SSS科学60秒mp3+文本下载(20091005)

1那天晚上我从小超市回来，已经过了平日里玥玥睡觉的时间了。

她却把拖鞋踢在一旁，光着两只脚丫用某个光头明星常用的姿势躺在沙发上，全神贯注地盯着电视。

老靳就坐在她身旁似睡非睡地半闭着眼睛，从山东回来后，他像一只缺氧的大公鸡一样经常耷拉着脑袋。

上小学后，按时睡觉对玥玥来说是件非常重要的事情。

她必须保证充足的睡眠，一旦晚睡就会影响第二天的学习状态。

我们家距离学校半小时车程，为确保不迟到，每天早上六点半玥玥就得起床，七点一刻前必须从家里出发。

早起就得早睡，为确保按时睡觉，一放学她就不得不马不停蹄地完成作业。

虽然只是读小学二年级，但玥玥的作业并不少，语文、数学、英语、手工小报以及跳绳和消防问卷等等，差不多要两个小时才能完成。

玥玥只有七岁，要高质量完成这么多科目的作业只能依靠家长的辅导。

所以，我每天下了班就拼命往家里赶，晚饭可以不吃，辅导玥玥做作业却丝毫不敢怠慢。

那天是老靳主动提出来帮我辅导玥玥的，他让我安心去小超市帮忙。

老靳年轻的时候在村里当过会计，后来又在外面闯荡了这么多年，我估摸着他肚子里的墨水对付小学二年级的作业应该绰绰有余，便放心地去帮靳燕。

靳燕的小超市是我们家的主要收入来源，为节约开支，我们没有聘请员工，从早上六点到晚上十点，靳燕就像蜘蛛一样蹲守在上千种货物织出的网中，她必须全神贯注，就连上厕所也得匆匆忙忙。

