text:
User talk:Alus~enwiki

Welcome!
Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my talk page.'''

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Happy editing! ‡  Jarlaxle   23:07, July 17, 2005 (UTC)

Automatic login problem
65.144.2.165 is mine, I have been having this problem were I am logged out every once and a while. Even if I hit the "Remember Me" check box, so I do not know. Alus 06:19, 25 August 2005 (UTC)

WP:FILMS
Just so you know, the Film tag or FilmsWikiProject tag are only for films or film characters. For actual people related to film, please use WPBiography. Thanks, Cbrown1023 22:25, 16 October 2006 (UTC)

hi, sorry about that. I put the tag on the article because I saw it on the John Williams one it has even been rated for it too. sorry for the the trouble. Alus 01:56, 17 October 2006 (UTC)

Image:TSMMR photo.jpg
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hm okay I will delete it, I was under the idea that it was consider a promotional photo. I noticed that a lot of bands have promotional photographs on their Wikipedia pages thanks for informing me. Alus 19:07, 12 November 2006 (UTC)

Orphaned fair use image (Image:Sel 0000.gif)
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Image:Trevor Pinnock (Conductor & Harpsichordist).jpg
Thanks for uploading Image:Trevor Pinnock (Conductor & Harpsichordist).jpg. I notice the 'image' page specifies that the image is being used under fair use, but its use in Wikipedia articles fails our first fair use criterion in that it illustrates a subject for which a freely licensed image could reasonably be found or created that provides substantially the same information. If you believe this image is not replaceable, please:

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Orphaned fair use image (Image:Martin Sargent (Blogger).jpg)
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Unspecified source for Image:Pazhitnov alexey.jpg
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Image:Pazhitnov alexey.jpg
Thanks for uploading Image:Pazhitnov alexey.jpg. I notice the 'image' page specifies that the image is being used under fair use, but its use in Wikipedia articles fails our first fair use criterion in that it illustrates a subject for which a freely licensed image could reasonably be found or created that provides substantially the same information. If you believe this image is not replaceable, please:

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 * I also tagged Image:Brian Froud (illustrator).jpg as such. Garion96 (talk) 17:53, 2 June 2007 (UTC)

Non-free use disputed for Image:The pillows - pantomime.jpg
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If it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our Criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 06:19, 6 June 2007 (UTC)

Image:The_pillows_-_Please_Mr._Lostman.jpg
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Dragon_Quest_concert,_Tokyo_Art_Theater_2003.8.28.JPG
I have tagged Image:Dragon_Quest_concert,_Tokyo_Art_Theater_2003.8.28.JPG as replaceable fair use. If you wish to dispute this assertion, please add to the image description page and a comment explaining your reasoning to the the image talk page. – Quadell (talk) (random) 01:02, 21 August 2007 (UTC)

Disputed fair use rationale for Image:The Crack in Space.jpg
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Disputed fair use rationale for Image:The pillows - TURN BACK.jpg
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If it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our criteria for speedy deletion. If you have any questions please ask them at the media copyright questions page. Thank you.BetacommandBot (talk) 02:49, 12 February 2008 (UTC)

Disputed fair use rationale for Image:Hiroyuki Morita (Animator & Director).jpg
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If it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our criteria for speedy deletion. If you have any questions please ask them at the media copyright questions page. Thank you.BetacommandBot (talk) 22:44, 13 February 2008 (UTC)

Orphaned non-free media (Image:Kiki's Delivery Service Character 03 Tombo.jpg)
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Orphaned non-free media (Image:Kiki's Delivery Service Character 05 Osono.jpg)
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Orphaned non-free media (Image:Kiki's Delivery Service Character 06 The baker.jpg)
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Orphaned non-free media (Image:Kiki's Delivery Service Character 04 Ursula.jpg)
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Orphaned non-free media (Image:Kiki's Delivery Service Character 07 Oku-sama.jpg)
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Orphaned non-free media (Image:Kiki's Delivery Service Character 08 Bertha.jpg)
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Orphaned non-free media (Image:Kiki's Delivery Service Character 10 Okino.jpg)
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Orphaned non-free media (Image:Kiki's Delivery Service Character 09 Kokiri.jpg)
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Orphaned non-free media (Image:Kiki's Delivery Service Screenshot 03 Tombo and Kiki.jpg)
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Orphaned non-free media (Image:Kiki's Delivery Service Character 01 Kiki.jpg)
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Orphaned non-free media (Image:Dragon Quest In Concert Family Classic Concert Original Poster August 20th 1987 at Suntory Hall, Tokyo, Japan.JPG)
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Orphaned non-free media (Image:Kiki's Delivery Service Character 02 Jiji.jpg)
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Fair use rationale for Image:Norstein.jpg
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Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If you have uploaded other fair use media, consider checking that you have specified the fair use rationale on those pages too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any non-free media lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. Do you want to opt out of receiving this notice? Rettetast (talk) 13:25, 6 May 2008 (UTC)

Image copyright problem with Image:Akira Volume 1 Cover Japanese Version (Manga).jpg
Thanks for uploading Image:Akira Volume 1 Cover Japanese Version (Manga).jpg. You've indicated that the image is being used under a claim of fair use, but you have not provided an adequate explanation for why it meets Wikipedia's requirements for such images. In particular, for each page the image is used on, the image must have an explanation linking to that page which explains why it needs to be used on that page. Can you please check

 * That there is a non-free use rationale on the image's escription page for each article the image is used in.
 * That every article it is used on is linked to from its description page.

