Recording Word Position Information for Improved Document Categorization

Test Paper 1 ability abstract accountant accuracyacidaction activityactoradult adventure advertisements advertising adviceageagency agreement agricultureaidaimairallergyalley allowance alteration altitude ambition ambulance amount analysis analystangeranimalankleanswer Antarctica ape appearance architect architecture area argument aristocrat armyartarticle aspirin assignmentatlasaudienceauditoriumauthorauthorityaverageawardbachelorbackgroundbacteriabadgebadmintonbackpackbaldnessbandbandagebandsbankbanquetbasebasementbasesbasisbathbatteriesbatterybeachbeardbeatsbeautybedbedroombed sheetbedsitbehaviorsbeltbenefitbeveragebibliographybicyclebillbiologistbirdbirthblanketblastblockblouseboardboarderboatbonebowlbowlingbranchbreakfastbrickbridgebrochuresbuildingbungalowburgerburglarbuscabTest Paper 2cabinetcablecafécafeteriacageCambridgecamelcameracamp campus candidate candle canteen capital capsule carbon care career carpet carving cashier castle category cathedral cause cave cents century certificate chair chance chancellor channel chapter character charge charity chart chat checklist checks cheese chemist’s chest chick chicken child chin chocolate choice church cinema circlecity clarity cleanercleaningclientcliffsclimateclinicclockclothclothingclubcoachcoast codecokecolacolleague collegecomedycommercialscommutercompanioncompanycomplaintcomplexcomputerconcertconclusionconditionconferencesconfidenceconfirmationcongestionconquerorconquestconversationconservationconstructionconsultantconsumptioncontact containercontaminantscontaminationcontentcontinentcontractcontractscontroversyconveniencecooperationcopcopycorporationcorpsecorrespondencecostcostumecotcottagecoughcouncilcountrycoursecrack craftcreamcreditcreekcrimecrisiscrocodilecropcultivationculturecupcupboardcurtaincustomercutlerycyclecyclingdamagedangerdatadatedaydeadlinedebateTest Paper 3debtdecadedecisiondeclinedecorationsdelaydelegatedelight delivery demonstration dentist department deposit depth description desert design designer desiredesks destination detaildiary dictationdietdining dinner dioxide direction director disagreement disaster discipline disco discomfort discos discount discovery diseasedish disposal dispute distance divorce document documentarydonationdonkeydraftdramadrawdrawerdrinkdrinkingdriverdrivingdrugdrumduedurationdustdutyeagleeareasteatingeconomyeditoreducationelbowelderelectricityelementselevatoremotionemperoremployeeemployerencyclopediaendingenergiesengineengineerentranceepidemicequipmentethiceveningeventevidenceexaminationexampleexceptionexchangeexcitementexcursionexcuseexercisesexhibitionexistenceexistingexpansionexpenseexperimentexpertexplanationexplosionexpositionexposureextensionfacilityfactorfactoryTest Paper 4 faculty failure falconfanfarefarm farmer farming fashionfatfeastfeatherfeaturefeedbackfellowshipfemaleferriesfestival fieldfigurefilmfindingfingerfirmsfishfishingflagflashflatflightfloodfloodingflourflourishflowflufly forest forestry form formula fortnight fortune foyer freedom freezer freshman fruitfur furniture future gallery gap garage garbage garden gasoline gender germ gesture glass goal goldgolf grade grades graduate graduates grain grass green ground group growth guest guide gulfguygym habit handhandballhandbookshandlinghandouthatheadacheheadinghealthhearingheartheatinghenherbheroheroesheroinehikehikinghinthintshistorianhithitshobbyholidayhorsehospitalhouseworkhousinghouseholdshourTest Paper 5hotelhotline ]hunthuntingideaidentificationidentityimageimpactimportsinabilityincomingindexindustryinfectioninfluenceinformationinjectioninjuryinlandinsectinsomniainstituteinstitutioninstructioninstructorinstrumentinterestInternetinterviewerintroductioninvestigatorinvestmentirrigationislandisolationitemjacketjamjawjeansjournaljudgejuicejunctionjuniorkeeperkelpkeywordkidkingkioskkitkitchenkitsknifeknowledgekoalalablakelamplandlandmarklandscapelanguagelaptoplaserlavalawyerlayerlecturelecturerleisurelemonlenderlengthlessonletterlevellibraryliftlightlinelionlistsloanlocationlocklossloungeloyaltylucklunchlungmachinemagazine maidmail majority making male manager mane manufacture map margin mark market marketingmarshmastermatmatchingmaterialmaturitymaximummealmeasuremeasurementmeatmediamedicationmedicinemediummethodmicrophonemigrationmilemileagemilkminemineralmillminimumminutemixturemodelmoneymonopolymonthmoodmoralitymosquitomotelmountainTest Paper 6 moustache mouthmovie muscle museum music musical musiciannapnature naught=nought necknet newspaper nightnoisenorth northeast northwestnosenotenoticenurse nursery nursing nutnutrition objectiveoccasionoccupantoceanoculistointmentoption orderordinaryorganizeroriginal outlineoverdraftownerownershipOxfordpackagepagepaintpaintingpairpa;palacepanicpaperparcelparentparkparkingparticipantpassagespassengerpastimepatientpaymentpedestrianpensionpensionerspercentperformerperfumeperiodperiodicalperkpermitpersonpersonalitypetpetrolpetroleumphilosopherphotophotographphysicianphysicspianistpianopicnicpicturepiepillpinkplaceplacementplanplannersplansplantplantingplasticplateplayerplaygroundpleasurepocketpointpolicepollpollutantpollutepollutionportpositionpostpostgraduateparticularsTest Paper 7potteriespower powerpoint precaution precision preference preposition prescription presentation preservation president prevention printing priority privacyprize problem product production professors profit project promotion prone property prospectus protein psychiatrist psychologist psychotherapy publication pump purpose purse quality quantity quarter question radar radiator radio railwayrainrainfall range rankratrateratsrayreaderreadingreasonreceptionreciperecorderrecordingrecreationrecruitrecyclingrefereereferencereflectancereformrefugeregionregulationrelationrelationshiprelaxationreliefreligionremarkremovalrenewalrentrentalrepetitionreplacementreportreproduceresearchreservationreserveresidenceresidentresourcerespondentresponserestaurantresultretirementreturnreviewrevisionriceriderridersriskriverrobotrockrocketroleTest Paper 8roommatesrouterulesafarisafetysailsailingsaladsaladssalarysalesaltsamplesandalsatellitesaucesavingscalescandalscandalsscarscentscheduleschemescholarscholarshipsciencescientistscorescriptsculptureseaseasonseatsecondsecretarysectionsectorselectionselectionsseminarsensesentenceservantservicesewagesewersexshadesheepsheetshelfshellsheltership shoeshopliftersshoppershortageshowersidesightsignsignaturesilencesimulationsinglesitesizeskatingskeleton skillskinskirt slang slave sleep sleeping slip smell smoke smoking snacksoil solution sound source south southeast southwest space speaker speaking speed spending spider sponsor spoons sportsman spot stability stack stage stair standard star starter starting state statement station status steak steam stepstingstockstomachstomachachestonestorestorystrategystrengthstrikestylesubjectsubmitsubsidysuburbsugarsuitsunshieldsupervisorsupportssurfacesurgeonsurnamesurprisesurveysurvivalsweaterswitchswitchessymptomsyndicatesyrupsystemtabletablettapetaxTest Paper 9taxiteateacherteachingteamjargontermtechnologyteethtelephonetelescopetelevisiontempertempletexttexturegalaxythefttheorytherapisttherapythesisthiefthievesthinkingthirdthoughtthreatthrillertickettidetidestiletimbertimetitletoastertoilettomatotonetooltoptopictotaltouchingtourtouringtourismtouristtoweltowertowntracktractortradetramtragedytrailertrainingtrendtraveltravelertreatmenttriptribetributetributesTrinitytrolleytroubletubetunnelstuitiontunetunestutortypeumpireunderstandingutensiluniformunionuniversityusagevacancyvacationvalueparticularsvarietyvegetablevelvetvetvideo view village vinegar visa visitor vitamin vocation volunteer volunteers waist waiter walk walking wall world warming washing wasp waste wasteland water wavewax wealth weapon weather weeds week weekday weekend weight welfare west wetland whale wheel width willows windwing word workforce working wound writing year yoga youth zero。