她烦透了小超市的生活以至于看到收银机就想吐。

我理解她的烦躁，所以只要略有空当，我都会去帮她。

一进门我就关心起玥玥的作业完成情况，玥玥正沉浸在一档选秀节目中，对我的话毫无反应。

她的作业本、铅笔盒、剪刀、跳绳、手工纸等等横七竖八地堆在茶几上。

老靳依旧似睡非睡，并没发现我进了屋。

我上前关掉了电视，玥玥才极不情愿地从沙发上下来，蹲下身子满地找拖鞋。

老靳随即醒来，冲我笑了笑说：“回来了？作业已经做完了。

”说着他起身整理起茶几上的作业本。

我拦住他说：“让她自己处理。

”他的手停在了半空中，笑了笑说他先去洗澡，接着就回了卧室。

Date: 2012/7/6 From: sss20120102 Source: D:\CHASEDREAM\SSS\201201\201201\sss20120102.mp3Happy New Year! And don’t feel bad about taking today off.After all you’ve travelled far.And I’m not about talking about the trip home from the party.According to NASA, just by being on the planet Earth in the last year,you’ve zipped about 584 million miles around the sun to get back where you were,At an average speed of about 67,000 miles per hour.Again, not talking you about the drive home from the party.Of course the trip was not a perfect circle. As Kepler[开普勒] showed, the Earth’s orbit is an ellipse, with the sun at one of the two focal points.He also figured out the planet goes faster when it’s at perihelion, near the sun, than when it’s at aphelion, its farest distance, which would explain why summer seems to zip by, except the seasons are a function of the tilt of the Earth’s axis, not its different distances from the Sun. And the Earth rotated 365 and a quarter times during its sweep around the Sun.The trip took about 8766 hours or 31,557,600 seconds or 525,960 minutes just like this one.Happy New Year! And don‟t feel bad about taking today off. After all, you‟ve traveled far. And I‟m not talking about the trip home from the party. According to NASA, just by being on the planet Earth in the last year, you‟ve zipped about 584 million miles around the sun to get back where you were. At an average speed of about 67,000 miles per hour. Again, not talking about the drive home from the party.Of course, the trip was not a perfect circle. As Kepler showed, the Earth‟s orbit is an ellipse, with the sun at one of the two focal points. He also figured out the planet goes faster when it‟s at perihelion, nearer the sun, than when it‟s at aphelion, its farthest distance. Which would explain why summer seems to zip by, except the seasons are a function of the tilt of the Earth‟s axis, not its different distances from the sun. And the Earth rotated 365 and a quarter times during its sweep around the sun. The trip took8,766 hours. Or 31,557,600 seconds. Or 525,960 minutes just like this one.Main Points1. Last year, just being on the planet, you’ve been zipped around the sun for 584 million miles to get back where you were at an average speed of 67,000 miles per hour, said NASA. But the orbit the Earth goes around the sun is not a perfect circle, but an ellipse.2. It also figured out the planet goes faster when it’s at perihelion, near the sun, than when it’s at aphelion, its farthest distance, explaining why summer seems to zip by, except the seasons are a function of the tilt of the Earth’s axis.3. The Earth rotated 365 and a quarter times during its sweep around the sun, taking 8,766 hours, or 525,960 minutes, or 31,577,600 seconds.Words：Kepler: 开普勒【开普勒望远镜】perihelion: 近地点【夏天，地球自转快】aphelion: 远地点【冬天，地球自转慢】focal points: 焦点Correction：Date: 2012/7/7 From: sss20120103 Source: D:\CHASEDREAM\SSS\201201\201201\sss20120103.mp3Ever wondered why mosquitoes eat some people up but leave others‘relatively unscathed?A new study finds this preferential treatment is due to the smells produced by the microscopic critters that cover our bodies.The research is in the journal Public Library Science ONE.To a mosquito every human body has a particular smell. And the differences are due in part to the particular bacteria on each individual’s skin.The study tested the malaria-transmitting Anopheles gambiae in mosquito’s attraction to the odors of 50 adult men.The participants avoided items such as garlic, that would change their natural smell. Researchers collected the male scents by rubbing glass beads on the bottom of each participant’s foot, and swabbed the same skin for microbes. And they discovered that mosquitoes preferred the smell of skin with more abundant-but less diverse- bacteria communities.The scientists suggest that diverse communities may includ some microbes that produce compounds mosquitoes naturally dislike.If further research can identify these compounds, it could lead to the development of repellents to make bloodthirsty mosquitoes buzz off.Ever wondered why mosquitoes eat some people up but leave others relatively unscathed?A new study finds that this preferential treatment is due to the smells produced by the microscopic critters that cover our bodies. The research is in the journal Public Library of Science ONE.To a mosquito, every human has a particular smell. And the differences are due in part to the particular bacteria on each individual‟s skin.The study tested the malaria-transmitting Anopheles gambiae mosquito‟s attraction to the odors of 50 adult men. The participants avoided items, such as garlic, that would change their natural smell.Researchers collected the male scents by rubbing glass beads on the bottom of each participant‟s foot, and swabbed the same skin for microbes. And they discovered that mosquitoes preferred the smell of skin with more abundant—but less diverse—bacterial communities.The scientists suggest that the diverse communities may include some microbes that produce compounds mosquitoes naturally dislike. If further research can identify these compounds, it could lead to the development of repellents to make bloodthirsty mosquitoes buzz off.Main Points:Mosquitoes prefer the skin with more abundant but less diverse bacteria communities.Words:unscathed: [,ʌn'skeiðd] 未受伤的microscopic：显微镜可见的critter: [谑，方] 家畜，牛，马；[贬]人preferential: [,prefə'renʃəl] adj. 优先的；选择的；特惠的；先取的malaria-transmitting Anopheles gambiaebead: 玻璃粉swab：[swɔb] n. 药签，拭子；医用海绵，纱布；拖把，擦帚；无赖vt. 打扫，擦拭；涂抹（药）于repellent [ri'pelənt] adj. 排斥的；防水的；弹回的；令人讨厌的n. 防护剂；防水布；排斥力bloodthirsty：buzz: vt. 使嗡嗡叫；暗中散布vi. 作嗡嗡声；东奔西忙Date: 2012/7/8 From: sss20120104 Source:D:\CHASEDREAM\SSS\201201\201201\sss20120104.mp30:24.770-0:27.986 The study’s proceeding with the academic scientists.The study is in Proceedings of the National Academy of Sciences.0:32.539-0:36.590 and three are crafted by the legendary straterwarrier guonerian in the 18th century.three crafted by the legendary Stradivari or Guarneri0:44.499-0:47.454 in the darkened room were wearing vision modify gogs.in a darkened room while wearing vision-modifying goggles.0:47.751-0:51.583 adept from a few mangdired of the Qingrest even the mass the intruments' scentsA dab of perfume under the chin rests even masked the instruments‟scents.原文：Can you tell the difference between modern violins and antiques crafted by Italian masters? Don‟t feel too bad—expert players can‟t do it either. In a double-blind test, 21 experienced violinists were unable to tell the difference between rare, old instruments and new ones. The study is in Proceedings of the National Academy of Sciences. [Claudia Fritz et al., "Player preferences among new and old violins"]Researchers provided violinists with six high-quality instruments: three modern and three crafted by the legendary Stradivari or Guarneri in the 18th century—and worth a hundred times as much as the new ones.To prevent bias, everyone who handled the violins did so without knowing which instrument was which, in a darkened room while wearing vision-modifying goggles. A dab of perfume under the chin rests even masked the instruments‟ scents. After playing each violin, the subjects rated them and selected their favorite one.When it came to instrument quality, the old and new violins earned similar scores, and fewer than half of the participants chose old violins as their favorites. Apparently, a violin by any other craftsman can sound as sweet.Main pointsExperienced violinists were unable to tell the difference between rare, old instruments and new onesWords:Stradivari or Guarnerivision-modifying goggles：A dab of perfume ：少量的香水Date：2012/7/9 From：sss20120105 Source: D:\CHASEDREAM\SSS\201201\201201\sss20120105.mp30:22.374-0:25.254 the study use the method commonly explored on babiesThe study, used a method commonly deployed on babies0:52.886-0:57.277 meaning the animate delivery style fuse the dogs of an intentioned communicateMeaning the animated delivery style cues the dogs of an intension tocommunicate.0:57.557-1:00.773 dogs thus perceive such an intense similarly to babiesDogs thus perceive such intent similarly to babies.Sit, stay, down, no, don't eat that, drop it. Dogs. We pet them, we love them, we talk to them. But are they listening?Of course they are. And recent research found that dogs are paying attention not only to what we say, but to how we say it.The study, used a method commonly deployed on babies: tracking eye movements. If the baby, or in this case the dog, looks at something, it‟s assumed that they're interested in it. The researchers showed dogs two videos. In one, a person looks into the camera and says "hi dog!" in a high-pitched voice before turning towards a plastic pot. In the other, the person av oids eye contact and says “hi dog” in a lower voice before turning towards the pot.And the dogs looked at the pot more often after the "hi dog!" than after the “hi dog.” Meaning the animated delivery style cues the dogs of an intension to communicate.Dogs thus perceive such intent similarly to babies. Except babies are slightly less likely to dig up the flowers in that plastic pot.Main ideacue sb. of an intention to do sth. : 给某人以做某事的意图sb. perceive sth. similarly to sb.: 某人和某人的想法很像Date：2012/7/10 From：sss20120109 Source: D:\CHASEDREAM\SSS\201201\201201\sss20120109.mp30:12.283 –0:17.452 had spreaded to the Dominica Republic in the U.S., and then to the Venezuela, Mexico, Spain, and Canada.had spread to the Dominican Republic and the U.S.0:17.566 –0:21.808 thus arger tools are needed to help avoid such national and international perdemics.Fast and accurate tools are needed to help avoid such national andinternational epidemics.0:21.951 –0:26.536 But it often takes weeks for traditional diseases serverlence ma that’s too villn announce its spread.But it often takes weeks for traditional disease surveillance methodsto reveal an illness‟s spread.0:30.046 – 0:36.079 They called information in 8 languages from sources such as new articles and blogs during the first 100 days after the earthquake.They culled information0:41.813 - 0:45622 They matched the outbreaks and determined its progress by an application called Health Map.they mapped the outbreak and determined its progress, via anapplication called Health Map.1:04.493 – 1:07.802 and potentially helps limit suffering such as Haiti’s in the future.After Haiti‟s earthquake two years ago, cholera swept the country. And within a month, the same strain had spread to the Dominican Republic and the U.S., and then to Venezuela, Mexico, Spain, and Canada.Fast and accurate tools are needed to help avoid such national and international epidemics. But it often takes weeks for traditional disease surveillance methods to reveal an illness‟s spread. So researchers turned to the internet as a possible tracking tool. They culled information in eight languages from sources such as news articles and blogs during the first hundred days after the earthquake. They also searched Twitter.With data from more than 4,500 reports and nearly 189,000 tweets, they mapped the outbreak and determined its progress, via an application called Health Map. The information matched official results in certain places and generally followed the same trends. But unlike the officially issued information, this data could be collected immediately—and could have been available up to two weeks faster. The comparison was published in the American Journal of Tropical Medicine and Hygiene.The scientists say these methods could provide a faster response to an epidemic—and potentially help limit suffering such as Haiti‟s in the future.Main PointsAnalysis of social media and Internet news reports can enable researchers to track a disease outbreak faster than conventional medical notifications.Words:cholera ['kɔlərə] n. [医]霍乱strain n. 张力；拉紧；负担；扭伤；血缘epidemics [,epi'demiks] n. 流行病；蔓延（epidemic的复数）；时疫Hygiene ['haidʒi:n] 卫生；卫生学Date：2012/7/16 From：sss20120111Source: D:\CHASEDREAM\SSS\201201\201201\sss20120110.mp3补番~People with high blood pressure are often told to watch the salt. And it‟s long been thought that hypertension related to excess salt is caused by the salt increasing the volume of the blood. Which in turn puts added pressure on the blood vessel walls. But going back to the 1960s and …70s, some researchers thought that the salt might be having a different effect.Now long-time hypertension researchers Irene and Haralambos Gavras at the Boston University School of Medicine have analyzed the studies in the field and published a review article explaining what they think salt‟s role really is: it stimulates the sympathetic nervous system to produce adrenalin. And it‟s the adrenalin that constricts the arteries and causes the high blood pressure, not excess fluid volume. The review is in the Journal of Hypertension.Physicians have accepted a nervous system involvement in hypertension that’s bad enough to cause kidney failure. Fluid-decreasing diuretics are a common treatment in those severe cases. This new analysis implies that researchers should look for additional hypertension treatments that focus on the nervous system.Wordshypertension:高血压，过度紧张【hypotension :低血压】sympathetic nervous system：交感神经系统adrenalin肾上腺素arteries ：artery的复数，动脉excess fluid volume 超额的流量kidney failure :肾衰竭Fluid-decreasing diuretics ：减缓流量的利尿药物[diuretic /,daijuə'retik/ adj. 利尿的n. 利尿剂]Main IdeaThe role of salt in the hypertension has changed according to some scientists: i nstead of the excess fluid volume that adds extra pressure to the vessels wall caused by excess salt, it’s the adrenalin produced by the sympathetic nervous system constricts the arteries that cause the hypertension.Rather than increase fluid volume, salt's real role in high blood pressure may be to induce the nervous system to produce excess adrenalin.Date：2012/7/16 From：sss20120113Source: D:\CHASEDREAM\SSS\201201\201201\sss20120113.mp3 Magnifying glass, calipers, teeny tiny tape measure. These are the weapons with which researchers are fighting it out to find the world‟s smallest frog.One team just announced the discovery of the on-average 7.7 millimeter Paedophryne amanuensis, which can sit comfortably on a dime. It was discovered in the moist under-layer of New Guinea’s tropical rainforest. The research was published in the journal Public Library of Science One.The little guy thus ousts another New Guinea frog, which had only claimed the title in December. The newest frog species is also being cited as the world‟s smallest vertebrate, although it‟s more correctly the smallest free-living vertebrate. A 6.2 millimeter male anglerfish spends its life buried in the body of its mate.Finding the little frog was no small achievement. Besides being tiny, the high-pitched mating calls researchers followed sound more insect than amphibian. [Frog calls.]Tiny vertebrates reveal changes that make miniaturization possible. For instance, some of the digits on the frogs‟ feet have disappeared. And their skulls develop differently than those of larger critters.So we celebrate the world‟s smallest frog and free-living vertebrate. Until the next one is discovered.Wordsmagnifying glass: 放大镜caliper：卡钳teeny tiny tape measure：超级微小的卷尺Paedophryne amanuensisdime：一角硬币New Guinea：新几内亚amphibian：sounds like:anfibian 两栖动物critters:牲畜Mean IdeaResearchers say a newly discovered species is the world's smallest frog--and more.Source：D:\CHASEDREAM\SSS\201201\201201\20120117.mp3Date: 2012/7/18 From: sss20120123Source: D:\CHASEDREAM\SSS\201201\201201\sss20120123.mp3Lots of studies suggest limited quantities of alcohol—like one drink a day—can benefit your cardiovascular health. But for the tiny worm C. elegans, dilute booze is a veritable fountain of youth. It actually doubles their life span, according to a study in the journal Public Library of Science ONE.The researchers discovered the alcohol effect by accident. In an earlier study, they thought it was a dose of cholesterol that extended the worms' lives. But after review, they realized that the true agent was the weak alcohol solution the cholesterol was dissolved in. Starving worm larvae that usually live 10 days could survive 20 to 30 in the presence of alcohol. And a watery drink at that—the equivalent of one beer, poured into 100 gallons of water.The authors aren't sure what‟s behind the alcohol outcome. It could be a life-saving energy source for the starving worms. Or it might flip a switch that ups the worms' stress resistance. We humans do share some chemical signaling pathways with worms—the insulin response, for example. But the researchers say assuming a similar longevity effect for us is a dangerous road to go down. Especially after drinking.Words:cardiovascular:心脏血管的[cardio-是心脏的前缀，vascular：血管的]dilute booze：稀释的酒= watery drinkveritable：名副其实的，真正的life span：生命跨度cholesterol：flip a switch：轻弹开一个开关insulin：胰岛素Main IdeaA very dilute alcohol solution doubles the life span of the ubiquitous lab organism C. elegans.It‟s known that taller people tend to have more jobs with more authority—and higher salaries. But there‟s a flip side—the more powerful a person is, the taller he or she feels.The researchers who investigated this phenomenon were inspired by the BPchairman’s comment after the oil spill about the “small people.” There are many such metaphors—think “big man on campus.” Could these metaphors influence—or reflect—reality? Might powerful people actually overestimate how tall they are?Scientists created three experiments with nearly 300 participants. In each, the participants were made to feel more or less powerful: being chosen as, say, a manager versus an underling. Then they faced a task in which they estimated their own height—comparing their actual height to a pole, for example, or choosing the height ofan online avatar.In each case, when the participants were in a position of power, they represented their height as significantly taller than those in weaker positions. The research was publishedin the journal Psychological Science.So, the researchers conclude, the “beleaguered CEO of BP” inadvertently led them a new finding. When we feel powerful, we feel on top of the world—or, quite literally, tall.Words:a flip side:反面metaphors：暗喻underling：下属beleaguered：受围攻的inadvertently：不经意间he or she feels 弱读、连读：heεəshe feelsof an online avatar 弱读、连读：əvanoline avatarthe “beleaguered CEO of BP” inadvertently：thequote “beleaguered CEO of BP” inadvertently 【引用的语的引号读出来了但是不用写出来。

2019年精选科学七年级上册走近科学3.建立健康信息档案华师大版巩固辅导第四十篇第1题【单选题】下列数据符合实际的是( )A、人的正常体温是27℃左右B、家用空调正常工作时的电压为220VC、中学生的质量约为500ND、声音在水中的传播速度是340m/s【答案】：【解析】：第2题【单选题】下列单位换算正确的是( )A、30米=30米×10 =300分米B、30米=30米×10分米=300分米C、30米=30×10分米=300分米D、30米=30分米×10=300分米【答案】：【解析】：第3题【单选题】量筒做得细而高，不做成粗而矮的形状，这主要是因为( )A、实验中，细高的量筒便于操作B、细高的量筒可以做出相对较大的底座，增加稳度C、细高的量筒与粗矮的相比，相应的刻度间隔较大，便于准确地读数D、粗矮量筒中的液体较多，筒壁所受压强较大，需用较厚的玻璃，因而不便读数【答案】：【解析】：第4题【单选题】做某实验需要量取45毫升的水，应选用下列仪器中的( )A、100毫升的烧杯B、10毫升的量筒C、100毫升的烧杯和滴管D、50毫升的量筒和滴管【答案】：【解析】：小珂同学用同一把刻度尺对同一物体的长度进行了4次测量，结果如下：14.34cm、14.36cm、14.35cm、14.48cm，则该物体的长度应记为( )A、14.35cmB、14.36cmC、14.37cmD、14.38cm【答案】：【解析】：第6题【单选题】人类认识自然需要借助于一些仪器，自从扫描隧道显微镜发明后，世界上就诞生了一门以0.1 至100 纳米这样的单位为研究对象的前沿科学，这就是纳米技术，它以空前的分辨率为人类揭开了更加广阔的微观世界。