This is an automated notice by FairuseBot. For assistance on the image use policy, see Media copyright questions. --19:44, 8 May 2008 (UTC)

Image:Akira_Volume_1_Cover_Japanese_Version_(Manga).jpg
I have tagged Image:Akira_Volume_1_Cover_Japanese_Version_(Manga).jpg as no rationale, because it does not provide a fair use rationale. If you believe the image to be acceptable for fair use according to Wikipedia policy, please provide a rationale explaining as much, in accordance with the fair use rationale guideline, on the image description page. Some examples can be found at Use rationale examples. Please also consider using or one of the other tags listed at Image copyright tags/Non-free. Thank you. Rettetast (talk) 20:50, 14 May 2008 (UTC)

Fair use rationale for Image:Abh Crest.jpg
Thanks for uploading Image:Abh Crest.jpg. You've indicated that the image meets Wikipedia's criteria for non-free content, but there is no explanation of why it meets those criteria. Please go to the image description page and edit it to include a fair use rationale. If you have any questions, please post them at Media copyright questions.

Thank you for your cooperation. NOTE: once you correct this, please remove the tag from the image's page. STBotI (talk) 13:49, 19 May 2008 (UTC)

Image:The_pillows_-_GOOD_DREAMS.jpg
I have tagged Image:The_pillows_-_GOOD_DREAMS.jpg as no rationale, because it does not provide a fair use rationale. If you believe the image to be acceptable for fair use according to Wikipedia policy, please provide a rationale explaining as much, in accordance with the fair use rationale guideline, on the image description page. Some examples can be found at Use rationale examples. Please also consider using or one of the other tags listed at Image copyright tags/Non-free. Thank you. Rockfang (talk) 00:56, 6 June 2008 (UTC)

Image copyright problem with Image:Kiki's Delivery Service Majo no Takkyubin (Book Cover).jpg
Thanks for uploading Image:Kiki's Delivery Service Majo no Takkyubin (Book Cover).jpg. You've indicated that the image is being used under a claim of fair use, but you have not provided an adequate explanation for why it meets Wikipedia's requirements for such images. In particular, for each page the image is used on, the image must have an explanation linking to that page which explains why it needs to be used on that page. Can you please check

 * That there is a non-free use rationale on the image's description page for each article the image is used in.
 * That every article it is used on is linked to from its description page.

This is an automated notice by FairuseBot. For assistance on the image use policy, see Media copyright questions. --FairuseBot (talk) 05:35, 18 September 2008 (UTC)

File:Flavius Josephus (Historian).jpg listed for deletion
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Orphaned non-free media (File:Mishima A Life in Four Chapters (Movie Poster).jpg)
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Your account will be renamed
Hello,

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Renamed
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ArbCom elections are now open!
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ArbCom elections are now open!
MediaWiki message delivery (talk) 13:32, 23 November 2015 (UTC)

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title: User talk:Alus~enwiki


text:
User talk:Asinine

Welcome!

Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my talk page.'''

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Happy editing! ‡  Jarlaxle   23:07, July 17, 2005 (UTC)

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

title: User talk:Asinine


text: User talk:71.104.149.98

title: User talk:71.104.149.98


text:
Joel L. Shin

Joel L. Shin (died January 21, 2014) was a specialist in international trade matters, government affairs and national defense. He was a partner at Evenflow Macro, which he cofounded in 2013. He had previously been a principal of The Scowcroft Group and a senior fellow with The Forum for International Policy. Shin served on the policy staff of the presidential campaign of Governor George W. Bush, assisting in the development of foreign and defense policies. Shin also worked for the Bush-Cheney transition. He was also an associate in the corporate department of Whitman Breed, Abbott & Morgan, a New York law firm, where his focus included mergers and acquisitions in the defense and high-tech industries.

Shin received his undergraduate, law, and Master of Public Policy degrees from Harvard University. For his 1990 undergraduate graduation he delivered the Latin oration at the combined undergraduate and graduate commencement. Shin also received a Master of Philosophy degree from the University of Oxford, where he was a Rhodes Scholar.

Shin suffered a heart attack and died at his home in Arlington, Virginia on January 21, 2014.

title: Joel L. Shin


text:
Peak programme meter

A peak programme meter (PPM) is an instrument used in professional audio that indicates the level of an audio signal.