参阅word帮助中的selection对象中的information 属性说明，先取出要填充的位置，以便以后按指定位置填充：information 属性返回有关指定的所选内容或区域的信息。

variant 类型，只读。

语法rmation(type)expression 必需。

该表达式返回一个 range 或 selection 对象。

type long 类型，必需。

需要返回的信息。

可取下列 wdinformation 常量之一：wdactiveendadjustedpagenumber 返回页码，在该页中包含指定的所选内容或区域的活动结尾。

如果设置了一个起始页码，并对页码进行了手工调整，则返回调整过的页码。

wdactiveendpagenumber 返回页码，在该页中包含指定的所选内容或区域的活动结尾，页码从文档的开头开始计算而不考虑对页码的任何手工调整。

wdactiveendsectionnumber 返回节号，在该节中包含了指定的所选内容或区域的活动结尾。

wdatendofrowmarker 如果指定的所选内容或区域位于表格的行结尾标记处，则本参数返回 true。

wdcapslock 如果大写字母锁定模式有效，则本参数返回 true。

wdendofrangecolumnnumber 返回表格列号，在该表格列中包含了指定的所选内容或区域的活动结尾。

wdendofrangerownumber 返回表格行号，在该表格行包含了指定的所选内容或区域的活动结尾。

wdfirstcharactercolumnnumber 返回指定的所选内容或区域中第一个字符的位置。

如果所选内容或区域是折叠的，则返回所选内容或区域右侧紧接着的字符编号。

wdfirstcharacterlinenumber 返回所选内容中第一个字符的行号。

如果pagination 属性为 false，或 draft 属性为 true，则返回 - 1。

三年级下册英语Module 1 第二课时练习 (外研三起) (2)一、听音选图 Listen and choose)听录音，选出与录音内容相符的图片，并将序号填入题前的括号内。

(Listen to the recordinand choose the picture that matches the recording. Writethe number in the brackets.)( ) 1. A. [图片：一个男孩正在玩滑板] B. [图片：一个女孩正在骑自行车] C. [图片：一个男孩正在踢足球]( ) 2. A. [图片：一个女孩正在弹钢琴] . [图片：一个男孩正在唱歌] C. [图片：一个女孩正在跳舞]( ) 3. A. [图片：一个男孩正在读书] B. [图片：一个女孩正在写字] C. [图片：一个男孩正在画画]( ) 4. A. [图片：一个女孩正在吃苹果] B. [图片：一个男孩正在喝牛奶] C. [图片：一个女孩正在吃蛋糕]( ) . A. [图片：一个男孩正在玩电脑游戏] B. [图片：一个女孩正在看电视] C. [图片：一个男孩正在打电话]二、听音填词 (Listen and fill in the blanks)听录音，根据录音内填写所缺单词。

(Listen to the recording and fill inthe blanks with the missing words.)1.I like to ______.2.She likes to ______.3.He likes to ______.4.We like to ______.5.They like to ______.三连词成句 (Put the words in order to make sentences)将下列单词组成完整的句子。

(Put the words in order to make complete sentences.)1.like, I, to, play, football.2.to, she, likes, sing.3.to, h, likes, read, books.4.to, we, like, play, games.5.to, they, like, watch, TV.四、选择填空 (Choose the best answer)**选择合适的单词填空。