这里所说的纳米是指( )A、长度单位B、质量单位C、时间单位D、温度单位【答案】：【解析】：判断下列测量数据：0.3260米, 7.59米, 759毫米, 759分米, 各自对应的刻度尺的最小刻度是( )A、分米、毫米、厘米、米B、厘米、分米、毫米、米C、毫米、厘米、分米、米D、毫米、分米、厘米、米【答案】：【解析】：第8题【填空题】2015年1月，“蛟龙”号在印度洋深海处打捞上来一未知生物，该生物A处的宽度为______cm．打捞上来的过程中，该生物受到的海水压强______（变小/不变/变大），会对其生命活力产生影响．【答案】：【解析】：第9题【填空题】小强同学选择了一只量程适当的温度计，插入热水后立即拿出来，进行读数；请纠正他操作中的两处错误：______；______。

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听力原文In Marcel Proust’s iconic Remembrance of ThingsPast, a taste of cake elicitsa flood of memories.Now a study finds that the stronger your memory ofa particular food, the more likely you are to chooseit again.And it doesn’t matter how objectively unattractivethe food may be—which perhaps explains why you may crave those peanut butter andmarshmallow sandwiches from your youth or can’t break that fried chicken habit when trying todiet.The food-memory study is in the journal Neuron.Researchers asked 30 hungry young people to rate snacks such as potato chips and chocolate.No actual food was presented.The snacks were merely displayed on screens associated with locations.Then the study participants were asked to choose between two locations, as proxies for thesnacks.And the hungry subjects went with memory over taste preference—that is, they picked whatthey were better able to remember even if they had rated them lower in the first part ofthetest.And the researchers found that the exercise caused increased communication between thehippocampus, associated with memory, and the part of the frontal lobe home to decision-making.Which may show why when we’re making food deci sions, familiarity often wins out over otherfactors—and why your shopping list looks virtually the same week after week.。

对于纪录片爱好者来说，追BBC（英国广播公司，比较权威的高知名度的媒体）题材广泛、制作精良的纪录片是人生一大乐事。

看BBC的纪录片，既可以追溯上下数千年的历史文化，也可以欣赏从宇宙到地信深处的奇妙境界，而其其超级精彩的画面即使定格，也是一幅摄影佳作。

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1-454《野生动物奇观》_show/id_XOTEyNTM5NzI=.html_show/id_XOTEyNTMxNzI=.html55《海明威冒险之旅》_show/id_XNzQ1NDcyMTY=.html_show/id_XNzQ1NDc3MjA=.html_show/id_XNzQ1NTA0MzI=.html_show/id_XNzQ1NTA0Mjg=.html56《锦绣中华》（6集）/Jncw6OlWo92mS5aa.html/eZB2ZLTdiCeky9c9.html/wEYsf6yFFcBGJXnR.html/NEhxD1O7d9KpGZED.html/A18_WPJIM0Cz5xsE.html/9iHnWa5WOiwAvVwX.html/id//（豆列，无字幕，缺第二集）57《长城》/index_3606735.html 1-458《探索不列颠的高地》/index_3402507.html 1-559《世界八十宝藏》/index_3355995.html 1-1060《超级风暴》/id/1582924/超级风暴(Superstorm)3集全61《维生素真相》/v_MjY3OTg2Mjg.html62《观星指南》/id/63《爱因斯坦的最大失误》_show/id_XMTM5NDc1OTI=.html64《时光机器》.cn/v/b/-32.html.cn/v/b/-32.html65《复活节岛上失落的众神》/SG5V0zuhEUibyML4.html66《地图上的空白》_show/id_XMzI1MDYzODQ=.html67《大地之歌》/view/ifJxyyuPUr8/_show/id_XMzI2MjI2Mjg.html68《野性印尼》/v_NTI5ODc1MTg.html/v_NTI5ODc1MTk.html/v_NTI5ODc1MjY.html69《亚马逊深渊》_show/id_XNTU4NzI5MTY=.html_show/id_XODU1MTM3ODQ=.html_show/id_XNTU4OTU1NDA=.html_show/id_XODU1MTM4MjA=.html_show/id_XODU1MTM4MjQ=.html70《尼罗河》/v_NTU4NDAzNzM.html古代启示录第一集尼罗河之死相关系列/v_NTU4NDA0NTc.html古代启示录第二集米诺安文明之谜/v_NTU4NDA0NzQ.html古代启示录第三集崩溃的马雅文明/v_NTU4NDA0NzU.html古代启示录第四集所多玛与蛾摩拉71《园丁鸟的魅力艺术》_show/id_XMzI2MjI0Njg.html72《以色列的诞生》/v_NTg4NjYzMDY.html73《旷世杰作的秘密》/p/l.html74《文明的轨迹》_show/id_2142542.html太多了，请自行搜索：75《环太平洋之旅》/view/yoYYC7iRiAQ/只找到这么短的76《玛雅地底之谜》_show/id_XMTExMTYyNDYw.htm77《人脑漫游》_show/id_2418422.html（6集，缺2 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以下是补充内容-----------------------------------------失落的文明之被咒诅的金字塔文明：土库美/videos/2247395/video/99164/迁徙的鸟Le peuple migrateur (2001)/videos/2247395/video/66279/一路平安Latcho Drom (1993)/videos/2247395/video/48956/更多请移步到小站放映室：/videos/2247395/（越宁提供）文明的轨迹（13集+花絮）_show/id_2904225.html（2、6、7、8、10、11、12）/view/Kf0mqfEvf-w/（4）/index_3581528.html（2~13）BBC 加来道雄谈时间01探讨我们如何经历时间/v_NjEzNDAwMjM.html02人一生的时间局限性暨长生不老是否可能/v_NjEzNDAzMDQ.html03讨探地球的年龄/v_NjEzNDA0NjA.html04时间本身有开始与结束吗？/v_NjEzNDI2MDA.html科普系列一根绳子有多长_show/id_XMTg5ODQxMTk2.html（物理）神秘的混沌理论_show/id_XMTcyNjE2MzMy.html（系统论）神秘的你/v_NjEzNTQzNjY.html（心理）天才是怎样炼成的./v_NjEzNTU2MDc.html（生物心理）幽灵捕捉计划—寻找中微子/view/G7-eiISzEQQ/（物理）奇妙的人类旅程_show/id_5289569.html（2——5集，人类学）（神弦歌提供）《英国广播公司：英国古代史》(BBC:A History of Acient Britain)全四集/2889505/《生命博物馆》/2810506/第一季《BBC：中世纪思潮》更新完毕全四集(BBC: Inside the Medieval Mind) /3//2866467《人體世界》(The Human Body)《地平线系列》暂无《音乐的世界系列》(Music Collection)/269823/《BBC 英国历代王朝系列》(Kings & Queens of England)[DVDRip]/127180/《BBC 仰望夜空系列》(BBC The Sky At 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学而思分级诵读三级Once upon a time, in a faraway land, there lived a young boy named Leo. Leo had a great passion for learning, but he lived in a village where resources were scarce and opportunities were limited. Despite these challenges, Leo was determined to pursue his love of knowledge and expand his horizons.很久以前，在一个遥远的国度里，住着一个名叫利奥的小男孩。

利奥对学习充满热情，但他生活在一个资源匮乏、机会有限的村庄。

尽管面临这些挑战，利奥仍决心追求他的知识热爱，并扩大自己的视野。

Leo's journey began with a simple discovery: a small library hidden in the corner of his village. Although the collection was modest, it was a world of wonders to Leo. He spent countless hours poring over the books, eager to absorb every bit of information. As he read, his imagination was sparked and his curiosity grew.利奥的旅程始于一个简单的发现：他村庄角落的一个小型图书馆。