Different kinds of PPM fall into broad categories:
 * True peak programme meter. This shows the peak level of the waveform no matter how brief its duration.
 * Quasi peak programme meter (QPPM). This only shows the true level of the peak if it exceeds a certain duration, typically a few milliseconds. On peaks of shorter duration, it indicates less than the true peak level. The extent of the shortfall is determined by the 'integration time'.
 * Sample peak programme meter (SPPM). This is a PPM for digital audio. It shows only peak sample values, not true waveform peaks (which may fall between samples and may be higher in amplitude). It may have either a 'true' or a 'quasi' integration characteristic.
 * Over-sampling peak programme meter. This is a sample PPM that first oversamples the signal, typically by a factor of four, to alleviate the problems of a basic sample PPM.

In professional use, which requires consistent level measurements across an industry, audio level meters often comply with a formal standard. This ensures that all compliant meters indicate the same level for a given audio signal. The principal standard for PPMs is IEC 60268-10. It describes two different quasi-PPM designs that have roots in meters originally developed in the 1930s for the AM radio broadcasting networks of Germany (Type I) and the United Kingdom (Type II). The term Peak Programme Meter usually refers to these IEC-specified types and similar designs. Though originally designed for monitoring analogue audio signals, these PPMs are now also used with digital audio.

PPMs do not provide effective loudness monitoring. Newer types of meter do, and there is now a push within the broadcasting industry to move away from the traditional level meters in this article to two new types: loudness meters based on EBU Tech. 3341 and oversampling true PPMs. The former would be used to standardise broadcast loudness to −23 LUFS and the latter to prevent digital clipping.

Display technologies
In common with many other types of audio level meter, PPMs originally used electro-mechanical displays. These took the form of moving-coil panel meters or mirror galvanometers with demanding 'ballistics': the key requirement being that the indicated level should rise as quickly as possible with negligible overshoot. These displays require active driver electronics.

Nowadays PPMs are often implemented as 'bargraph' incremental displays using solid-state illuminated segments in a vertical or horizontal array. For these, IEC 60268-10 requires a minimum of 100 segments and a resolution better than 0.5 dB at the higher levels.

Many operators prefer the moving-coil meter type of display, in which a needle moves in an arc, because they feel the angular movement is easier for the human eye to monitor than the linear movement of a bar graph.

PPMs can also be implemented in software—in a general-purpose computer or by a dedicated device that inserts a PPM image into a picture signal for display on a picture monitor.

Level definitions
A variety of terms such as 'line-up level' and 'operating level' exist, and their meaning may vary from place to place. In an attempt bring clarity to level definitions in the context of programme transmission from one country to another, where different technical practices may apply, ITU-R Rec. BS.645 defined three reference levels: Measurement Level (ML), Alignment Level (AL) and Permitted Maximum Level (PML). This document shows the reading corresponding to these levels for several types of meter. Alignment Level is the level of a steady sine-wave alignment tone. Permitted Maximum Level refers to the permitted maximum meter indication that operators should aim for on speech, music etc., not tone.

Scales and scale marks
PPMs often use white-on-black displays, to minimise eyestrain especially with extended periods of use.

PPMs are usually calibrated in one of these ways:
 * In decibels relative to Alignment Level (e.g., Nordic, EBU)
 * In decibels relative to Permitted Maximum Level (e.g., DIN, ABC, SABC)
 * In decibels relative to 0 dBu (e.g., CBC)
 * In decibels relative to 0 dBFS (e.g., IEC 60268-18)
 * In simple numerical marks that can be correlated with any of the above (e.g., British)

Whichever scheme is used, usually there is a scale mark corresponding to Alignment Level.

Most PPMs have an approximately logarithmic scale, i.e., roughly linear in decibels, to provide useful indications over a wide dynamic range.

Integration time
Quasi-PPMs use a short integration time so they can register peaks longer than a few milliseconds in duration. In the original context of AM radio broadcasting in the 1930s, overloads due to shorter peaks were considered unimportant on the grounds that the human ear could not detect distortion due to momentary clipping. Ignoring momentary clipping made it possible to increase average modulation levels. In modern digital audio practice, where quality standards are hopefully much higher than AM radio in the 1930s, clipping of even short peaks is usually regarded as something to avoid.

On typical, real-world audio signals, a quasi-PPM under-reads the true peak by 6 to 8 dB. Nevertheless, quasi-PPMs are still widely used in the digital age because of their usefulness in achieving programme balance. Overloads are avoided by allowing, typically, 9 dB of headroom when controlling digital levels with a quasi-PPM.

The extent to which quasi-PPMs show less than the true amplitude of momentary peaks is determined by the 'integration time'. This is defined by IEC 60268-10 as, "...the duration of a burst of sinusoidal voltage of 5000 Hz at reference level that results in an indication 2 dB below reference indication." This standard also contains tables showing the difference between indicated and true peaks for tone bursts of other durations. The longer the integration time, the greater the difference between the true and indicated peaks.