2002年专业英语八级考试真题试卷●试卷一(95 min)Part Ⅰ Listening Comprehension (40 min)In Sections A, B and C you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow. Mark the correct answer to each question on your Coloured Answer Sheet.SECTION A TALKQuestions 1 to 5 refer to the talk in this section .At the end of the talk you will be given 15 seconds to answer each of the following five questions. Now listen to the talk.1. According to the passage, during the 18th and 19th centuries cities were small in size mainly because ___.A. the urban population was stableB. few people lived in citiesC. transport was backwardD. it was originally planned2. Cities survived in those days largely as a result of ___.A. the trade activities they undertookB. the agricultural activities in the nearby areasC. their relatively small sizeD. the non-economic roles they played3. City dwellers were engaged in all the following economic activitiesEXCEPT ___.A. commerceB. distributionC. processingD. transportation4. Urban people left cities for the following reasons EXCEPT ___.A. more economic opportunitiesB. a freer social and political environmentC. more educational opportunitiesD. a more relaxed religious environment5. Why did the early cities fail to grow as quickly as expected throughout the 18th century?A. Because the countryside attracted more people.B. Because cities did not increase in number.C. Because the functions of the cities changed.D. Because the number of city people was stable.SECTION B INTERVIEWQuestions 6 to 10 are based on an interview .At the end of the interview you will be given 15 seconds to answer each of the following five questions. Now listen to the interview.6. According to Janet, the factor that would most affect negotiations is ___.A. English language proficiencyB. different cultural practicesC. different negotiation tasksD. the international Americanized style7. J anet‟s attitude towards the Americanized style as a model for business negotiations is ___.A. supportiveB. negativeC. ambiguousD. cautious8. Which of the following can NOT be seen as a difference between Brazilian and American negotiators?A. Americans prepare more points before negotiations.B. Americans are more straightforward during negotiations.C. Brazilians prefer more eye contact during negotiations.D. Brazilians seek more background information.9. Which group of people seems to be the most straightforward?A. The British.B. Germans.C. Americans.D. Not mentioned.10. Which of the following is NOT characteristic of Japanese negotiators?A. Reserved.B. Prejudiced.C. Polite.D. Prudent.SECTION C NEWS BROADCASTQuestion 11 is based on the following news. At the end of the news item, you will be given 15 seconds to answer the question. Now listen to the news.11. The news item is mainly about ___.A. a call for research papers to be read at the conferenceB. an international conference on traditional Tibetan medicineC. the number of participants at the conference and their nationalitiesD. the preparations made by the sponsors for the international conference Questions 12 and 13 are based on the following news. At the end of the news item, you will be given 30 seconds to answer the questions. Now listen to the news.12. The news item mainly concerns ___ in Hong Kong.A. Internet centresB. an IBM seminarC. e-governmentD. broadcasting13. The aims of the three policy objectives include all the followingEXCEPT ___.A. improvement of government efficiencyB. promotion of e-commerceC. integration of service deliveryD. formulation of Digital 21 StrategyQuestions 14 and 15 are based on the following news .At the end of the news item , you will be given 30 seconds to answer the questions. Now listen to the news.14. Which of the following records was the second best time of the year by Donovan Bailey?A.9.98.B.9.80.C.9.91.D.9.95.15. The record shows that Bailey was ___.A. still suffering from an injuryB. getting back in shapeC. unable to compete with GreeneD. less confident than beforeSECTION D NOTE-TAKING AND GAP-FILLINGFill in each of the gaps with ONE word. You may refer to your notes. Make sure the word you fill in is both grammatically and semantically acceptable. Study Activities in University In order to help college and university students in the process of learning, four key study activities have been designed and used to encourage them to make knowledge their own.1. Essay writing: central focus of university work esp. in thehumanities, e.g.(l) ___.benefits: 1) helping to select interesting content in books and to express understanding.2 ) enabling teachers to know progress and to offer(2) ___.3) familiarizing students with exam forms.2. Seminars and classroom discussion: another form to internalize knowledge in specialized contexts.benefits: 1) (3)___ enables you to know the effectiveness of and others‟ response to your speech immediately.2) Within the same period of time, more topics can be dealt with thanin(4) ___.3) The use of a broader range of knowledge is encouraged.3. Individual tutorials: a substitute for group discussion.format: from teacher (5)___ to flexible conversation.benefit: encouraging ideas and interaction.4. Lectures: a most (6) ___.used study activity.disadvantages: 1 ) less (7)___ than discussions or tutorials.2) more demanding in note-taking.advantages: 1) providing a general (8)___ of a subject under discussion.2) offering more easily understood versions of a theory.3) updating students on (9)___ developments.4) allowing students to follow different (10) ___.1.___2.___3.___4.___5.___6.___7.___8.___9.___10.___Part Ⅱ Proofreading and Error Correction (15 min)The following passage contains TEN errors. Each line contains a maximum of ONE error. In each case, only ONE word is involved. You should proofread the passage and correct it in the following way. For a wrong word,underline the wrong word and write the correct one in the blank provided at the end of the line.For a missing word, mark the position of the missing word with a “∧” sign and write the word you believe to be missing in the blank provided at the end of the line. For an unnecessary word cross out the unnecessary word with a slash “/‟ and put the word in the blank provided at the end of the line.ExampleWhen∧art museum wants a new exhibit, (1) anit never／buys things in finished form and hangs (2) neverthem on the wall. When a natural history museumwants an exhibition, it must often build it. (3) exhibitThere are great impediments to the general use of a standardin pronunciation comparable to that existing in spelling(orthography). One is the fact that pronunciation is learnt…naturally‟ and unconsciously, and orthography is learnt 1.___deliberately and consciously. Large numbers of us, in fact,remain throughout our lives quite unconscious with what our 2.___speech sounds like when we speak out, and it often comes as a 3.___shock when we firstly hear a recording of ourselves. It is not a 4.___voice we recognize at once, whereas our own handwriting issomething which we almost always know. We begin the 5.___…natural‟ learning of pronunciation long before we start learningto read or write, and in our early years we went on unconsciously 6.___ imitating and practicing the pronunciation of those around us formany more hours per every day than we ever have to spend 7.___learning even our difficult English spelling. This is …natural‟,8.___therefore, that our speech-sounds should be those of ourimmediate circle; after all, as we have seen, speech operates as ameans of holding a community and giving a sense of 9.___‟belonging‟. We learn quite early to recognize a ‟stranger‟,someone who speaks with an accent of a different community-perhaps only a few miles far. 10.___Part Ⅲ Reading Comprehension (40 min)SECTION A READING COMPREHENSION (30 min)In this section there are four reading passages followed by a total of fifteenmultiple-choice questions. Read the passages and then mark your answers on your Coloured Answer Sheet.TEXT ADo you ever feel as though you spend all your time in meetings?Henry Mintzberg, in his book The Nature of Managerial Work , found that in large organizations managers spent 22 per cent of their time at their desk, 6 percent on the telephone, 3 per cent on other activities, but a whopping 69 per cent in meetings.There is a widely-held but mistaken belief that meetings are for “solving problems” and “making decisions. ” For a start, the number of people attending a meeting tends to be inversely proportional to their collective ability to reach conclusions and make decisions. And these are the least important elements.Instead hours are devoted to side issues, playing elaborate games with one another. It seems, therefore, that meetings serve some purpose other than just making decisions.All meetings have one thing in common: role-playing. The most formal role is that of chairman. He sets the agenda, and a good chairman will keep the meeting running on time and to the point. Sadly, the other, informal role-players are often able to gain the upper hand. Chief is the “constant talker”, who just loves to hear his or her own voice.Then there are the “can‟t do” types who want to maintain the status quo. Since they have often been in the organization for a long time, they frequently quote historical experience as an excuse to block change: “It won‟t work, we tried that last year and it was a disaster.”A more subtle version of