虽然藏书不多，但对利奥来说却是一个充满奇迹的世界。

他花了无数个小时埋头苦读，渴望吸收每一点知识。

随着阅读的深入，他的想象力被点燃，好奇心也日益增长。

3GPP TS 36.101v1.0.0(2007-12)Technical Specification3rd Generation Partnership Project;Technical Specification Group Radio Access Network;Evolved Universal Terrestrial Radio Access (E-UTRA);User Equipment (UE) radio transmission and reception;(Release 8)The present docu ment has been developed within the 3r d Generation Partnership Project (3GPP TM) and may be further elaborated for the purposes of 3G PP. The present d ocument has not been subject to any approval process by the 3G PP Organizational Partners and shall not be implemented.This Specification is provided for fu ture development work within 3GPP only. The Organizational Partners accept no liability for any use of this Specification. Specifications and reports for implementation of the 3GPP TM system should be obtained via the 3GPP Organizational Partners' Publications Offices.KeywordsEUTRA, User Equipment (UE), radio, RF requirements3GPPPostal address3GPP support office address650 Route des Lucioles - Sophia AntipolisValbonne - FRANCETel.: +33 4 92 94 42 00 Fax: +33 4 93 65 47 16InternetCopyright NotificationNo part may be reproduced except as authorized by written permission. The copyright and the foregoing restriction extend to reproduction in all media.© 2006, 3GPP Organizational Partners (ARIB, ATIS, CCSA, ETSI, TTA, TTC).All rights reserved.ContentsForeword (6)1Scope (7)2References (8)3Definitions, symbols and abbreviations (9)3.1Definitions (9)3.2Symbols (9)3.3Abbreviations (10)4General (11)4.1Relationship between Minimum Requirements and Test Requirements (11)5Frequency bands and channel arrangement (12)5.1General (12)5.2Frequency bands (12)5.3TX–RX frequency separation (12)5.4Channel arrangement (12)5.4.1Channel spacing (12)5.4.2Channel bandwidth (13)5.4.2.1 Nominal channel bandwidth (13)5.4.2.2Additional channel bandwidth (14)5.4.3Channel raster (15)5.4.4Channel number (15)5.4.5EA RFCN (16)6Transmitter characteristics (17)6.1General (17)6.2Transmit power (17)6.2.1Maximum Output Power (MOP) (17)6.2.2UE Power class (17)6.2.3Maximum Power Reduction (MPR) (18)6.2.4Additional Maximum Power Reduction (A-MPR) (18)6.3Output power dynamics (19)6.3.1Power control (19)6.3.2Minimum output power (19)6.3.3Transmit ON/OFF power (20)6.4Control and monitoring functions (20)6.4.1Out-of-synchronization handling of output power (20)6.5Transmit signal quality (20)6.5.1Frequency Error (20)6.5.2Transmit modulation (20)6.5.2.1Error Vector Magnitude (20)6.5.2.1.1Minimum requirement (20)6.5.2.2IQ-component (21)6.5.2.2.1Minimum requirements (21)6.5.2.3In-band emissions (21)6.5.2.3.1Minimum requirements (21)6.6Output RF spectrum emissions (21)6.6.1Occupied bandwidth (22)6.6.2Out of band emission (22)6.6.2.1Spectrum emission mask (22)6.6.2.1.1Minimum requirement (22)6.6.2.2Additional Spectrum Emission Mask (23)6.6.2.2.1Minimum requirement (network signalled value “NS_03”) (23)6.6.2.2.2Minimum requirement (network signalled value “NS_04”) (23)6.6.2.2.3Minimum requirement (network signalled) (24)6.6.2.3Adjacent Channel Leakage Ratio (24)6.6.2.3.1Minimum requirement E-UTRA (24)6.6.2.3.2Minimum requirements UTRA (25)6.6.2.4Additional ACLR require ments (25)6.6.2.4.1Minimum requirements (network signalled value “NS_02”) (25)6.6.3Spurious emissions (26)6.6.3.1Minimum requirements (26)6.6.3.2Spurious emission band UE co-existence (26)6.6.3.3Additional spurious emissions (27)6.6.3.3.1Minimum requirement (network signalled value “NS_05”) (27)6.6.3.3.2Minimum requirements (network signalled) (27)6.7Transmit intermodulation (27)7Receiver characteristics (29)7.1General (29)7.2Diversity characteristics (29)7.3Reference sensitivity power level (29)7.3.1Minimum requirements (QPSK) (29)7.3.2Maximum Sensitivity Reduction (MSR) (30)7.4Maximum input level (30)7.4.1Minimum requirements (31)7.5Adjacent Channel Selectivity (A CS) (31)7.5.1Minimum requirements (31)7.6Blocking characteristics (32)7.6.1In-band blocking (32)7.6.1.1Minimum requirements (32)7.6.2Out of-band blocking (33)7.6.2.1Minimu m requirements (33)7.6.3Narrow band blocking (34)7.6.3.1Minimum requirements (34)7.7Spurious response (35)7.7.1Minimum requirements (35)7.8Intermodulation characteristics (35)7.8.1Wide band Intermodulation (35)7.8.1.1Minimum requirements (35)7.8.2Narrow band Intermodulation (36)7.8.2.1Minimum requirements (36)7.9Spurious emissions (36)7.9.1Minimum requirements (36)8Performance requirement (37)8.1General (37)8.1.1Dual-antenna receiver capability (37)8.1.1.1Simultaneous unicast and MBMS operations (37)8.1.1.2Dual-antenna receiver capability in idle mode (37)Annex A (normative): Measurement channels (38)A.1General (38)A.2UL reference measurement channels (38)A.3DL reference measurement channels (38)Annex B (normative): Propagation conditions (39)B.1General (39)B.2Propagation channel s (39)B.2.1Static propagation condition (39)B.2.2Multi-path fading propagation conditions (39)B.2.2.1Delay profiles (39)B.2.2.2Doppler spectrum (40)B.2.2.3Multi-Antenna channel models (42)B.2.2.4Combinations of channel model parameters (46)Annex C (normative): Downlink Physical Channels (47)C.1General (47)C.2Set-up (47)C.3Connection (47)Annex D (normative): Characteristics of the interf ering signal (48)D.1General (48)D.2Interference signals (48)Annex E (normative): Environmental conditions (49)E.1General (49)E.2Environmental (49)E.2.1Temperature (49)E.2.2Voltage (49)E.2.3Vibration (50)Annex F (informative): Change history (51)ForewordThis Technical Specification (TS) has been produced by the 3rd Generation Partnership Project (3GPP).The contents of the present document are subject to continuing work within the TSG and may change following formal TSG approval. Should the TSG modify the contents of the present document, it will be re-released by the TSG with an identifying change of release date and an increase in version number as follows:Version x.y.zWhere:x the first digit:1 presented to TSG for information;2 presented to TSG for approval;3 or greater indicates TSG approved document under change control.y the second digit is incremented for all changes of substance, i.e. technical enhancements, corrections, updates, etc.z the third digit is incremented when editorial only changes have been incorporated in the document.1 ScopeThe present document establishes the User Equipment (UE) minimum RF characteristics of E-UTRA for both FDD and TDD modes2 ReferencesThe following documents contain provisions which, through reference in this text, constitute provisions of the present document.∙References are either specific (identified by date of publication, edition number, version number, etc.) or non-specific.∙For a specific reference, subsequent revisions do not apply.∙For a non-specific reference, the latest version applies. In the case of a reference to a 3GPP document (including a GSM document), a non-specific reference implicitly refers to the latest version of that document in the same Release as the present document.[1] 3GPP TR 21.905[2] ETSI ETR 273: "Electromagnetic compatibility and Radio spectrum Matters (ERM); Improvement ofradiated methods of measurement (using test sites) and evaluation of the corresponding measurementuncertainties; Part 1: Uncertainties in the measurement of mobile radio equipment characteristics; Sub-part 2: Examples and annexes".[3] Recommendation ITU-R SM.329-10, “Unwanted emissions in the spurious domain”[4] Recommendation ITU-R M.1225, “Guidelines for Evaluation of Radio Transmission Technologies forIMT-2000”, ITU-R, 1997.[5] 3GPP TR 25.943 V6.0.0 (2004-12), “Deployment aspects (Release 6)”.[6] 3GPP TR 25.913: “Requirements for Evolved UTRA and UTRAN”.[7] 3GPP TS 45.005 V7.8.0 (2006-11), “3rd Generation Partnership Project; Technical Specification GroupGSM/EDGE Radio Access Network; Radio transm ission and reception (Release 7)”.[8] R4-070752, “Proposal for LTE channel models”[9] 3GPP TR 25.943 V6.0.0 (2004-12), “Deployment aspects (Release 6)”.3 Definitions, symbols and abbreviations3.1 DefinitionsFor the purposes of the present document, the following terms and definitions apply.<defined term> : <definition>.For the purposes of the present document, the terms and definitions given in TR 21.905 [x] and the following apply. A term defined in the present document takes precedence over the definition of the same term, if any, in TR 21.905 [x].Channel edge: The lowest and highest frequency of the carrier, separated by the channel bandwidth.Channel bandwidth: The RF bandwidth supporting a single E-UTRA RF carrier with the transmission bandwidth configured in the uplink or downlink of a cell. The channel bandwidth is measured in MHz and is used as a reference for transmitter and receiver RF requirements.Maximum Output Power: The mean power level per carrier of UE measured at the antenna connector in a specified reference condition.Mean power: When applied to E-UTRA transmission this is the power measured in the operating system bandwidth of the carrier. The period of measurement shall be at least one subframe (1ms) for frame structure type 1 and one subframe (0.675ms) for frame structure type 2 excluding the guard interval, unless otherwise stated.Occupied bandwidth: The width of a frequency band such that, below the lower and above the upper frequency limits, the mean powers emitted are each equal to a specified percentage β/2 of the total mean power of a given emission.Output power: The mean power of one carrier of the UE, delivered to a load with resistance equal to the nominal load impedance of the transmitter.Reference bandwidth: The bandwidth in which an emission level is specified.Transmission bandwidth: Bandwidth of an instantaneous transmission from a UE or BS, measured in Resource Block units.Transmission bandwidth configuration: The highest transmission bandwidth allowed for uplink or downlink in a given channel bandwidth, measured in Resource Block units.3.2 SymbolsFor the purposes of the present document, the following symbols apply:BW Channel Channel bandwidthF FrequencyF Interferer (offset) Frequency offset of the interfererF Interferer Frequency of the interfererF C Frequency of the carrier centre frequencyF DL_low The lowest frequency of the downlink operating bandF DL_high The highest frequency of the downlink operating bandF UL_low The lowest frequency of the uplink operating bandF UL_high The highest frequency of the uplink operating bandN DL Downlink EARFCNN Offs-DL Offset used for calculating downlink EA RFCNN Offs-UL Offset used for calculating uplink EARFCNN RB Transmission bandwidth configuration, expressed in units of resource blocksN UL Uplink EA RFCNRav M inimum average throughput per RBP Interferer Modulated mean power of the interfererΔF OOB Δ Frequency of Out Of Band emission3.3 AbbreviationsFor the purposes of the present document, the abbreviations given in TR 21.905 [1] and the following apply. An abbreviation defined in the present document takes precedence over the definition of the same abbreviation, if any, in TR 21.905 [1].ACLR Adjacent Channel Leakage RatioACS Adjacent Channel SelectivityA-MPR Additional Maximum Power ReductionAWGN Additive White Gaussian NoiseBS Base StationCW Continuous WaveDL DownlinkEA RFCN E-UTRA Absolute Radio Frequency Channel NumberE-UTRA Evolved UMTS Terrestrial Radio AccessEUTRAN Evolved UMTS Terrestrial Radio Access NetworkEVM Error Vector MagnitudeFDD Frequency Division DuplexFRC Fixed Reference ChannelHD-FDD Half- Duplex FDDMCS Modulation and Coding SchemeMOP Maximum Output PowerMPR Maximum Power ReductionMSR Maximum Sensitivity ReductionOOB Out-of-bandPA Power A mplifierREFSENS Reference Sensitivity power levelSNR Signal-to-Noise RatioTDD Time Division DuplexUE User EquipmentUL UplinkUMTS Universal Mobile Telecommunications SystemUTRA UMTS Terrestrial Radio AccessUTRAN UMTS Terrestrial Radio Access NetworkOther abbreviations used in the present document are listed in 3GPP TR 21.905 [1].4 General4.1 Relationship between Minimum Requirements and TestRequirementsThe Minimum Requirements given in this specification make no allowance for measurement uncertainty. The test specification TS 36.xxx section y defines Test Tolerances. These Test Tolerances are individually calculated for each test. The Test Tolerances are used to relax the Minimum Requirements in this specification t o create Test Requirements.The measurement results returned by the Test System are compared - without any modification - against the Test Requirements as defined by the shared risk principle.The Shared Risk principle is defined in ITU-R M.1545 [3].5 Frequency bands and channel arrangement5.1 GeneralThe channel arrangements presented in this clause are based on the frequency bands and channel bandwidths defined in the present release of specifications.NOTE: Other frequency bands and channel bandwidths may be considered in future releases.5.2 Frequency bandsE-UTRA is designed to operate in the frequency bands defined in Table 5.2-1.Table 5.2-1 E-UTRA frequency bands5.3 TX–RX frequency separation5.4 Channel arrangement5.4.1 Channel spacingThe spacing between carriers will depend on the deployment scenario, the size of the frequency block available and the channel bandwidths. The nominal channel spacing between two adjacent E-UTRA carriers is defined as following:Nominal Channel spacing = (BW Channel(1) + BW Channel(2))/2where BW Channel(1) and BW Channel(2) are the channel bandwidths of the two respective E-UTRA carriers. The channel spacing can be adjusted to optimize performance in a particular deployment scenario5.4.2 Channel bandwidthRequirements in present document are specified for the channel bandwidths listed in Table 5.4-1.Table 5.4-1 Transmission bandwidth configuration N RB in E-UTRA channel bandwidthsFigure 5.4-1 shows the relation between the Channel bandwidth (BW Channel) and the Transmission bandwidth configuration (N RB). The channel edges are defined as the lowest and highest frequencies of the carrier separated by the channel bandwidth, i.e. at F C +/- BW Channel /2.Figure 5.4-1 Definition of Channel Bandwidth and Transmiss ion Bandwidth Configuration.5.4.2.1 Nominal channel bandwidthTable 5.4.2-1 specifies the nominal channel bandwidth which are supported for the E-UTRA bandTable 5.4.2-1: E-UTRA channel bandwidth5.4.2.2 Additional channel bandwidthThe following additional channel bandwidth can be supported if certain relaxations of the UE performance are allowed or UE functionality is limited. These relaxations and limitations are TBD.Table 5.4.4.2-1: Additional E-UTRA channel bandwidth5.4.3 Channel rasterThe channel raster is 100 kHz for all bands, which means that the carrier centre frequency must be an integer multiple of 100 kHz.5.4.4 Channel numberThe carrier frequency in the uplink and downlink is designated by the E-UTRA Absolute Radio Frequency Channel Number (EA RFCN). The carrier frequency in MHz for the downlink is given by the following equation, where F DL_low and N Offs-DL are given in table 5.4.4-1 and N DL is the downlink EA RFCN.F DL = F DL_low + 0.1(N DL– N Offs-DL)The carrier frequency in MHz for the uplink is given by the following equation where F UL_low and N Offs-UL are given in table 5.4.4-1 and N UL is the uplink EARFCN.F UL = F UL_low + 0.1(N UL– N Offs-UL)Table 5.4.4-1 E-UTRA channel numbers5.4.5 EARFCN6 Transmitter characteristics6.1 GeneralUnless otherwise stated, the transmitter characteristics are specified at the antenna connector of the UE with a single transmit antenna. For UE with integral antenna only, a reference antenna with a gain of 0 dBi is assumed.6.2 Transmit power6.2.1 Maximum Output Power (MOP)The Maximum Output Power (MOP) defined in Table 6.2.1-1 is the broadband transmit power of the UE, i.e. the power in the channel bandwidth (clause 5.2) for all transmit bandwidth configurations (resource blocks).Table 6.2.1-1: Maximum Output Power (MOP)6.2.2 UE Power classThe following UE Power Classes define the nominal maximum output power. The nominal power is defined as the broadband transmit power of the UE, i.e. the power in the channel bandwidth (clause 5.2) of the radio access mode. The period of measurement shall be at least one [timeslot/ frame/TTI].Table 6.2.2-1: UE Power ClassThe transmission bandwidth configuration (resource blocks) for the maximum output power specified in Table 6.2.2-1 is defined in Table 6.2.2-2 below for QPSK modulation.Table 6.2.2-2: UE Power Class / channel bandwidth / transmission configuration6.2.3 Maximum Power Reduction (MPR)For UE PowerClass 3, the allowed Maximum Power Reduction (MPR) for the nominal maximum output power in 6.2.2 due to higher order modulation and transmit bandwidth configuration (resource blocks) is specified in Table 6.2.3-1.Table 6.2.3-1: Maximum Power Reduction (MPR) for PC 36.2.4 Additional Maximum Power Reduction (A-MPR)Additional ACLR and spectrum emission requirements can be signalled by the network to indicate that the UE shall meet also additional requirements in a specific deployment scenario. To meet these additional requirements the concept of A-MPR is introduced.For UE Power Class 3 the specific requirements and identified sub-clauses are specified in table 6.2.4-1 along with the allowed A-MPR values that may be used to meet these requirements. The allowed A-MPR values specified below are in addition to the allowed MPR requirements specified in clause 6.2.3.Table 6.2.4-1: Additional Maximum Power Reduction (A-MPR) / Spectrum Emission requirements6.3 Output power dynamics6.3.1 Power control6.3.2 Minimum output powerThe minimum controlled output power of the UE is defined as the broadband transmit power of the UE, i.e. the power in the channel bandwidth (clause 5.2) for all transmit bandwidth configurations (resource blocks), when the power is set to a minimum value.6.3.2.1Minimum requirementThe minimum output power is defined as the mean power in one sub-frame (1ms). The minimum output power shall be less than [-30] dBm.6.3.3 Transmit ON/OFF power6.4 Control and monitoring functions6.4.1 Out-of-synchronization handling of output power6.5 Transmit signal quality6.5.1 Frequency ErrorThe UE modulated carrier frequency shall be accurate to within ±0.1 PPM observed over a period of one sub-frame(1ms) for generic frame structure type 1 and one sub-frame (0.675ms) for frame structure type 2 excluding the guard period (Cyclic prefix).6.5.2 Transmit modulationTransmit modulation defines the modulation quality for expected in-channel RF transmissions from the UE. This transmit modulation limit is specified in terms of; an Error Vector Magnitude (EVM) for the allocated resources blocks (RB), an I/Q component and an in-band emissions for the non-allocated RB.6.5.2.1 Error Vector MagnitudeThe Error Vector Magnitude is a measure of the difference between the reference waveform and the measured waveform. This difference is called the error vector. Before calculating the EVM the measured waveform is corrected by the sample timing offset and RF frequency offset. Then the IQ origin offset is removed from the measured waveform.The measured waveform is further modified by selecting the absolute phase and absolute amplitude of the Tx chain. The EVM result is defined after the front-end IDFT as the square root of the ratio of the mean error vector power to the mean reference power expressed as a %. The measurement interval is one [timeslot] except when the mean power between slots is expected to change whereupon the measure ment interval is reduced by [] μs at each end of the slot. The IQ origin offset shall be removed from the evaluated signal before calculating the EVM; however, the removed relative IQ origin offset power (relative carrier leakage power) also has to satisfy the applicable requirement.6.5.2.1.1 M inimum requirementThe RMS average of the basic EVM measurements for [10 consecutive sub-frames] for the different modulations schemes shall not exceed the values specified in Table 6.5.2.1.1-1 for the parameters defined in Table 6.5.2.1.1-2.Table 6.5.2.1.1-1: Minimum requirements for Error Vector MagnitudeTable 6.5.2.1.1-2: Parameters for Error Vector Magnitude6.5.2.2 IQ-componentThe IQ origin offset is the phase and amplitude of an additive sinusoid waveform that has the same frequency as the reference waveform carrier frequency.6.5.2.2.1 Minimum requirementsThe relative carrier leakage power (IQ origin offset power) shall not exceed the values specified in Table 6.5.2.2.1-1.Table 6.5.2.2.1-1: Minimum requirements for Relative Carrier Leakage Power6.5.2.3 In-band emissions6.5.2.3.1 M inimum requirements6.6 Output RF spectrum emissionsThe output UE transmitter spectrum consists of the three components; the emission within the occupied bandwidth (channel bandwidth), the Out Of Band (OOB) emissions and the far out spurious emission domain.Figure 6.6-1: Transmitter RF spectrum6.6.1 Occupied bandwidthOccupied bandwidth is defined as the bandwidth containing 99 % of the total integrated mean power of the transmitted spectrum on the assigned channel. The occupied bandwidth for all transmission bandwidth configurations (Resources Blocks) shall be less than the channel bandwidth specified in Table 6.6.1-1Table 6.6.1-1: Occupied channel bandwidth6.6.2 Out of band emissionThe Out of band emissions are unwanted emissions immediately outside the assigned channel bandwidth resulting from the modulation process and non-linearity in the transmitter but excluding spurious emissions. This out of band emission limit is specified in terms of a spectrum emission mask and an Adjacent Channel Leakage power Ratio.6.6.2.1 Spectrum emission maskThe spectrum emission mask of the UE applies to frequencies (Δf OOB) starting from the edge of the assigned E-UTRA channel bandwidth. For frequencies greater than (Δf OOB) as specified in Table 6.6.2.1.1-1 the spurious requirements in clause 6.6.3 are applicable.6.6.2.1.1 Minimum requirementThe power of any UE emission shall not exceed the levels specified in Table 6.6.2.1.1-1 for the specified channel bandwidth.Table 6.6.2.1.1-1: General E-UTRA spectrum emission maskNote: As a general rule, the resolution bandwidth of the measuring equipment should be equal to the measurement bandwidth. However, to improve measurement accuracy, sensitivity and efficiency, the resolution bandwidth may be smaller than the measurement bandwidth. When the resolution bandwidth is smalle r than the measurement bandwidth, the result should be integrated over the measurement bandwidth in order to obtain the equivalent noise bandwidth of the measurement bandwidth.6.6.2.2 Additional Spectrum Emission MaskThis requirement is specified in ter ms of an “additional spectrum emission” requirement.6.6.2.2.1 Minimum requirement (network signalled value “NS_03”)Additional spectrum emission requirements are signalled by the network to indicate that the UE shall meet an additional requirement for a specific deployment scenario as part of the cell handover/broadcast message.When “NS_03” is indicated in the cell, the power of any UE emission shall not exceed the levels specified in Table6.6.2.2-1.Table 6.6.2.2.1-1: Additional requirements (FCC Part 22)Note: As a general rule, the resolution bandwidth of the measuring equipment should be equal to the measurement bandwidth. However, to improve measurement accuracy, sensitivity and efficiency, the resolution bandwidth may be smaller than the measurement bandwidth. When the resolution bandwidth is smaller than the measurement bandwidth, the result should be integrated over the measurement bandwidth in order to obtain the equivalent noise bandwidth of the measurement bandwidth.6.6.2.2.2 Minimum requirement (network signalled value “NS_04”)Additional spectrum emission requirements are signalled by the network to indicate that the UE shall meet an additional requirement for a specific deployment scenario as part of the cell handover/broadcast message.When “NS_04” is indicated in the cell, the power of any UE emission shall not exceed the levels specified in Table6.6.2.2.2-1.Table 6.6.2.2.2-1: Additional requirements (FCC Part 27)Note: As a general rule, the resolution bandwidth of the measuring equipment should be equal to the measurement bandwidth. However, to improve measurement accuracy, sensitivity and efficiency, the resolution bandwidth may be smaller than the measurement bandwidth. When the resolution bandwidth is smaller than the measurement bandwidth, the result should be integrated over the measurement bandwidth in order to obtain the equiv alent noise bandwidth of the measurement bandwidth.6.6.2.2.3 Minimum requirement (network signalled)6.6.2.3 Adjacent Channel Leakage RatioAdjacent Channel Leakage power Ratio (A CLR) is the ratio of the] filtered mean power centred on the assigned channel frequency to the filtered mean power centred on an adjacent channel frequency. ACLR requirements are specified for two scenarios for an adjacent E -UTRA and /or UTRA channel as shown in Figure 6.6.2.3 -1.Figure 6.6.2.3-1: Adjacent Channel Leakage requirements6.6.2.3.1 Minimum requirement E-UTRAE-UTRA Adjacent Channel Leakage power Ratio (E-UTRA ACLR) is the ratio of the filtered mean power centred on the assigned channel frequency to the filtered mean power centred on an adjacent channel frequenc y. The E-UTRA on channel and adjacent channel power is measured with a [rectangular measurement bandwidth filter.]6.6.2.3.2 Minimum requirements UTRAUTRA Adjacent Channel Leakage power Ratio (UTRA ACLR) is the ratio of the filtered mean power centred on the assigned E-UTRA channel frequency to the filtered mean power centred on an adjacent(s) UTRA channel frequency. UTRA Adjacent Channel Leakage power Ratio is specified for both the first UTRA 5 MHz adjacent channel (UTRA ACLR1) and the 2nd UTRA 5MHz adjacent channel (UTRA ACLR2) .The UTRA channel is measured with a 3.84 MHz RRC bandwidth filter with roll-off factor α =0.22. The E-UTRA channel is measured with a [rectangular measurement bandwidth filter]Table 6.6.2.3.2-1: Additional requirements6.6.2.4 Additional ACLR requirementsThis requirement is specified in terms of an additional UTRA ACLR2 requirement.6.6.2.4.1 Minimum requirements (network signalled value “NS_02”)”NS_02” is signalled by the network to indicate that the UE shall meet this additional requirement for a specific deployment scenario as part of the cell handover/broadcast message.The Additional ACLR requirements is specified for the 2nd UTRA 5MHz adjacent channel (UTRA ACLR2) .The UTRA channel is measured with a 3.84 MHz RRC bandwidth filter with roll-off factor α =0.22. The E-UTRA channel is measured with a [rectangular measurement bandwidth filter.]。