In earlier standards, different methods of measurement and criteria were used, such as 0.2 Neper or 80% voltage instead of 2 dB, but the practical difference between them was small.

A Type I PPM has an integration time of 5 milliseconds and a Type II PPM has an integration time of 10 milliseconds.

Return time
All PPMs have a return time much longer than the integration time, to give the operator more time to see the peaks and reduce eye strain. Type I PPMs fall back 20 dB in 1.7 seconds. Type II PPMs fall back 24 dB in 2.8 seconds.

History and national variants
The PPM was originally developed, independently in both Germany and the United Kingdom, for use in AM radio broadcasting networks in the 1930s. These were quasi-peak meters with some features in common but otherwise substantially different. They are superior to earlier types of meter that were not good for monitoring peak audio levels.

Germany
In about 1936 and 1937, German broadcasters developed a peak programme meter with a mirror galvanometer known as a "Lichtzeigerinstrument" (light pointer) for the display. The system consisted of a drive amplifier (e.g., ARD types U21 and U71) and a separate display unit (e.g., ARD types J47 and J48). A stereo version, known as a "Doppel-Lichtzeigerinstrument" contained two mirror galvanometer displays in a single housing. Such displays were still used until the 1970s, when solid-state bargraph displays became the norm.

The design became standardised as DIN 45406. It evolved into the Type I meter in IEC 60268-10 and it is still known colloquially as a DIN PPM. Compared to the Type II designs it has faster integration and return times, a much wider dynamic range and a semi-logarithmic scale, and is calibrated in dB relative to Permitted Maximum Level. It remains in use in much of northern Europe.

In German broadcasting, the nominal analogue signal corresponding to Permitted Maximum Level was standardised by ARD at 1.55 volts (+6 dBu), and this is the usual sensitivity of a DIN-type PPM for an indication of 0 dB. Alignment Level (−3 dBu) is shown on the meter by a scale mark at −9.

Scandinavia
In Scandinavia a variant of the DIN PPM known as 'Nordic' is used. It has the same integration and return times but a different scale, with 'TEST' corresponding to Alignment Level (0 dBu) and +9 corresponding to Permitted Maximum Level (+9 dBu). Compared to the DIN scale, the Nordic scale is more logarithmic and covers a somewhat smaller dynamic range.

United Kingdom
The BBC used a number of methods of measuring programme volume in its early years, including the 'volume indicator' and 'slide-back voltmeter'.

By 1932, when the BBC moved to purpose-built facilities in Broadcasting House, the first audio meter called a 'programme meter' was introduced. It was developed by Charles Holt-Smith of the Research Department and became known as the 'Smith meter'. This was the first meter with white markings on a black background. It was driven by a circuit that gave a roughly logarithmic transfer characteristic, so it could be calibrated in decibels. The overall characteristics were the product of the driver circuit and the movement's ballistics.

The first of the PPMs was designed by C. G. Mayo, also of the BBC's Research Department. It came into service in 1938. It kept the Smith meter's logarithmic, white-on-black display, and included all the key design features that are still used to this day with only slight modification: full-wave rectification, fast integration and slow return times, and a simple scale calibrated from 1 to 7.

Mayo and others determined the integration and return times by a series of experiments. At first, they intended to create a true peak meter to prevent transmitters from exceeding 100% modulation. They created a prototype meter with an integration time of about 1 ms. They found that the ear tolerates distortion of only a few ms, and that a 'registration time' of 4 ms is sufficient. They made the return time a compromise between a rapid return, which was tiring to the eye—and a slow return, which made control difficult. Engineers decided that the meter should take between 2s and 3s to drop back 26 dB.

The BBC PPM became the subject of several formal standards: BS 4297:1968 (superseded); BS5428:Part 9:1981 (superseded) and then BS 6840-10:1991. The text of the latter is identical to the Type IIa PPM in IEC 60268-10:1991.

Alignment level (0 dBu) and Permitted Maximum Level (+8 dBu) correspond to scale marks '4' and '6' respectively.

The BBC PPM was adopted by commercial broadcasters in the UK. Other organisations around the world, including the EBU, CBC and ABC used the same dynamics but with slightly different scales.

Modern British PPMs have a 4 dB spacing between the scale marks. Older designs had a 6 dB spacing between '1' and '2'. This discrepancy can sometimes also be found at the equivalent position on the derived CBC and ABC scales.

From its inception in 1939 until 2009, the PPM display was available in the form of an electro-mechanical, moving-coil meter movement with a demanding ballistic specification. For many years these were manufactured by Ernest Turner and Company, and in later years by Sifam, based in Torquay. In 2009, Sifam announced it was ending production of the Type 74 dual-needle meter movement. In 2010, Sifam ended all PPM meter movement manufacturing. Three major users—Bryant Unlimited, Canford Audio, and TSL—placed final orders with Sifam for large stocks of the meters to supply manufacturing and maintenance activities for several years.