the “can‟t do” type, the “yes, but… ” has emerged recently. They have learnt about the need to sound positive, but they still can‟t bear to have things change.Another whole sub-set of characters are people who love meetings and want them to continue until 5:30 pm or beyond. Irrelevant issues are their specialty. They need to call or attend meetings, either to avoid work, or to justify their lack of performance, or simply because they do not have enough to do.Then ther e are the “counter-dependents”, those who usually disagree with everything that is said, particularly if it comes from the chairman or through consensus from the group. These people need to fight authority in whatever form.Meetings can also provide attenders with a sense of identification of their status and power. In this ease, managers arrange meetings as a means of communicating to others the boundaries of their exclusive club: who is “in”, and who is not.Because so many meetings end in confusion and without a decision, another game is played at the end of meetings, called reaching a false consensus. Since it is important for the chairman to appear successful in problem-solving and making a decision, the group reaches a false consensus. Everyone is happy, having spent their time productively. The reality is that the decision is so ambiguous that it is never acted upon, or, if it is, there is continuing conflict, for which another meeting is necessary.In the end, meetings provide the opportunity for social intercourse, to engage in battle in front of our bosses, to avoid unpleasant or unsatisfying work, to highlight our social status and identity. They are, in fact, a necessary though not necessarily productive psychological sideshow. Perhaps it is our civilized way to moderating, if not preventing, change.16. On role-playing, the passage seems to indicate that chairman ___.A. talks as much as participantsB. is usually a “constant talker”C. prefers to take the role of an observerD. is frequently outshone by participants17. Which of the following is NOT a distinct characteristic of the three types of participants?A. Submissiveness.B. Stubbornness.C. Disobedience.D. Lack of focus.18. The passage suggests that a false consensus was reached at the end of a meeting in order to ___.A. make room for another meetingB. bring an illusory sense of achievementC. highlight the importance of a meetingD. go ahead with the agreed programmeTEXT BCooperative competition. Competitive cooperation. Confused? Airline alliances have travellers scratching their heads over what‟ s going on in the skies. Some folks view alliances as a blessing to travellers, offering seamless travel, reduced fares and enhanced frequent-flyer benefits. Others see a conspiracy of big businesses, causing decreased competition, increased fares and fewer choices. Whatever your opinion, there‟s no escaping airline alliances: the marketing hype is unrelenting, with each of the two mega-groupings, Oneworld and Star Alliance, promoting itself as the best choice for all travellers. And, even if you turn away from their ads, chances are they will figure in any of your travel plans. By the end of the year, Oneworld and Star Alliance will between them control more than 40% of the traffic in the sky. Some pundits predict that figure will be more like 75% in 10 years.But why, after years of often ferocious competition, have airlines decided to band together? Let‟s just say the timing is mutually convenient. North American airlines, having exhausted all means of earning customer loyalty at home, have been looking for ways to reach out to foreign flyers. Asian carders are stillhurting from the region-wide economic downturn that began two years ago——just when some of the airlines were taking delivery of new aircraft. Alliances also allow carriers to cut costs and increase profits by pooling manpower resources on the ground (rather than each airline maintaining its own ground crew) and code-sharing——the practice of two partners selling tickets and operating only one aircraft.So alliances are terrific for airlines-but are they good for the passenger? Absolutely, say the airlines: think of the lounges, the joint FFP (frequent flyer programme) benefits, the round-the-world fares, and the global service networks. Then there‟s the promise of “seamless” travel : the ability to, say, travel from Singapore to Rome to New York to Rio de Janiero, all on one ticket, without having to wait hours for connections or worry about your bags. Sounds utopian? Peter Buecking, Cathay Pacific‟ s director of sales and marketing, thinks that seamless travel is still evolving. “It‟s fair to say that t hese links are only in their infancy. The key to seamlessness rests in infrastructure and information sharing. We‟re working on this. ” Henry Ma, spokesperson for Star Alliance in Hong Kong, lists some of the other benefits for consumers: “Global traveller s have an easier time making connections and planning their itineraries.” Ma claims alliances also assure passengers consistent service standards.Critics of alliances say the much-touted benefits to the consumer are mostly pie in the sky, that alliances are all about reducing costs for the airlines, rationalizing services and running joint marketing programmes. Jeff Blyskal, associate editor of Consumer Reports magazine, says the promotional ballyhoo overalliances is much ado about nothing. “I don‟t see much of a gain forconsumers:alliances are just a marketing gimmick. And as far as seamless travel goes, I‟ll believe it when I see it. Most airlines can‟t even get their own connections under control, let alone coordinate with another airline.”Blyskal believes alliances will ultimately result in decreased flight choices and increased costs for consumers. Instead of two airlines competing and each operating a flight on the same route at 70% capacity, the allied pair will share the route and run one full flight. Since fewer seats will be available, passengers will be obliged to pay more for tickets.The truth about alliances and their merits probably lies somewhere between the travel utopia presented by the players and the evil empires portrayed by their critics. And how much they affect you depends on what kind of traveller you are.Those who‟ve already made the elite grade in the FFP of a major airline stand to benefit the most when it joins an alliance: then they enjoy the FFP perks and advantages on any and all of the member carriers. For example, if you‟re a Marco Polo Club “gold” member of Cathay Pacific‟s Asia Miles FFP, you will auto matically be treated as a valuable customer by all members of Oneworld, of which Cathay Pacific is a member—even if you‟ve never flown with them before.For those who haven‟t made the top grade in any FFP, alliances might be a way of simplifying the earning of frequent flyer miles. For example, I belong to United Airline‟s Mileage Plus and generally fly less than 25, 000 miles a year. But I earn miles with every flight I take on Star Alliance member — All Nippon Airways and Thai Airways.If you fly less than I do, you might be smarter to stay out of the FFP game altogether. Hunt for bargains when booking flights and you might be able to save enough to take that extra trip anyway. The only real benefit infrequent flyers can draw from an alliance is an inexpensive round-the-world fare.The bottom line: for all the marketing hype, alliances aren‟t all things to all people-but everybody can get some benefit out of them.19. Which is the best word to describe air travellers‟ reaction to airline alliances?A. Delight.B. Indifference.C. Objection.D. Puzzlement20. According to the passage, setting up airline alliances will chiefly benefit ___.A. North American airlines and their domestic travellersB. North American airlines and their foreign counterpartsC. Asian airlines and their foreign travellersD. Asian airlines and their domestic travellers21. Which of the following is NOT a perceived advantage of alliances?A. Baggage allowance.B. Passenger comfort.C. Convenience.D. Quality.22. One disadvantage of alliances foreseen by the critics is that air travel may be mere expensive as a result of ___.A. less convenienceB. higher operation costsC. less competitionD. more joint marketing23. According to the passage, which of the following categories of travellers will gain most from airline alliances?A. Travellers who fly frequently economy class.B. Travellers who fly frequently business class.C. Travellers who fly occasionally during holidays.D. Travellers who fly economy class once in a while.TEXT CIt is nothing new that English use is on the rise around the world, especially in business circles. This also happens in France, the headquarters of the global battle against American cultural hegemony. If French guys are giving in toEnglish, something really big must be going on. And something big is going on.Partly, it‟s that American hegemony. Didier Benchimol, CEO of a Frenche-commerce software company, feels compelled to speak English perfectly because the Internet software business is dominated by Americans. He and other French businessmen also have to speak English because they want to get their message out to American investors, possessors of the world‟s deepest pockets.The triumph of English in France and elsewhere in Europe, however, may rest on something more enduring. As they become entwined with