance. According to the BBC, "the real tragedy is that promising young actress Mary Elizabeth Winstead must endure this torture". Berardinelli described her as delivering "as competent a job as one could expect in these dire circumstances". Felix Gonzalez, Jr. of DVD Reviews praised Winstead's and Merriman's performances as one of the few positive aspects of the film. Similarly, The Seattle Times praised Winstead for conveying Wendy's emotions. The Daily Telegraph also listed Wendy as one of the top 20 final girls in horror films and praised Winstead's performance for making Wendy a believable character.

Accolades
Final Destination 3 was nominated at the 2006 Fangoria Chainsaw Awards for Highest Body Count, Line That Killed (Best One-Liner), Sickest FX (Best Special Effects) as well as Most Thrilling Killing (Best Death Scene) for Frankie's death. At the 2007 Saturn Awards it was nominated for Best Horror Film and the "Thrill Ride Edition" was nominated for Best DVD Special Edition Release.

title: Final Destination 3


text:
Talk:Bubble Eye

Antibiotics and temperature
I noticed that the part about using antibiotics as a preventative was removed... People seem to like Melafix a lot, but there's some debate as to whether or not it's actually effective at preventing and treating infection (studies, anyone?). While antibiotics are certainly less gentle, they're also proven, and not likely to harm the fish if used in small amounts.

Also, a word of warning about high (>72F) temperatures... If you're using a large tank and a canister filter (which doesn't agitate the surface very much), it's likely that there won't be enough oxygen in the water. Bubble walls can correct this to some extent, but my fancy goldfish (bubble eye included) are healthy and active at 70 degrees. Health-wise, 8 to 10 degrees difference in temperature are a lot less important than adequate oxygen, so in my estimation it's safer to make the water slightly cooler than the fish like it than risk suffocating them. Comments? — Preceding unsigned comment added by Lendrick (talk • contribs) 18:48, May 26, 2005 (UTC)

Capitals? bubble eye or Bubble Eye
At the moment title has 2 capitals, almost all article appearances use none. I don't really have a preference but it must be constant throughout. Will change all to capitals seems to be the usual way. If anyone wants to change it move the article to new title as well. Carlwev (talk) 19:15, 3 March 2008 (UTC)

origin
did this occur naturally or were they bred for it? —Preceding unsigned comment added by 71.167.69.158 (talk) 17:46, 22 November 2009 (UTC)
 * Concur. Someone explain why this fish exists at all. I cannot conceive an evolutionary reason. --63.88.62.157 (talk) 19:28, 30 June 2014 (UTC)
 * It's easy to infer why these fish exist: selective breeding that went on for centuries and promoted fish suffering from deformities. Devil Master (talk) 21:10, 14 July 2014 (UTC)

Bubble Eye on hand photo
I don't like that there is a picture of a guy holding a fish out of water. Seems a bit abusive to me and it contributes nothing to the article. 76.100.161.245 (talk) 02:57, 2 October 2012 (UTC)

External links modified
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Poor article
Honestly, this article reads like a pet owner's guide more than a Wikipedia page. It talks about how to care for them, but not WHY the bubbles even exist in the first place? — Preceding unsigned comment added by 2600:1702:3D70:5F00:144C:6A91:E81F:E4E6 (talk) 00:20, 30 August 2018 (UTC)
 * Feel free to improve the article, but, as was previously mentioned on this talk page, the answer to your question is selective breeding, just as it is for why some dogs have face that are so brachycephalic that they have trouble breathing, or why some plants can no longer propagate without human intervention. Meters (talk) 04:33, 30 August 2018 (UTC)

title: Talk:Bubble Eye


text:
My Baby Don't Tolerate

My Baby Don't Tolerate is an album recorded by Lyle Lovett and released in 2003.

On Tolerate, Lovett favors his country side a bit more than his many other facets. While long-time fans were reportedly disappointed with the album's pop-flavored opening track "Cute as a Bug", many of the other songs demonstrated his strengths as a storyteller. Oddly, the album ends with two gospel songs with remarkably similar names, which some critics decried as an overly precious attempt at enforced quirkiness. Nonetheless, Tolerate garnered very positive responses and respectable sales figures.

Track listing
All compositions by Lyle Lovett except as indicated

 * 1) "Cute as a Bug" - 3:39
 * 2) "My Baby Don't Tolerate" - 3:42
 * 3) "The Truck Song" - 2:56
 * 4) "In My Own Mind" - 5:36
 * 5) "Nothing But a Good Ride" - 4:28
 * 6) "Big Dog" - 3:37
 * 7) "You Were Always There" (Lyle Lovett, Viktor Krauss) - 5:56
 * 8) "Wallisville Road" - 5:06
 * 9) "Working Too Hard" - 3:46
 * 10) "San Antonio Girl" - 3:31
 * 11) "On Saturday Night" - 3:23
 * 12) "Election Day" (Blaze Foley) - 3:02
 * 13) "I'm Going to Wait" - 4:41
 * 14) "I'm Going to the Place" - 3:22

title: My Baby Don't Tolerate


text:
User:DarkBard

God that's a huge userbox. Damn.

title: User:DarkBard


text:
Leto Atreides

Leto Atreides is the name of three characters in the fictional Dune universe created by Frank Herbert:

 * Leto I Atreides, father of Paul "Muad'Dib" Atreides
 * Leto II Atreides the Elder, first son of Paul Atreides and Chani; killed in his infancy
 * Leto II Atreides (God Emperor of Dune), son of Paul Atreides and Chani and twin to Ghanima

title: Leto Atreides