Stereo British PPMs
In the UK, twin-needle PPMs are sometimes used for stereo. Red and green needles are used for left and right. This colour convention comes from port and starboard navigation lights, in accordance with an ancient BBC in-joke about Broadcasting House resembling a battleship. White and yellow needles are used for sum and difference (M and S). A more recent variation is to use a black needle with a dayglo orange tip for S instead of yellow.

The sensitivity of the S indication can be increased on some meter installations by 20 dB; this is to aid line-up procedures, e.g., of stereo mic pairs, or the azimuth of analogue tape machine heads, which rely on cancellation of the S signal.

M3 and M6
M and S meters are normally aligned to the 'M6' standard in which M = (L + R) − 6 dB and S = (L − R) − 6 dB. In other words, the sum and difference signals are each attenuated by 6 dB before being displayed on the meter. As a result, signals of identical amplitude and phase in the left and right channels make the M meter show exactly the same deflection as for the individual L and R meters. This is because summing two identical signals produces a result 6 dB louder than either source, but the M and S meters show summed signals attenuated by 6 dB to compensate. The M6 standard means that dual mono sources (e.g. a presenter panned to the centre of a stereo sound stage) can be peaked to 6 in both channels, with the M meter also showing 6.

The M6 format has largely replaced the earlier 'M3' standard in which the sum and difference attenuation is only 3 dB. This M3 format is designed to give a more accurate indication of the level of the summed mono signal when working with conventional stereo material. The premise is that in summing two signals of similar level but carrying non-phase-coherent sounds (i.e. typical stereo material), the result averages 3 dB more than either source channel (rather than 6 dB more). The M3 standard means that true stereo material can be peaked to 6 in both channels, with the M meter also showing 6. However, dual-mono sources can only be peaked to 5.25 in each channel to keep the M meter at 6.

Note: the chosen M6/M3 metering standard does not affect the relative audible balance of sounds panned to one side versus the centre – that is determined solely by the panning law of the mixing console's pan-pot.

The M6 standard is deemed a simpler form of metering for untrained broadcasters to use as it keeps the M meter at '4' for Alignment Level and '6' for peaks, without the operator having to remember to subtract 3 dB.

Commercial broadcasting in the UK initially used M3 but had switched to M6 by 1980. This was mandated by the IBA's Engineering Code of Practice. BBC installations used M3 until 1999. The BBC now uses M6 in both radio and TV, although much legacy equipment is still configured for the 'traditional' M3 standard.

European Broadcasting Union
The EBU PPM is a variant of the British PPM designed for the control of programme levels in international programme exchange. It is formalised as the Type IIb PPM in IEC 60268-10. It is identical to the British PPM except for the scale plate, which is calibrated in dB relative to Alignment Level, which is marked 'TEST'. There are also ticks at 2 dB intervals and at +9 dB, corresponding to Permitted Maximum Level.

United States
In the late 1930s PPMs were considered for use in the US, but rejected in favour of a 'Standard Volume Indicator' (VU meter) on grounds of cost. Joint research by CBS, NBC and Bell Labs found that using an experimental design of PPM (with a relatively long integration time of 25 ms) in the control of programme levels gave only a 1 dB advantage over the VU meter, in terms of average output level for a given amount of distortion. It was felt that this was too small to justify the much greater expense. It was also found that VU meters gave more consistent readings than PPMs when comparing programme levels at the sending and receiving end of long lines subject to group delay, which altered the waveform. This finding has been disputed by others.

A widely believed myth is that the PPM was developed as a superior alternative to the VU meter. In fact, the PPM came first, and if anything the VU meter was developed as an economical alternative to the PPM.

By 1980, ABC had about 100 PPMs in use in control rooms in New York and its Washington News Bureau, and was ordering new consoles with PPMs fitted. These were Type II PPMs with the seven marks labelled −22, −16, −12, −8, −4, 0 and +4. ABC found that a modified version of the EBU meter based on the VU-meter 'A scale' was best, since it let operators use their usual jargon such as 'zero level' etc. The appearance is similar to an EBU scale except that the numbers are 8 dB lower.

To aid alignment on both VU meters and PPMS, ABC in New York used a special test signal known as ATS. A 440 Hz tone alternated between steady tone at +8 dBu (indicated at 0 VU and −8 PPM) and tone bursts at +16 dBu (indicated at 0 VU and 0 PPM).

Canada
By 1978 PPMs were in use at the Canadian Broadcasting Corporation's Vancouver plant. Some 30 or 40 PPMs were in use, with just one or two VU meters retained for settling telco disputes. These are Type II PPMs with the seven marks labelled −6, 0, +4, +8, +12, +16 and +20: this scaling shows absolute levels in dBu (or dBm into 600 Ω). The appearance is similar to the ABC PPM except that all the numbers are 16 dB higher.