each other politically and economically, Europeans need a way to talk to one another and to the rest of the world. And for a number of reasons, they‟ve decided upon English as their common tongue.So when German chemical and pharmaceutical company Hoechst merged with French competitor Rhone Poulenc last year, the companies chose the vaguely Latinate Aventis as the new company name—and settled on E nglish as the company‟scommon language. When monetary policymakers from around Europe began meeting at the European Central Bank in Frankfurt last year to set interest rates for the new Euroland, they held their deliberations in English. Even the European Commission, with 11 official languages and a traditionally French-speaking bureaucracy, effectively switched over to English as its working language last year.How did this happen? One school attributes English‟s great success to the sheer weight of its merit. It‟s a Germanic language, brought to Britain around the fifth century A. D. During the four centuries of French-speaking rule that followed Norman Conquest of 1066, the language morphed into something else entirely. French words were added wholesale, and most of the complications of Germanic grammar were shed while few of the complications of French were added. Theresult is a language with a huge vocabulary and a simple grammar that can express most things more efficiently than either of its pa rents. What‟s more, English has remained ungoverned and open to change—foreign words, coinages, and grammatical shifts—in a way that French, ruled by the purist Academic Francaise, has not.So it‟s a swell language, especially for business. But the rise of English over the past few centuries clearly owes at least as much to history and economics as to the language‟s ability to economically express the concept win-win. What happened is that the competition— first Latin, then French, then, briefly, German—faded with the waning of the political, economic, and military fortunes of, respectively, the Catholic Church, France, and Germany. All along, English was increasing in importance: Britain was the birthplace of the Industrial Revolution, and London th e world‟s most important financial centre, which made English a key language for business. England‟s colonies around the world also made it the language with the most global reach. And as that former colony the U. S. rose to the status of the world‟s preem inent political, economic, military, and cultural power, English became the obvious second language to learn.In the 1990s more and more Europeans found themselves forced to use English. The last generation of business and government leaders who had n‟t studied English in school was leaving the stage. The European Community was adding new members and evolving from a paper-shuffling club into a serious regional government that would need a single common language if it were ever to get anything done. Meanwhile, economic barriers between European nations have been disappearing, meaning that more and more companies are beginning tolook at the whole continent as their domestic market. And then the Internetcame along.The Net had two big impacts. One was that it was an exciting, potentially lucrative new industry that had its roots in the U.S., so if you wanted to get in on it, you had to speak some English. The other was that by surfing the Web, Europeans who had previously encountered English only in school and in pop songs were now coming into contact with it daily.None of this means English has taken over European life. According to the European Union, 47% of Western Europeans (including the British and Irish)speakEnglish well enough to carry on a conversation. That‟s a lot more than those who can speak German (32% ) or French (28%), but it still means more Europeans don‟ t speak the language. If you want to sell shampoo or cell phones, you have to do it in French or German or Spanish or Greek. Even the U. S. and British media companies that stand to benefit most from the spread of English have been hedging their bets—CNN broadcasts in Spanish; the Financial Times has recently launched a daily German-language edition.But just look at who speaks English: 77% of Western European college students, 69% of managers, and 65% of those aged 15 to 24. In the secondary schools of the European Union‟s non-English-speaking countries, 91 % of students study English, all of which means that the transition to English as the language of European business hasn‟t been all that traumatic, and it‟s only going to get easier in the future.24. In the author‟s opinion, what really underlies the rising status of English in France and Europe is ___.A. American dominance in the Internet software businessB. a practical need for effective communication among EuropeansC. Europeans‟ eagerness to do business with American businessmenD. the recent trend for foreign companies to merge with each other25. Europeans began to favour English for all the following reasonsEXCEPT its ___.A. inherent linguistic propertiesB. association with the business worldC. links with the United StatesD. disassociation from political changes26. Which of the following statements forecasts the continuous rise of English in the future?A. About half of Western Europeans are now proficient in English.B. U. S. and British media companies are operating in Western Europe.C. Most secondary school students in Europe study English.D. Most Europeans continue to use their own language.27. The passage mainly examines the factors related to ___.A. the rising status of English in EuropeB. English learning in non-English-speaking E. U. nationsC. the preference for English by European businessmenD. the switch from French to English in the European CommissionTEXT DAs humankind moves into the third millennium, it can rightfully claim to have broken new ground in its age-old quest to master the environment. The fantastic achievements of modern technology and the speed at which scientific discoveries are translated into technological applications attest to the triumph of human endeavour.At the same time, however, some of these applications threaten to unleash forces over which we have no control. In other words, the new technology man now believes allows him to dominate this wider cosmos could well be a Frankenstein monster waiting to turn on its master.This is an entirely new situation that promises to change many of the perceptions governing life on the planet. The most acute challenges facing the future are likely to be not only those pitting man against his fellow man, but those involving humankind‟s struggle to preserve the enviro nment and ensure the sustainability of life on earth.A conflict waged to ensure the survival of the human species is bound to bring humans closer together. Technological progress has thus proved to be a double-edged sword, giving rise to a new form of conflict: a clash between Man and Nature.The new conflict is more dangerous than the traditional one between man and his fellow man, where the protagonists at least shared a common language. But when it comes to the reactions of the ecosystems to the onslaught of modern technology, there is no common language.Nature reacts with weather disturbances, with storms and earthquakes,with mutant viruses and bacteria—that is, with phenomena having no apparentcause and effect relationship with the modern technology that supposedly triggers them.As technology becomes ever more potent and nature reacts ever more violently, there is an urgent need to rethink how best to deal with the growing contradictions between Man and Nature.For a start, the planet, and hence all its inhabitants, must be perceived as an integral whole, not as a dichotomous mass divided geographically into the rich and developed and the poor and underdeveloped.Today, globalization encompasses the whole world and deals with it as an integral unit. It is no longer possible to say that conflict has shifted from its traditional east-west axis to a north-south axis. The real divide today is between summit and base, between the higher echelons of the international politicalstructure and its grassroots level, between governments and NGOs, between state and civil society, between public and private enterprise.The mesh structure is particularly obvious on the Internet. While it is true that to date the Internet seems to be favouring the most developed sectors of the international community over the less developed, this need not always be the case. Indeed, it could eventually overcome the disparities between the privileged and the underdeveloped.On the other hand, the macro-world in which we live is exposed to distortions because of the unpredictable side-effects of a micro-world we do not and cannot totally control.This raises the need for a global system of checks and balances, for mandatory rules and constraints in our dealings with Nature, in short, for a new type of veto designed to manage what is increasingly becoming a main contradiction of our time: the one between technology and ecology.A new type of international machinery must be set in place to cope with the new challenges. We need a new look at the harnessing of scientific discoveries, to maximize their positive effects for the promotion of humanity as a whole and to minimize their negative effects. We need an authority with veto powers to forbid。