The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu-ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru-ments GmbH.ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH.All other product and company names are trademarks™ or registered® trademarks of their re-spective holders. Use of them does not imply any affiliation with or endorsement by them.Document authored by: David Gover and Nico Sidi.Software version: 2.8 (02/2019)Hardware version: MASCHINE MIKRO MK3Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product.NATIVE INSTRUMENTS GmbH Schlesische Str. 29-30D-10997 Berlin Germanywww.native-instruments.de NATIVE INSTRUMENTS North America, Inc. 6725 Sunset Boulevard5th FloorLos Angeles, CA 90028USANATIVE INSTRUMENTS K.K.YO Building 3FJingumae 6-7-15, Shibuya-ku, Tokyo 150-0001Japanwww.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp StreetLondon EC2A 4NUUKNATIVE INSTRUMENTS FRANCE SARL 113 Rue Saint-Maur75011 ParisFrance SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 5F, Shenzhen Zimao Center111 Taizi Road, Nanshan District, Shenzhen, GuangdongChina© NATIVE INSTRUMENTS GmbH, 2019. All rights reserved.Table of Contents1Welcome to MASCHINE (23)1.1MASCHINE Documentation (24)1.2Document Conventions (25)1.3New Features in MASCHINE 2.8 (26)1.4New Features in MASCHINE 2.7.10 (28)1.5New Features in MASCHINE 2.7.8 (29)1.6New Features in MASCHINE 2.7.7 (29)1.7New Features in MASCHINE 2.7.4 (31)1.8New Features in MASCHINE 2.7.3 (33)2Quick Reference (35)2.1MASCHINE Project Overview (35)2.1.1Sound Content (35)2.1.2Arrangement (37)2.2MASCHINE Hardware Overview (40)2.2.1MASCHINE MIKRO Hardware Overview (40)2.2.1.1Browser Section (41)2.2.1.2Edit Section (42)2.2.1.3Performance Section (43)2.2.1.4Transport Section (45)2.2.1.5Pad Section (46)2.2.1.6Rear Panel (50)2.3MASCHINE Software Overview (51)2.3.1Header (52)2.3.2Browser (54)2.3.3Arranger (56)2.3.4Control Area (59)2.3.5Pattern Editor (60)3Basic Concepts (62)3.1Important Names and Concepts (62)3.2Adjusting the MASCHINE User Interface (65)3.2.1Adjusting the Size of the Interface (65)3.2.2Switching between Ideas View and Song View (66)3.2.3Showing/Hiding the Browser (67)3.2.4Showing/Hiding the Control Lane (67)3.3Common Operations (68)3.3.1Adjusting Volume, Swing, and Tempo (68)3.3.2Undo/Redo (71)3.3.3Focusing on a Group or a Sound (73)3.3.4Switching Between the Master, Group, and Sound Level (77)3.3.5Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.773.3.6Navigating the Software Using the Controller (82)3.3.7Using Two or More Hardware Controllers (82)3.3.8Loading a Recent Project from the Controller (84)3.4Native Kontrol Standard (85)3.5Stand-Alone and Plug-in Mode (86)3.5.1Differences between Stand-Alone and Plug-in Mode (86)3.5.2Switching Instances (88)3.6Preferences (88)3.6.1Preferences – General Page (89)3.6.2Preferences – Audio Page (93)3.6.3Preferences – MIDI Page (95)3.6.4Preferences – Default Page (97)3.6.5Preferences – Library Page (101)3.6.6Preferences – Plug-ins Page (109)3.6.7Preferences – Hardware Page (114)3.6.8Preferences – Colors Page (114)3.7Integrating MASCHINE into a MIDI Setup (117)3.7.1Connecting External MIDI Equipment (117)3.7.2Sync to External MIDI Clock (117)3.7.3Send MIDI Clock (118)3.7.4Using MIDI Mode (119)3.8Syncing MASCHINE using Ableton Link (120)3.8.1Connecting to a Network (121)3.8.2Joining and Leaving a Link Session (121)4Browser (123)4.1Browser Basics (123)4.1.1The MASCHINE Library (123)4.1.2Browsing the Library vs. Browsing Your Hard Disks (124)4.2Searching and Loading Files from the Library (125)4.2.1Overview of the Library Pane (125)4.2.2Selecting or Loading a Product and Selecting a Bank from the Browser (128)4.2.3Selecting a Product Category, a Product, a Bank, and a Sub-Bank (133)4.2.3.1Selecting a Product Category, a Product, a Bank, and a Sub-Bank on theController (137)4.2.4Selecting a File Type (137)4.2.5Choosing Between Factory and User Content (138)4.2.6Selecting Type and Character Tags (138)4.2.7Performing a Text Search (142)4.2.8Loading a File from the Result List (143)4.3Additional Browsing Tools (148)4.3.1Loading the Selected Files Automatically (148)4.3.2Auditioning Instrument Presets (149)4.3.3Auditioning Samples (150)4.3.4Loading Groups with Patterns (150)4.3.5Loading Groups with Routing (151)4.3.6Displaying File Information (151)4.4Using Favorites in the Browser (152)4.5Editing the Files’ Tags and Properties (155)4.5.1Attribute Editor Basics (155)4.5.2The Bank Page (157)4.5.3The Types and Characters Pages (157)4.5.4The Properties Page (160)4.6Loading and Importing Files from Your File System (161)4.6.1Overview of the FILES Pane (161)4.6.2Using Favorites (163)4.6.3Using the Location Bar (164)4.6.4Navigating to Recent Locations (165)4.6.5Using the Result List (166)4.6.6Importing Files to the MASCHINE Library (169)4.7Locating Missing Samples (171)4.8Using Quick Browse (173)5Managing Sounds, Groups, and Your Project (175)5.1Overview of the Sounds, Groups, and Master (175)5.1.1The Sound, Group, and Master Channels (176)5.1.2Similarities and Differences in Handling Sounds and Groups (177)5.1.3Selecting Multiple Sounds or Groups (178)5.2Managing Sounds (181)5.2.1Loading Sounds (183)5.2.2Pre-listening to Sounds (184)5.2.3Renaming Sound Slots (185)5.2.4Changing the Sound’s Color (186)5.2.5Saving Sounds (187)5.2.6Copying and Pasting Sounds (189)5.2.7Moving Sounds (192)5.2.8Resetting Sound Slots (193)5.3Managing Groups (194)5.3.1Creating Groups (196)5.3.2Loading Groups (197)5.3.3Renaming Groups (198)5.3.4Changing the Group’s Color (199)5.3.5Saving Groups (200)5.3.6Copying and Pasting Groups (202)5.3.7Reordering Groups (206)5.3.8Deleting Groups (207)5.4Exporting MASCHINE Objects and Audio (208)5.4.1Saving a Group with its Samples (208)5.4.2Saving a Project with its Samples (210)5.4.3Exporting Audio (212)5.5Importing Third-Party File Formats (218)5.5.1Loading REX Files into Sound Slots (218)5.5.2Importing MPC Programs to Groups (219)6Playing on the Controller (223)6.1Adjusting the Pads (223)6.1.1The Pad View in the Software (223)6.1.2Choosing a Pad Input Mode (225)6.1.3Adjusting the Base Key (226)6.2Adjusting the Key, Choke, and Link Parameters for Multiple Sounds (227)6.3Playing Tools (229)6.3.1Mute and Solo (229)6.3.2Choke All Notes (233)6.3.3Groove (233)6.3.4Level, Tempo, Tune, and Groove Shortcuts on Your Controller (235)6.3.5Tap Tempo (235)6.4Performance Features (236)6.4.1Overview of the Perform Features (236)6.4.2Selecting a Scale and Creating Chords (239)6.4.3Scale and Chord Parameters (240)6.4.4Creating Arpeggios and Repeated Notes (253)6.4.5Swing on Note Repeat / Arp Output (257)6.5Using Lock Snapshots (257)6.5.1Creating a Lock Snapshot (257)7Working with Plug-ins (259)7.1Plug-in Overview (259)7.1.1Plug-in Basics (259)7.1.2First Plug-in Slot of Sounds: Choosing the Sound’s Role (263)7.1.3Loading, Removing, and Replacing a Plug-in (264)7.1.4Adjusting the Plug-in Parameters (270)7.1.5Bypassing Plug-in Slots (270)7.1.6Using Side-Chain (272)7.1.7Moving Plug-ins (272)7.1.8Alternative: the Plug-in Strip (273)7.1.9Saving and Recalling Plug-in Presets (273)7.1.9.1Saving Plug-in Presets (274)7.1.9.2Recalling Plug-in Presets (275)7.1.9.3Removing a Default Plug-in Preset (276)7.2The Sampler Plug-in (277)7.2.1Page 1: Voice Settings / Engine (279)7.2.2Page 2: Pitch / Envelope (281)7.2.3Page 3: FX / Filter (283)7.2.4Page 4: Modulation (285)7.2.5Page 5: LFO (286)7.2.6Page 6: Velocity / Modwheel (288)7.3Using Native Instruments and External Plug-ins (289)7.3.1Opening/Closing Plug-in Windows (289)7.3.2Using the VST/AU Plug-in Parameters (292)7.3.3Setting Up Your Own Parameter Pages (293)7.3.4Using VST/AU Plug-in Presets (298)7.3.5Multiple-Output Plug-ins and Multitimbral Plug-ins (300)8Using the Audio Plug-in (302)8.1Loading a Loop into the Audio Plug-in (306)8.2Editing Audio in the Audio Plug-in (307)8.3Using Loop Mode (308)8.4Using Gate Mode (310)9Using the Drumsynths (312)9.1Drumsynths – General Handling (313)9.1.1Engines: Many Different Drums per Drumsynth (313)9.1.2Common Parameter Organization (313)9.1.3Shared Parameters (316)9.1.4Various Velocity Responses (316)9.1.5Pitch Range, Tuning, and MIDI Notes (316)9.2The Kicks (317)9.2.1Kick – Sub (319)9.2.2Kick – Tronic (321)9.2.3Kick – Dusty (324)9.2.4Kick – Grit (325)9.2.5Kick – Rasper (328)9.2.6Kick – Snappy (329)9.2.7Kick – Bold (331)9.2.8Kick – Maple (333)9.2.9Kick – Push (334)9.3The Snares (336)9.3.1Snare – Volt (338)9.3.2Snare – Bit (340)9.3.3Snare – Pow (342)9.3.4Snare – Sharp (343)9.3.5Snare – Airy (345)9.3.6Snare – Vintage (347)9.3.7Snare – Chrome (349)9.3.8Snare – Iron (351)9.3.9Snare – Clap (353)9.3.10Snare – Breaker (355)9.4The Hi-hats (357)9.4.1Hi-hat – Silver (358)9.4.2Hi-hat – Circuit (360)9.4.3Hi-hat – Memory (362)9.4.4Hi-hat – Hybrid (364)9.4.5Creating a Pattern with Closed and Open Hi-hats (366)9.5The Toms (367)9.5.1Tom – Tronic (369)9.5.2Tom – Fractal (371)9.5.3Tom – Floor (375)9.5.4Tom – High (377)9.6The Percussions (378)9.6.1Percussion – Fractal (380)9.6.2Percussion – Kettle (383)9.6.3Percussion – Shaker (385)9.7The Cymbals (389)9.7.1Cymbal – Crash (391)9.7.2Cymbal – Ride (393)10Using the Bass Synth (396)10.1Bass Synth – General Handling (397)10.1.1Parameter Organization (397)10.1.2Bass Synth Parameters (399)11Working with Patterns (401)11.1Pattern Basics (401)11.1.1Pattern Editor Overview (402)11.1.2Navigating the Event Area (404)11.1.3Following the Playback Position in the Pattern (406)11.1.4Jumping to Another Playback Position in the Pattern (407)11.1.5Group View and Keyboard View (408)11.1.6Adjusting the Arrange Grid and the Pattern Length (410)11.1.7Adjusting the Step Grid and the Nudge Grid (413)11.2Recording Patterns in Real Time (416)11.2.1Recording Your Patterns Live (417)11.2.2Using the Metronome (419)11.2.3Recording with Count-in (420)11.3Recording Patterns with the Step Sequencer (422)11.3.1Step Mode Basics (422)11.3.2Editing Events in Step Mode (424)11.4Editing Events (425)11.4.1Editing Events with the Mouse: an Overview (425)11.4.2Creating Events/Notes (428)11.4.3Selecting Events/Notes (429)11.4.4Editing Selected Events/Notes (431)11.4.5Deleting Events/Notes (434)11.4.6Cut, Copy, and Paste Events/Notes (436)11.4.7Quantizing Events/Notes (439)11.4.8Quantization While Playing (441)11.4.9Doubling a Pattern (442)11.4.10Adding Variation to Patterns (442)11.5Recording and Editing Modulation (443)11.5.1Which Parameters Are Modulatable? (444)11.5.2Recording Modulation (446)11.5.3Creating and Editing Modulation in the Control Lane (447)11.6Creating MIDI Tracks from Scratch in MASCHINE (452)11.7Managing Patterns (454)11.7.1The Pattern Manager and Pattern Mode (455)11.7.2Selecting Patterns and Pattern Banks (456)11.7.3Creating Patterns (459)11.7.4Deleting Patterns (460)11.7.5Creating and Deleting Pattern Banks (461)11.7.6Naming Patterns (463)11.7.7Changing the Pattern’s Color (465)11.7.8Duplicating, Copying, and Pasting Patterns (466)11.7.9Moving Patterns (469)11.8Importing/Exporting Audio and MIDI to/from Patterns (470)11.8.1Exporting Audio from Patterns (470)11.8.2Exporting MIDI from Patterns (472)11.8.3Importing MIDI to Patterns (474)12Audio Routing, Remote Control, and Macro Controls (483)12.1Audio Routing in MASCHINE (484)12.1.1Sending External Audio to Sounds (485)12.1.2Configuring the Main Output of Sounds and Groups (489)12.1.3Setting Up Auxiliary Outputs for Sounds and Groups (494)12.1.4Configuring the Master and Cue Outputs of MASCHINE (497)12.1.5Mono Audio Inputs (502)12.1.5.1Configuring External Inputs for Sounds in Mix View (503)12.2Using MIDI Control and Host Automation (506)12.2.1Triggering Sounds via MIDI Notes (507)12.2.2Triggering Scenes via MIDI (513)12.2.3Controlling Parameters via MIDI and Host Automation (514)12.2.4Selecting VST/AU Plug-in Presets via MIDI Program Change (522)12.2.5Sending MIDI from Sounds (523)12.3Creating Custom Sets of Parameters with the Macro Controls (527)12.3.1Macro Control Overview (527)12.3.2Assigning Macro Controls Using the Software (528)13Controlling Your Mix (535)13.1Mix View Basics (535)13.1.1Switching between Arrange View and Mix View (535)13.1.2Mix View Elements (536)13.2The Mixer (537)13.2.1Displaying Groups vs. Displaying Sounds (539)13.2.2Adjusting the Mixer Layout (541)13.2.3Selecting Channel Strips (542)13.2.4Managing Your Channels in the Mixer (543)13.2.5Adjusting Settings in the Channel Strips (545)13.2.6Using the Cue Bus (549)13.3The Plug-in Chain (551)13.4The Plug-in Strip (552)13.4.1The Plug-in Header (554)13.4.2Panels for Drumsynths and Internal Effects (556)13.4.3Panel for the Sampler (557)13.4.4Custom Panels for Native Instruments