South Africa
The South African Broadcasting Corporation (SABC) uses a Type II PPM modified with a black-on-white scale plate calibrated in percentage and dB relative to Permitted Maximum Level, which is +6 dBu. Alignment Level is 0 dBu or 50%.

IEC 60268-18 Digital PPM
IEC 60268-18 is a partial standard for a PPM designed for use with digital audio in both professional and consumer use, using "incremental dot or bar type displays or numerical displays". Such a display shows level relative to 0 dBFS. The integration time can have any value less than 5 ms − thus both true-peak and quasi-peak meters can comply, and different meters may indicate very different levels despite compliance with the standard. The return time has the same value as a Type I meter: 1.7±0.3 seconds for a 20 dB fall.

Table of characteristics
IEC 60268-10 specifies three variants: Types I, IIa and IIb, known colloquially as the DIN, British and EBU types respectively. Types IIa and IIb differ only in the scale marks.

The Nordic, ABC, CBC and SABC variants are not specified in IEC 60268-10. The Nordic PPM uses Type I ballistics with a different scale. The ABC, CBC and SABC variants use Type II ballistics with different scales.

Parameters for the VU meter and Nagra modulometer are included in the table below for comparison. Some information has been obtained from ITU-T Rec. J.15.

Nagra modulometer
The 'modulometer' is a proprietary type of quasi-PPM found on Nagra products. It has an integration time (−2 dB) of 7.5 ms, and a semi-logarithmic scale with an appearance between that of a VU meter and a DIN-type PPM. A stereo version ("double modulometer") uses a meter movement with two coaxial needles.

In typical practice for Nagra analogue tape recorders, Alignment Level is regarded as −8 and maximum level 0. Thus sound recordists using location mixers would typically send a tone at 0 VU or PPM 4 (British) and adjust the Nagra recorder's gain to read −8 on the modulometer.

Some newer digital recorders, e.g., the Nagra VI, have modulometers displayed as bargraphs calibrated in dBFS. For these, Alignment Level is as for any other digital PPM, i.e., −18 dBFS (EBU) or −20 dBFS (SMPTE).

Usage of meter by sound balancers
To use PPMs effectively to control sound levels it is necessary to understand design rationale and limitations.

Many engineers prefer the PPM to the much slower VU meter used in the US—but it does require some interpretation in use. Though it gives a useful overload warning, it does not represent either true peak level or subjective loudness. The BBC have tables showing recommended settings for different types of programme, such as speech, classical music etc., which attempt to take account of the latter.

Regardless of the kind of programme, there is usually a nominal Permitted Maximum Level, as indicated on a PPM. Operators are expected to keep levels below it, within reason. Practices vary between countries and organisations. In the UK, the Permitted Maximum Level is 8 dB above Alignment Level, corresponding to '6' on the British PPM scale. ITU-T standards for international sound programme circuits specify a Permitted Maximum Level of 9 dB above Alignment Level. Accordingly, +9 dB is represented by a mark on the EBU PPM scale.

Digital audio levels
Because quasi-peak PPMs indicate neither loudness nor true peaks but something between the two, it is important to allow sufficient headroom when using them in the control of digital audio levels. The EBU convention (R68) provides for this by defining Alignment Level as −18 dBFS. Thus a peak to the Permitted Maximum Level as indicated on a quasi-PPM corresponds to −9 or −10 dBFS. This 9-10 dB margin allows for operator error, the true peak typically being several dB higher than the PPM indication, and that subsequent signal processing (e.g., sample rate conversion) may increase the amplitude.

SMPTE RP 0155 recommends a different alignment level, corresponding to 0 VU, of −20 dBFS. The two conventions result in line-up tone levels that differ by 2 dB, but in practice the level of programme modulation tends to be similar.

The SMPTE and the EBU agree that regardless of whether −18 or −20 dBFS is used as the Alignment Level, that level should be declared and that in both cases programme should peak to a Permitted Maximum Level of −9 dBFS when measured on an IEC 60268-10 quasi-PPM with an integration time of 10 milliseconds.

Consumer use
IEC 60268-10 is concerned mainly with the highly specified Type I and Type II PPMs used in broadcasting. It does however also contain a brief section on PPMs for 'secondary and consumer' applications. The requirements include a minimum of a 12-segment bargraph type display covering a range of −42 dB to +6 dB relative to nominal maximum level, and the same integration and return times as a Type I PPM.

title: Peak programme meter


text:
Náinari Lake

Náinari Lake (Laguna del Náinari) is an artificial lake with a 2 km perimeter created in a zone of small lagoons in the west side of Ciudad Obregón, Mexico).