snowball USB microphone User guideThe Snowball USB condenser microphone from Blue Microphones is the number one selling USB wired condenser microphone on the planet. Its unique design and proprietary condenser capsule developed by Blue deliver legendary sound for everything from podcasting to recording instruments. The Snowball benefits from Blue’s legendary professional audio heritage to record at a level unmatched in the market.Transducer TypePolar PatternSample/WordCondenser, pressure gradient with USB digital output technical specificationsCardioid (position 1); Cardioid with -10dB pad (position 2);Omnidirectional (position 3)44.1 kHz/16 bitFirst position Second position Third positionactivates cardioid capsule activates the cardioid capsule with a -10dB PAD activates the omni capsulespeech, vocals, podcasting live music, loud sound sourcesconferences, interviews, environmental recordings1, 2, 3 …settingapplicationspositionThis frequency chart is only a start. It gives the recordist a basis of the sound provided. How the microphone reacts in a particular application will differ greatly because of many variables. Room acoustics, distance from sound source (proximity), tuning of the instrument and mic cabling are only a few of the interacting issues. For an artist or an engineer, how the microphones are used creates the basis of the sound.how to set upThe Snowball features a unique swivel mount located on the bottom center of the mic body. Be sure to mount the Snowball on the Blue Snowball desktop tripod or on a standard-thread counter-weighted tripod mic stand. For reduction of low-frequency rumble and additional positioning options, mount the Snowball in the Blue Ringer, available from your authorized Blue dealer. Be sure to position the Snowball over the center leg of the tripod to further prevent tipping. Once mounted, you can gently pivot the Snowball back and forth for optimum positioning in front of the sound source.Once safely mounted, connect the Snowball to the USB port on your Macintosh or Windows computer (the Snowball is USB 2.0 compatible— see the right sidebar for full system requirements). Make sure that the active, on-axis side of the diaphragm (the side with the BLUE logo) is facing the desired source. When connected, the LED just above the Blue logo will glow red, indicating power has reached the Snowball and it is ready to roll. For additional set-up information, FAQs about the Snowball and the latest news regarding software compatibility, visit the Blue Microphones Snowball page at /products/snowball.Macintosh Setup Procedure• In system OSX: in the Apple menu, open System Preferences.• Double-click the Sound preference file.• Click on the Input tab.• Double click Blue Usb Ball Mic under Choose A Device For Sound Input dialog box.• Set input volume to the appropriate level. The mic is sensitive and may require a very low volume setting.• Exit System Preferences.Windows Setup ProcedureWindows XP Home Edition or XP Professional:• Under Start Menu open Sounds And Audio Devices control panel.• Select Audio tab; insure Blue Ball Usb Mic is selected as Default Device.• Click on Volume; select appropriate volume level.• Exit control panel.Windows Vista:• Under Start Menu open Control Panel then select Sound.• Select Recording tab; insure Blue Snowball is selected as Working with check mark next to the icon (Disable any alternate mic if necessary).• Click on Properties; select the Levels tab, set your input level, click Apply, then OK.• Exit control panel.suggested applicationspodcasting home video voiceover instant messaging musicvocals, guitars, drums,strings, brass, woodwinds Optional AccessoriesThe Ringer: Universal shockmount for the Snowball—or any mic with a standard thread mount.software setupshow to get audio from my snowball with...Garage Band• Go to Preferences->Audio and select the Blue mic as the input device(it will only show up when The Snowball is plugged in).• Create a vocal track and select the Blue mic as the input device for that track.• You may need to adjust the Snowball’s input level in the control panel if youexperience any distortion (crackling).Logic 7• Open the Audio and MIDI setup program in your Apps->Utilities folder.• Create an Aggregate Audio Source (Audio menu - open Aggregate device editor). • Add the devices you want to use to the aggregate device (Built in audio and Blue mic). • Change the audio device in Logic’s audio preferences from Default to Aggregate. Sonar• Select “USB Audio Device” ( 1, in, 0 out) from an audio track.• From within that subcategory, there are 3 selections: Left USB Audio Device, Right USB Audio Device, and Stereo USB Audio Device.• Select Left or Right for mono audio tracks.• Press “R” to arm the track for recording.• Roll disk.Adobe Premier Elements 4 (Windows Vista/XP)• If you should experience any problems getting the program to recognize the mic, Adobe recommends the following: If the device does not allow you to record, then your microphone is not being detected as a valid input device in Premiere Elements. You can use an open source program called ASIO4ALL, which is a device driver that essentially wraps existing WDM devices, like USB microphones, as ASIO-compatible sound devices. Use the following steps to utilize this tool:• Quit Premiere Elements.• Visit the following web page and download the latest available version of ASIO4ALL:/• Install the software, and restart the system if asked to do so by the installer.• Make certain that your microphone is plugged in.• Launch Premiere Elements. Go to the ‘Edit->Preferences..>Audio Hardware’ menu option. For theDefault Device, choose the ASIO4ALL option. Click the ASIO Settings button, then select yourmicrophone from the list of devices, click Exit, and then click OK on the Preferences dialog. Close and then restart Premiere Elements.that Snowball is the Default input device.capabilities of the Snowball. But, to get the most out of your Snowball, you’ll want to have some kind of software that allows for digital signal processing and non-linear editing that will accept audio from the USB port. Some examples of these programs are listed below. As long as you are using Windows XP or Apple OSX, you will not need any drivers.audio in real time. At the time this document was created, there is not a USB input on Protools hardware. Important Note: You can import audio files previously recorded with the Snowflake intoa ProTools session. Please note that the Snowball has a fixed digital output of 16 bit /44.1 kHz.· Is the red LED on the front of the Snowball illuminated?· Is the Snowball connected to a native USB port? Hubs will not provide the appropriate current to power the Snowball.· Is the Snowball selected as the default input device in both the System and software Preferences? Also, make certain you have an adequate amount of volume set.· Does the recording software I am using support a USB input?compatible. Snowballs with serial numbers lower than this are not Vista compatible.only audio geeks really need to worry about.length are not user-definable. Sorry, geeks.they should have technical support staff who can answer all of your questions about their product.as the shape of the area that a microphone “hears” omnidirectional hears everything at equal volume from all angles (in a 360 degree sphere surrounding the mic), while cardioid only hears what’s right in front of it at full volume and other sounds at increasingly diminished volume as the sound source moves further away from the center of the mic (audio techs call this off-axis). You should care because one of the most useful features of a microphone is the ability to control its pickup. We like polar patterns so much, that some of our professional studio microphones have as many as nine different patterns! With The Snowball, we’ve given you the two most likely to be useful to you.(a fancy way to say microphone) is needed, but so is ease of use and setup. Though most professional engineers prefer certain microphones for certain applications, we designed The Snowball for use with a wide variety of sources. Here are some suggested applications we came up with when we were locked in Blue’s patented anechoic think tank: instrument and voice for music production/pre-production/demos, DV-looping/dialog, podcasting, sound effects, audio sampling, interactive programming, video sweetening/post, internet telephony, internet conferencing, recording lectures, poetry slams, spoken word performances and speeches by your favorite politician— generally anywhere where you need an easy-to-use microphone and you have access to a computer with a USB port. Happy recording!©2009 Blue Microphones. All rights reserved. Blue oval logo, Snowball and The Ringer are trademarks or registered trademarks ofBlue Microphones, Inc. All other trademarks contained herein are the property of their respective owners.In keeping with our policy of continued product improvement, Baltic Latvian Universal Electronics (BLUE) reserves the right to alter specifications without prior notice.WarrantyBlue Microphones warrants its hardware product against defects in materials and workmanship for a period of TWO (2) YEARS from the date of original retail purchase, provided the purchase was made from an authorized Blue Microphones dealer. This warranty is void ifthe equipment is altered, misused, mishandled, maladjusted, suffers excessive wear, or is serviced by any parties not authorized byBlue Microphones. The warranty does not include transportation costs incurred because of the need for service unless arranged for in advance. Blue Microphones reserves the right to make changes in design and improve upon its products without obligation to install these improvements in any of its products previously manufactured. For warranty service or for a copy of Blue’s Warranty Policy including a complete list of exclusions and limitations, contact Blue at 818-879-5200.Designed in USA. Made in China.。