Plug-ins (560)13.4.5Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) (564)14Using Effects (567)14.1Applying Effects to a Sound, a Group or the Master (567)14.1.1Adding an Effect (567)14.1.2Other Operations on Effects (574)14.1.3Using the Side-Chain Input (575)14.2Applying Effects to External Audio (578)14.2.1Step 1: Configure MASCHINE Audio Inputs (578)14.2.2Step 2: Set up a Sound to Receive the External Input (579)14.2.3Step 3: Load an Effect to Process an Input (579)14.3Creating a Send Effect (580)14.3.1Step 1: Set Up a Sound or Group as Send Effect (581)14.3.2Step 2: Route Audio to the Send Effect (583)14.3.3 A Few Notes on Send Effects (583)14.4Creating Multi-Effects (584)15Effect Reference (587)15.1Dynamics (588)15.1.1Compressor (588)15.1.2Gate (591)15.1.3Transient Master (594)15.1.4Limiter (596)15.1.5Maximizer (600)15.2Filtering Effects (603)15.2.1EQ (603)15.2.2Filter (605)15.2.3Cabinet (609)15.3Modulation Effects (611)15.3.1Chorus (611)15.3.2Flanger (612)15.3.3FM (613)15.3.4Freq Shifter (615)15.3.5Phaser (616)15.4Spatial and Reverb Effects (617)15.4.1Ice (617)15.4.2Metaverb (619)15.4.3Reflex (620)15.4.4Reverb (Legacy) (621)15.4.5Reverb (623)15.4.5.1Reverb Room (623)15.4.5.2Reverb Hall (626)15.4.5.3Plate Reverb (629)15.5Delays (630)15.5.1Beat Delay (630)15.5.2Grain Delay (632)15.5.3Grain Stretch (634)15.5.4Resochord (636)15.6Distortion Effects (638)15.6.1Distortion (638)15.6.2Lofi (640)15.6.3Saturator (641)15.7Perform FX (645)15.7.1Filter (646)15.7.2Flanger (648)15.7.3Burst Echo (650)15.7.4Reso Echo (653)15.7.5Ring (656)15.7.6Stutter (658)15.7.7Tremolo (661)15.7.8Scratcher (664)16Working with the Arranger (667)16.1Arranger Basics (667)16.1.1Navigating Song View (670)16.1.2Following the Playback Position in Your Project (672)16.1.3Performing with Scenes and Sections using the Pads (673)16.2Using Ideas View (677)16.2.1Scene Overview (677)16.2.2Creating Scenes (679)16.2.3Assigning and Removing Patterns (679)16.2.4Selecting Scenes (682)16.2.5Deleting Scenes (684)16.2.6Creating and Deleting Scene Banks (685)16.2.7Clearing Scenes (685)16.2.8Duplicating Scenes (685)16.2.9Reordering Scenes (687)16.2.10Making Scenes Unique (688)16.2.11Appending Scenes to Arrangement (689)16.2.12Naming Scenes (689)16.2.13Changing the Color of a Scene (690)16.3Using Song View (692)16.3.1Section Management Overview (692)16.3.2Creating Sections (694)16.3.3Assigning a Scene to a Section (695)16.3.4Selecting Sections and Section Banks (696)16.3.5Reorganizing Sections (700)16.3.6Adjusting the Length of a Section (702)16.3.6.1Adjusting the Length of a Section Using the Software (703)16.3.6.2Adjusting the Length of a Section Using the Controller (705)16.3.7Clearing a Pattern in Song View (705)16.3.8Duplicating Sections (705)16.3.8.1Making Sections Unique (707)16.3.9Removing Sections (707)16.3.10Renaming Scenes (708)16.3.11Clearing Sections (710)16.3.12Creating and Deleting Section Banks (710)16.3.13Working with Patterns in Song view (710)16.3.13.1Creating a Pattern in Song View (711)16.3.13.2Selecting a Pattern in Song View (711)16.3.13.3Clearing a Pattern in Song View (711)16.3.13.4Renaming a Pattern in Song View (711)16.3.13.5Coloring a Pattern in Song View (712)16.3.13.6Removing a Pattern in Song View (712)16.3.13.7Duplicating a Pattern in Song View (712)16.3.14Enabling Auto Length (713)16.3.15Looping (714)16.3.15.1Setting the Loop Range in the Software (714)16.3.15.2Activating or Deactivating a Loop Using the Controller (715)16.4Playing with Sections (715)16.4.1Jumping to another Playback Position in Your Project (716)16.5Triggering Sections or Scenes via MIDI (717)16.6The Arrange Grid (719)16.7Quick Grid (720)17Sampling and Sample Mapping (722)17.1Opening the Sample Editor (722)17.2Recording Audio (724)17.2.1Opening the Record Page (724)17.2.2Selecting the Source and the Recording Mode (725)17.2.3Arming, Starting, and Stopping the Recording (729)17.2.5Checking Your Recordings (731)17.2.6Location and Name of Your Recorded Samples (734)17.3Editing a Sample (735)17.3.1Using the Edit Page (735)17.3.2Audio Editing Functions (739)17.4Slicing a Sample (743)17.4.1Opening the Slice Page (743)17.4.2Adjusting the Slicing Settings (744)17.4.3Manually Adjusting Your Slices (746)17.4.4Applying the Slicing (750)17.5Mapping Samples to Zones (754)17.5.1Opening the Zone Page (754)17.5.2Zone Page Overview (755)17.5.3Selecting and Managing Zones in the Zone List (756)17.5.4Selecting and Editing Zones in the Map View (761)17.5.5Editing Zones in the Sample View (765)17.5.6Adjusting the Zone Settings (767)17.5.7Adding Samples to the Sample Map (770)18Appendix: Tips for Playing Live (772)18.1Preparations (772)18.1.1Focus on the Hardware (772)18.1.2Customize the Pads of the Hardware (772)18.1.3Check Your CPU Power Before Playing (772)18.1.4Name and Color Your Groups, Patterns, Sounds and Scenes (773)18.1.5Consider Using a Limiter on Your Master (773)18.1.6Hook Up Your Other Gear and Sync It with MIDI Clock (773)18.1.7Improvise (773)18.2Basic Techniques (773)18.2.1Use Mute and Solo (773)18.2.2Create Variations of Your Drum Patterns in the Step Sequencer (774)18.2.3Use Note Repeat (774)18.2.4Set Up Your Own Multi-effect Groups and Automate Them (774)18.3Special Tricks (774)18.3.1Changing Pattern Length for Variation (774)18.3.2Using Loops to Cycle Through Samples (775)18.3.3Load Long Audio Files and Play with the Start Point (775)19Troubleshooting (776)19.1Knowledge Base (776)19.2Technical Support (776)19.3Registration Support (777)19.4User Forum (777)20Glossary (778)Index (786)1Welcome to MASCHINEThank you for buying MASCHINE!MASCHINE is a groove production studio that implements the familiar working style of classi-cal groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instru-ment, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.Creating beats is often not very intuitive with a computer, but using the MASCHINE hardware controller to do it makes it easy and fun. You can tap in freely with the pads or use Note Re-peat to jam along. Alternatively, build your beats using the step sequencer just as in classic drum machines.Patterns can be intuitively combined and rearranged on the fly to form larger ideas. You can try out several different versions of a song without ever having to stop the music.Since you can integrate it into any sequencer that supports VST, AU, or AAX plug-ins, you can reap the benefits in almost any software setup, or use it as a stand-alone application. You can sample your own material, slice loops and rearrange them easily.However, MASCHINE is a lot more than an ordinary groovebox or sampler: it comes with an inspiring 7-gigabyte library, and a sophisticated, yet easy to use tag-based Browser to give you instant access to the sounds you are looking for.What’s more, MASCHINE provides lots of options for manipulating your sounds via internal ef-fects and other sound-shaping possibilities. You can also control external MIDI hardware and 3rd-party software with the MASCHINE hardware controller, while customizing the functions of the pads, knobs and buttons according to your needs utilizing the included Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go-ing!—The MASCHINE team at Native Instruments.MASCHINE Documentation1.1MASCHINE DocumentationNative Instruments provide many information sources regarding MASCHINE. The main docu-ments should be read in the following sequence:1.MASCHINE MIKRO Quick Start Guide: This animated online guide provides a practical ap-proach to help you learn the basic of MASCHINE MIKRO. The guide is available from theNative Instruments website: https:///maschine-mikro-quick-start/2.MASCHINE Manual (this document): The MASCHINE Manual provides you with a compre-hensive description of all MASCHINE software and hardware features.Additional documentation sources provide you with details on more specific topics:►Online Support Videos: You can find a number of support videos on The Official Native In-struments Support Channel under the following URL: https:///NIsupport-EN. We recommend that you follow along with these instructions while the respective ap-plication is running on your computer.Other Online Resources:If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help:▪Knowledge Base▪User Forum▪Technical Support▪Registration SupportYou will find more information on these subjects in the chapter Troubleshooting.Document Conventions1.2Document ConventionsThis section introduces you to the signage and text highlighting used in this manual. This man-ual uses particular formatting to point out special facts and to warn you of potential issues.The icons introducing these notes let you see what kind of information is to be expected:This document uses particular formatting to point out special facts and to warn you of poten-tial issues. The icons introducing the following notes let you see what kind of information canbe expected:Furthermore, the following formatting is used:▪Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software andpaths to locations on your hard disk or other storage devices is printed in italics.▪Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in thesoftware is printed in blue. Whenever you see this formatting applied, you will find thesame text appearing somewhere on the screen.▪Text appearing on the displays of the controller is printed in light grey. Whenever you seethis formatting applied, you will find the same text on a controller display.▪Text appearing on labels of the hardware controller is printed in orange. Whenever you seethis formatting applied, you will find the same text on the controller.▪Important names and concepts are printed in bold.▪References to keys on your computer’s keyboard you’ll find put in square brackets (e.g.,“Press [Shift] + [Enter]”).►Single instructions are introduced by this play button type arrow.→Results of actions are introduced by this smaller arrow.Naming ConventionThroughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer.The term “effect” will sometimes be abbreviated as “FX” when referring to elements in the MA-SCHINE software and hardware. These terms have the same meaning.Button Combinations and Shortcuts on Your ControllerMost instructions will use the “+” sign to indicate buttons (or buttons and pads) that must be pressed simultaneously, starting with the button indicated first. E.g., an instruction such as:“Press SHIFT + PLAY”means:1.Press and hold SHIFT.2.While holding SHIFT, press PLAY and release it.3.Release SHIFT.1.3New Features in MASCHINE2.8The following new features have been added to MASCHINE: Integration▪Browse on , create your own collections of loops and one-shots and send them directly to the MASCHINE browser.Improvements to the Browser▪Samples are now cataloged in separate Loops and One-shots tabs in the Browser.▪Previews of loops selected in the Browser will be played in sync with the current project.When a loop is selected with Prehear turned on, it will begin playing immediately in-sync with the project if transport is running. If a loop preview starts part-way through the loop, the loop will play once more for its full length to ensure you get to hear the entire loop once in context with your project.▪Filters and product selections will be remembered when switching between content types and Factory/User Libraries in the Browser.▪Browser content synchronization between multiple running instances. When running multi-ple instances of MASCHINE, either as Standalone and/or as a plug-in, updates to the Li-brary will be synced across the instances. For example, if you delete a sample from your User Library in one instance, the sample will no longer be present in the other instances.Similarly, if you save a preset in one instance, that preset will then be available in the oth-er instances, too.▪Edits made to samples in the Factory Libraries will be saved to the Standard User Directo-ry.For more information on these new features, refer to the following chapter ↑4, Browser. Improvements to the MASCHINE MIKRO MK3 Controller▪You can now set sample Start and End points using the controller. For more information refer to ↑17.3.1, Using the Edit Page.Improved Support for A-Series Keyboards▪When Browsing with A-Series keyboards, you can now jump quickly to the results list by holding SHIFT and pushing right on the 4D Encoder.▪When Browsing with A-Series keyboards, you can fast scroll through the Browser results list by holding SHIFT and twisting the 4D Encoder.▪Mute and Solo Sounds and Groups from A-Series keyboards. Sounds are muted in TRACK mode while Groups are muted in IDEAS.。