The lake houses many species of aquatic wildlife and attracts many different varieties of duck and birds. You can often see families with children congregating along the shoreline feeding the hundreds of turtles and various species of fish that have become custom to the visitors of the lake.

title: Náinari Lake


text:
User talk:Jtalen

Welcome!

Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my talk page.'''

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Happy editing! ‡  Jarlaxle   23:09, July 17, 2005 (UTC)

title: User talk:Jtalen


text:
Necessary Evil (Star Trek: Deep Space Nine)

"Necessary Evil" is the 28th episode of the American science fiction television series Star Trek: Deep Space Nine. It is the eighth episode of the second season.

Set in the 24th century, the series follows the adventures on Deep Space Nine, a space station near the planet Bajor, as the Bajorans recover from a long, brutal occupation by the imperialistic Cardassians. This episode focuses on Deep Space Nine′s security chief Odo, a shapeshifter of unknown origin. In this episode, an attack on the bartender Quark leads Odo to reopen an investigation into an unsolved murder dating back to the days of the Cardassian occupation. The episode features flashbacks to that time period, including the first time Odo met the Bajoran resistance fighter Kira Nerys, who is Deep Space Nine′s first officer during the time period in which the series is set.

Plot
A Bajoran woman, Vaatrik Pallra, hires Quark to retrieve a strongbox from her late husband's shop on Deep Space Nine. Quark opens it to find a list of Bajoran names. A stranger, Trazko, sneaks up, shoots Quark and steals the list. As Dr. Bashir tries to revive Quark, Quark's brother Rom tells Odo about the list of names, and that the box was hidden in the shop during the Occupation.

In a flashback, five years earlier, Odo is solicited by the station's Cardassian commander Gul Dukat to investigate a murder. Odo interrogates Vaatrik Pallra, the deceased's widow. She claims her husband had been having an affair with Kira Nerys. When he interviews Kira, she says that there was no intimate relationship between her and Vaatrik, and that she was interviewing for a job at Quark's bar at the time of the murder.

In the present, Rom tells Odo that one name on the list resembled "Ches'so". Odo interviews Pallra, who claims ignorance of the list of names and the name "Ches'so". She also refuses to divulge the identity of the individual who loaned the money to pay her past-due electricity bill. Kira identifies "Ches'so": a philanthropist named "Ches'sarro", who has just died.

Five years earlier, Quark admits that Kira bribed him to provide a false alibi. When Odo confronts her about it, Kira reveals that she was committing a terrorist attack on the station. Odo tells Dukat that Kira is not the culprit in the murder.

In the present, Odo deduces that the names on the list are Bajorans who collaborated with the Cardassians during the occupation, whom Pallra has been blackmailing. Trazko attempts again to kill Quark; Rom saves Quark's life by screaming, gaining the attention of security officers. Brought to DS9, Pallra denies knowing Trazko, but Odo has confirmed that she recently transferred a large sum of money into his bank account. When she declares her innocence in the murder of her husband, Odo replies, "I know."

Odo has realized that it is Kira who killed Vaatrik five years earlier. He tells Kira that he began to suspect her when she was able to identify Ches'saro so quickly. When he deduced that the list consisted of Bajoran collaborators, Odo realized that Vaatrik was a collaborator too, and now understands that Dukat chose him to investigate so as to keep distance from his collaborators. Kira, a member of the resistance, killed Vaatrik when he discovered her trying to steal the list of names. She never told Odo because she was afraid it would affect their friendship. Kira asks him if he will be able to trust her again, and he is unable to answer.

Reception
When "Necessary Evil" was broadcast in November 1993, it received a Nielsen rating of 9.3 points and fifth place in its time slot.

Tor.com rated the episode ten out of ten, calling it "The perfect DS9 story. Everything that’s great about the show is on display here." It was the only episode of the season to achieve that rating.

In 2016, The Hollywood Reporter ranked "Necessary Evil" the 19th best episode in Star Trek: Deep Space Nine. They note this as an episode that differentiated this series from its predecessor, Star Trek: The Next Generation, and place the episode in the murder mystery genre.

In 2017, Screen Rant ranked this episode the eleventh darkest episode of the Star Trek franchise.

In 2018, SyFy recommend this episode for its abbreviated watch guide for the character Kira Nerys.

In 2019, Tor.com noted this as an "essential" for the character of Odo, remarking that it helps establish the character and what it was like for Odo while working for the Cardassians.

Releases
It was released on LaserDisc in Japan on June 6, 1997, as part of the half season collection 2nd Season Vol. 1, which had 7 doubled sided 12" discs. The discs had English and Japanese audio tracks.

On April 1, 2003, Season 2 of Star Trek: Deep Space Nine was released on DVD video discs, with 26 episodes on seven discs.