NT2000 Instruction Guide(EMC, LVD)STUDIO CONDENSER MICROPHONESI want to thank you for choosing the NT2000 studio condenser microphone.Please take a few moments to read this information booklet before using the NT2000, as it will help you gain the best long-term performance from this microphone.We are very proud of the NT2000. This microphone represents the culmination of many years of dedicated research into the art of recording microphone technology.We use the word ʻartʼ because a studio microphone cannot be judged simply by electrical or acoustical measurements alone. While the NT2000 surpasses technical specifications only attained by the superlative class microphones of the world, we at know that once you hear this remarkable transducer, you will agree that has created a new benchmark by which all others will be judged.Peter Freedman Sydney AustraliaSerial Number: ......................................Checked by: ..........................................THE NT2000Specifications•A coustic Principle: Externally polarized 25 mm (1”) dual diaphragm•A ctive Electronics: J-FET impedance converter with bipolar output buffer.•Pickup Pattern: Multi-pattern (see graphs)•Frequency Response: 20 Hz ~ 20 kHz (see graph)•Output Impedance: 200 Ω•Sensitivity: -36 dB re 1 Volt/Pascal (16 mV @ 94dB SPL) +/- 2 dB•Equivalent Noise: 7 dBA SPL (per IEC651, IEC268-15)•Maximum Output: + 15 dBu (@ 1% THD into 1kΩ)•Dynamic Range: 136 dB (per IEC651, IEC268-15)•M aximum SPL: 147 dB (@ 1% THD into 1kΩ)157 dB (@ 1% THD into 1kΩ) with pad at maximum•Signal/Noise: 84 dB (per IEC651, IEC268-15)•P ower Requirements: Phantom P48 or P24 Volts.Polar ResponsesCardioid Omni Fig. 8Features•N ew Australian designed and manufactured 1” edge terminated, gold sputtered, dual 5 uM diaphragm.•C ontinuously variable polar patterns. From omni, through cardioid to figure of eight, controlled at the mic.•Continuously variable pad.•Continuously variable high-pass filter.•Ultra low noise, transformerless SMT circuitry.•Wide dynamic range.•High strength welded and heat-treated steel mesh head.•Durable satin nickel finish.•Internal capsule shock mounting.•Supplied complete with ʻSM2 Shock Mountʼ and RC1 Custom Carry Case.•Designed and manufactured in Sydney, Australia.Accessories:RC1 Custom Carry Case SM2 Shock MountVocalsWe strongly suggest the use of a ʻpop-filterʼ for ALL vocal recording. Plosives (ʻPʼs, ʻBʼs and ʻCʼs) can produce a sudden jet of air, which can cause the capsule to ʻbottom outʼ (overload) and produce a ʻpoppingʼ sound. Pop filters help to prevent the effects of plosives. Moisture on the capsule can cause problems for condenser microphones but the use of a pop filter reduces that risk.Placement of the microphone and pop filter are important and depend on the volume and style of the vocalist. The best position will be determined only by experiment, but the graphic above may be considered a reasonable starting position.The ʻproximity effectʼ is experienced when close to the microphone and that is evident with an apparent increase in the lower (bass) frequencies. Proper microphone technique can enable good use to be made of this effect.E.g. Intimate, or low-volume phrases can be recorded ʻwithin proximityʼ (closer to the microphone), and louder sections of the performance will be presented from a greater distance. This ʻmicrophone controlʼ is of utmostimportance when wishing to give expression to a vocal recording.PianoTo record a piano using a single microphone (see above), that microphone should be placed approximately 60cm (or 2ʼ) above the centre of the sound-board, aimed slightly towards the front of the piano.To record the piano using X/Y Stereo technique, two NT2000ʼs should be angled at 90-110 degrees to each other, over the hammers with one mic aimed towards the lower strings and the other towards the high strings.The gold dots should be directed down, towards the piano.An effective stereo ambience may be achieved by recording lower keys on the left and high keys on the right, placing the middle keys around the centreof the recorded sound spectrum.DrumsThere are various ways to record drum kits.Single microphone ʻoverheadʼ, two microphones overhead (eg X/Y or spaced) and multiple microphones used close to individual drums & cymbals (i.e. close micʼing):To record a kit with a single microphone, we suggest that you begin by placing the micʼ above the centre of the kit at the same height as the kit is wide, with the front of the microphone facing down.To record the kit with TWO overhead microphones, they should be used at a similar height (as above) and depending on the size of the kit, between 1-2m apart. The micʼs would probably be equidistant from the snare drum.To record a kit using the X/Y stereo technique, two closely matched (similar) microphones should be placed (as above in the single microphone position) with the front of each microphone pointing down, and each at 90-110degrees to each other.NT2000facing down towards drum kitAcoustic GuitarA common (single) microphone position when recording acoustic guitar, is between 20 and 30cm away from the front of the instrument where the neck and body meet. Adjust the distance and position to ʻfinelyʼ tune the desired response. This desired response will depend on the instrument, the style ofplaying and the sound aspired to.1. T he NT2000 should be mounted in the SM2 shock mount (Photo 1) which must then be screwed firmly onto a stable microphone stand. C onnect the plug of a microphone cable (Photo 2) firmly and securely to the microphone socket2. W e strongly suggest you use a high quality cable with gold-plated connectors. The cable should be as short as possible because long cables may adversely affect sound quality. A 6 metre cable is a good compromise.3.The gold dot indicates the front of the microphone. T here are an infinite number of polar pattern, hi-pass filter and pad settings available on the NT2000. These settings offer ultimate control unlike any other studio microphone available today.4. S elect the preferred polar pattern. The top circular dial on the front of the microphone controls this. (The most common position for regular vocal recording is cardioid – dial set to the 12 oʼclock position). When the cardioid position is selected, the microphone picks up sound from thefront of the microphone and rejects sound from the rear.Photo 1Photo 25.W hen in the omni position (fully anti-clockwise) the microphone picks up sound from all around the microphone and there is less proximity effect. (This is an increase in lower frequencies (bass) when the sound source is ʻcloserʼ to the microphone). The omni pattern is commonly used for room micʼing or to record a more natural sound when close micʼing instruments.6.W hen in the figure-of-eight position (fully clockwise), the microphone picks up sound from the front and rear, while rejecting sound from the other two sides. This pattern is commonly used for interviews (2 people using 1 microphone between them) or in conjunction with a cardioid microphone to use the M-S stereo recording technique.7.Y ou are able to select any position between these three main ʻpolar patternʼ settings. For example, if you choose a setting about half way between the omni and cardioid position, you will notice some sound being picked up from the rear of the microphone instead of being almost completely rejected. This can be particularly useful when you require only some sound to be picked up from the rear of the mic but not as much sound from the rear as is present in the omni position.8.E xperiment with the microphone; listen to the various pattern, pad and filter settings and decide what suits your current application best. Allow several seconds for the microphone to stabilize to hear a noticeable difference when adjusting the controls.Y ou wonʼt damage the microphone no matter which setting you have the three controls in, so go ahead, and try any combination!The Pad9.T his reduces the input level to the microphones inbuilt pre-amp and can be adjusted by moving the lower of the three dials on the microphone. When the dial is in the far left position there is no reduction in level of the recorded source. When the dial is in the far right position, the level of the recorded source is lowered by 10dB.Any position between 0 and -10dB can be selected.(NOTE: -3dB reduces the level by 50%)T he pad is useful when recording loud sound sources (such as close-micʼing drums or amplifiers) to avoid overloading the microphonesThe Hi-Pass-Filter(Middle dial) controls the bass frequencies. This control is sometimes also referred to as a bass-cut because it reduces the selected bass frequency and all frequencies below that.When the dial is in the far left position there is no reduction of the bass frequencies and so the microphone will deliver a full response.When the filter is in the far right position, the level is dropped by 3dB at 150Hz and below, which is certainly audible and will have a direct effect on most sound sources. You may choose any setting between 20Hz and 150Hz to cut the level of the selected frequency and below by 3dB. This control is useful for selecting the cut-off point for potentially offending low frequencies (e.g. traffic noise, floor vibrations etc). It can also be used on vocals where you may want a limited response just to be ʻdifferentʼ.The best way to set this control is to listen to the microphone while recording the source. If it is vocals for example, set the mic to fully anti-clockwise then - listen to the vocal sound as you start to move the filter to the clockwise position. When you begin to notice the change, turn it back to a lower frequency ʻcut offʼ where you canʼt hear the difference and you will have the optimum setting for that source. Why is that important? The NT2000 has a very wide response. It will pick up sounds below 20Hz. Thatʼs a good thing if you want to record a church organ or other instruments that reproduce very low bass frequencies, but it can also cause problems when you pick up and record loud low frequencies that have nothing to do with your music. All that does is ʻeat upʼ the recording equipments level capability, and reduces clarity.Remember there are no right or wrong settings; the NT2000 offers you the flexibility to find ʻyour soundʼ. You are now able to record almost anything in any environment the way that you want to.Settings reminderAt the back of this manual we have provided a set of control panel graphics. These are available for you to write down the settings you have made during a recording. Should you wish to recreate a section of a recording at any time, or attempt to capture the same “sound quality”, you can refer to the manual and easily retrieve the mics previous settings.It is important to remember that there are many variables that can affect a microphones sound. The acoustics of the room have a dramatic effect to achieve the same results so you would need to set up in the very same way as you did before with no changes to the roomʼs acoustics. You may also wish to make photocopies of the sheet to allow for future setting records. We hope the information we have provided helps you get the best from your microphone. If you have any difficulties, please donʼt hestiate to contact us at:*******************Warranty ServiceAll products are warranted for one year from date of purchase and the warranty card should be used to register that purchase.The warranty covers parts and labour that may be required to repair the microphone during the warranty period. The warranty excludes defects caused by normal wear and tear, modification, shipping damage, or failure to use the microphone as per the instruction guide.If you experience any problems or have any questions regarding yourmicrophone, first, contact the dealer who sold it to you. If the microphone requires factory authorized service, that dealer will organise return. We have an extensive distributor/dealer network but if you have difficulty getting the advice or assistance you require, do not hesitate to contact us directly or contact your local distributor.International:MicrophonesABN 91 000 576 483Unit 2/107 Carnarvon Street Silverwater NSW 2128 Australia Ph: 61 2 9648 5855Fax: 61 2 9648 2455USAP .O. Box 3279Torrance, CA 90510-3279Ph: 877 328 7456 (Toll Free Within the U.S.)Ph: 310 328 7456Fax: 310 328 7180Technical SupportFor information and technical support questions contact:*******************In the United States and Puerto Rico, contact:*******************877 3287 7456 toll free, or 310 328 7456In Australia, contact:*******************02 9648 5855Anywhere except Australia, the United States and Puerto Rico, contact:*******************Australia: 61 2 9648 5855w w w .r o d e m i c .c o m。