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廖阅鹏简介：廖阅鹏是台湾顶尖的催眠大师，美国临床催眠治疗学会会员，美国催眠师学会认证的催眠治疗师和训练师。

廖阅鹏本科攻读心理学，后又攻读佛学硕士。

广泛涉猎东西方思想、神秘学、潜能开发以及各种修行体系，从他众多的著作里，我们可以发现他所研究的不只是催眠，而是宇宙人生的真相，身体心灵的整体奥秘。

廖老師所主持葛吉夫催眠中心，廖老師帮助了许许多多的人解决各种身心问题。

丰富而广泛的理论知识，加多年的临床催眠治疗经验，造就了廖老师精湛的催眠技术。

01廖阅鹏－认识催眠、体验催眠内容简介：CD1 认识催眠这是认识催眠的有声教材，内容有：什么是催眠呢？五个正确的催眠观念。

正面信念的重要性。

前世催眠与未来催眠。

催眠秀是真是假？动物催眠的真相。

催眠有哪些用途呢？如何运用催眠有声书获得最佳效果？（本CD没有聆听时间空间之限制）复制内容到剪贴板代码:ed2k://|file|%E5%BB%96%E9%98%85%E9%B9%8F-%E5%AE%9E%E7%94%A8%E5%82%AC%E7%9C%A0CD-%E8%AE%A4%E8%AF%86%E5%82%AC%E7%9C%A0%EF%BC% 8C%E4%BD%93%E9%AA%8C%E5%82%AC%E7%9C%A0A.rar|37990265|26E44ABCDA2 EFC6446F5FC5A9FDAD242|/CD2 体验催眠海浪声音一波一波传来，廖老师亲自发声，引导你放松身心，体验催眠的舒服感受，同时测试你的催眠敏感度，让你了解自己接受催眠与自我催眠的能力。

最后结束之前，引导你身心彻底松弛，从宇宙吸取源源不绝的能量。

（本CD限于安全环境聆听）复制内容到剪贴板代码:ed2k://|file|%E5%BB%96%E9%98%85%E9%B9%8F-%E5%AE%9E%E7%94%A8%E5%82%AC%E7%9C%A0CD-%E8%AE%A4%E8%AF%86%E5%82%AC%E7%9C%A0%EF%BC% 8C%E4%BD%93%E9%AA%8C%E5%82%AC%E7%9C%A0B.mp3|41680734|499464EA58A 8280E9B8E45115898A518|/02廖阅鹏－高质量睡眠内容简介CD1 高品质睡眠催眠CD：听着悦耳的蛙鸣从远方传来，虫声彷佛在耳畔低语，接着，廖老师的柔和声音，引导你不知不觉进入梦乡，享受一夜好眠。