This episode was released in 2017 on DVD with the complete series box set, which had 176 episodes on 48 discs.


text:
Talk:Glenmalure Park

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title: Talk:Glenmalure Park


text:
Strandvik

Strandvik is a village in the municipality of Bjørnafjorden in Vestland county, Norway. The village lies on the northern shore of the Bjørnafjorden, about 10 km east of Osøyro (across the fjord) and about the same distance southeast of the village of Fusa.

title: Strandvik


text: File:Ghost in the Ruins.jpg

title: File:Ghost in the Ruins.jpg


text:
Pikes Peak State College

Pikes Peak State College is a public community college in Colorado Springs, Colorado. It is the largest institution of higher education in the Pikes Peak region. PPSC offers more than 150 programs in liberal arts and sciences transfer and career technical education. The college's 60+60 Bachelor's Degree Transfer Program guarantees transfer of the PPSC Associate of Arts or Associate of Science degrees to any public institution of higher education in Colorado.

In 2018, the college had an enrollment of 13,204, making it the largest institution in the Colorado Community College System.

History
Pikes Peak State College was originally founded as El Paso Community College in 1968 without an official college campus. In 1978 a new campus was constructed on surplus land on the northern edge of Fort Carson; at the same time the college name was changed to Pikes Peak Community College.

During the 2022 Colorado legislative session, college administrators, along with state elected officials, introduced legislation to change the name of the college. The purpose of the bill was to change the perceived value of community colleges and to better reflect the broad range of degrees available. The bill was signed by Colorado Governor Jared Polis which officially changed Pikes Peak Community College to Pikes Peak State College.

Campuses
Pikes Peak State College has four campuses, three military satellite locations, and an extensive distance education program. The largest campus, the Centennial Campus, is located in southern Colorado Springs near the Fort Carson Army post. The Downtown Studio Campus is located in the heart of downtown Colorado Springs. The Rampart Range Campus is located at the north end of the city alongside the college's newest addition, the Center for Healthcare Education and Simulation (CHES) Campus.

While students may study General Education (CORE) courses at all four campuses, certain programs are site specific. Centennial Campus is the largest and specializes in the field of study pertaining to business, public services, and technical and social sciences. The CHES campus offers healthcare and technical programs including an emergency medical services (EMS) training program with an EMS simulation (SIM) Lab. Rampart Range Campus hosts some of the STEM programs. The Downtown Studio Campus is a hub for the fine arts programs and humanities. In 2008 the Falcon Campus was opened, but is no longer in service to the college. Three satellite education centers offer a variety of courses and programs at local Military bases. Courses for military education are held at various dates and times which are different from the traditional semester.

Notable alumni

 * Max Aaron, 2013 U.S. national champion figure skater
 * Dartanyon Crockett, 2014 judo World Champion
 * Alexa Scimeca, 2013 U.S. National silver medalist figure skater
 * Leslie Smith, professional mixed martial arts fighter competing in the bantamweight division, formerly with the UFC
 * Ron Stallworth, police officer and author whose novel, Black Klansman, was turned into a film by Spike Lee.

title: Pikes Peak State College


text:
File:CountKarlsteinBookCover.jpg

Summary
Count Karlstein bookcover

title: File:CountKarlsteinBookCover.jpg


text: User talk:69.133.121.34

title: User talk:69.133.121.34


text:
User talk:SurfsideChicago

Welcome!
Hello, SurfsideChicago, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

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Happy editing!

-- Sango  123  23:13, July 17, 2005 (UTC)

P.S. Feel free to leave a message on my talk page if you need help with anything or simply wish to say hello. :)

title: User talk:SurfsideChicago


text: User talk:69.193.216.247

title: User talk:69.193.216.247


text:
User talk:Gruguuru

Welcome!

Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my talk page.'''

Additional tips:
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Happy editing! ‡  Jarlaxle   23:13, July 17, 2005 (UTC)

WP:TIE
Welcome! I see you signed up as a French-to-English translator. There is a big backlog of articles needing translation from French (the biggest such backlog we've got) at Translation into English. If you'd like to sign up to take on one of these, it would be very welcome. If you have any questions about the process, feel free to ask me or Jmabel, --Wonderfool t(c) 10:54, 18 July 2005 (UTC)

title: User talk:Gruguuru


text:
User talk:Etronic2005

Welcome!

Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my talk page.'''

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Happy editing! ‡  Jarlaxle   23:14, July 17, 2005 (UTC)

List of publications in economics
Hi, I saw your contributions to the health economics entry in the list. The only problem with your contribution is that it is too good. In order to get to other entries one should be Adam Smith, Karl Marx or so. (I know that there are also less important contributions, but this is the goal). Can you choose a subset of the most important publications? I think that the rest of the publications should be moved to health economics. Maybe we should create sub lists of publications in all of these areas. Thanks, APH 15:22, 5 September 2005 (UTC)

Science pearls
Hello,

Since you contributed in the past to the publications’ lists, I thought that you might be interested in this new project. I’ll be glad if you will continue contributing. Thanks,APH 10:47, 11 September 2005 (UTC)

title: User talk:Etronic2005