half adder 半加器half byte 半字节half current 半选电流half duplex 半双向的half duplex channel 半双向通道half duplex circuit 半双工电路half duplex line 半双工线路half duplex operation 半双通信half duplex transmission 半双工传输half select 半选half subtractor 半减器half title 副标题half tone 半音half toning 半色导术half word 半字half word boundary 半字界half word buffer 半字缓冲器half write pulse 半写脉冲hall device 霍耳掐hall effect 霍耳效应hall element 霍耳掐hall transducer 霍耳传感器halt 停止halt address 停止地址halt instruction 断点指令halt key 停止键halt point 断点halt signal 停止信号hamilton's function 哈密尔顿函数hammer 印字锤hamming code 汉秒hamming distance 汉娩距hand feed 手工馈送hand feed punch 手工馈送穿孔机hand held calculator 手提式计算器hand held computer 手提式计算机hand operation 手工操作人工操作handler 处理程序handling specification 操祖程handshake 信号交换handshaking 建立同步交换handshaking protocol 信号交换协议handshaking signal 认可信号hang up 暂停hard copy 硬拷贝hard copy terminal 硬拷贝终端hard disk 固定磁盘hard error 硬错误hard failure 硬失效hard image 对比图象hard sectored disk 硬扇面盘hard stop 硬件停机hardcore 核心硬件hardware 硬件hardware algorithm 硬件算法hardware architecture 硬件总体结构hardware check 硬件检验hardware check point 硬件检验点hardware compatibility 硬件兼容性hardware component 硬件成分hardware configuration 硬件配置hardware costs 硬件费用hardware design 硬件设计hardware device 硬件部件hardware division 硬件除法hardware engineer 硬件工程师hardware environment 硬件环境hardware error 硬件错误hardware failure 硬件故障hardware independence 硬件独立性hardware interrupt 硬件中断hardware maintenance 硬件维修hardware module 硬件模块hardware multiplication 硬件乘法hardware program 硬件程序hardware redundancy 硬件冗余法hardware reliability 硬设备可靠性hardware representation 硬件表示hardware restriction 硬件限制hardware sprite 硬件子画面hardware stack 硬件栈hardware subprogram 硬件辅程序hardware support 硬件支持hardware system 硬件系统hardwared automation 硬的自动化hardwired knowledge 硬连线知识hardwired logic 硬连线逻辑hardwired subprogram 硬连线辅程序harmonic analysis 谐波分析harmonic analyzer 谐波分析仪harmonic distortion 谐波失真harmonic frequency 谐频harmonic response characteristic 谐波响应特性hartley 哈特利hash 无用数据hash addressing 散列寻址hash chain 散列链hash function 散列函数hash table 散列表hash total 无用数据总和hashing 散列法hashing function 散列函数hazard rate 故障率hdb 高密度双极编码hdtv 高清晰度电视hdx 半双向的head 头head crash 磁头碰撞head gap 磁头缝隙head per track disk 固定头磁盘head processor 枝理机head stack 磁头组header 头部header card 标题卡片header label 文件始标header line 标题行header record 标题记录header segment 标题段header table 标题表heading 头部heap 堆heap manager 堆管理heat conduction 热传导heat dissipation 热耗散heat exchanger 热交换器heat sensitive paper 热敏纸heating coil 加热线圈heavy duty software 重负载软件heavy line 粗线height balanced tree 高度平衡树help 帮助help information 求助信息help library 求助库help line 求助行help menu 求助菜单help mode 求助方式help request 求助请求help screen 帮助屏幕hesitation 暂停heuristic algorithm 启发式算法heuristic approach 试探法heuristic program 试探程序heuristic programming 试探编程heuristic routing 试探选路heuristics 试探hexadecimal constant 十六进制常数hexadecimal digit 十六进制数字hexadecimal format 十六进制格式hexadecimal keyboard 十六进制键盘hexadecimal notation 十六进制记数法hexadecimal number 十六进制数hexadecimal number system 十六进制记数制hexadecimal system 十六进制hf bus 高频母线hidden fault 隐故障hidden file 隐式文件hidden line elimination 隐线消除hidden line removal 隐线消除hidden surface 隐面hierarchical access method 分层存取法hierarchical addressing 分层寻址hierarchical database 分层数据库hierarchical direct access method 分层直接存取法hierarchical indexed direct access method 分层她直接存取法hierarchical indexed sequential access method 分层她顺序存取法hierarchical memory 分层存储器hierarchical multicomputer system 分级多计算机系统hierarchical network 层次网络hierarchical organization 分层结构hierarchical sequential access method 分层顺序存取法hierarchical structure 分层结构hierarchy 分级hierarchy chart 层次图hierarchy memory 分层存储器high bound 上界high byte 高位字节high definition television 高清晰度电视high density bipolar coding 高密度双极编码high density recording 高密度记录high end computer 高级计算机high level compiler 高级编译程序high level computer 高级语言计算机high level data link control 高级数据链路控制程序high level goal 高级目标high level language 高级语言high level language computer 高级语言计算机high level programming 高级程序设计high level programming language 高级编程序语言high level protocol 高级协议high level signal 高电平信号high order 高位high order digit 高数位high order language 高级语言high order position 高位high order zero 高位零high performance computer 高性能计算机high performance equipment 高性能设备high performance mos 高性能金属氧化物半导体high priority user 高优先用户high resistance paper 高电阻纸high resolution 高分辨率high resolution graphics 高分辨率图high resolution mode 高分辨率方式high resolution timer 高分辨率计时器high speed bus 快速总线high speed carry 高速进位high speed circuit 高速电路high speed computer 高速计算机high speed data network 高速数据网络high speed memory 高速存储器high speed multiplication 高速乘法high speed printer 高速打印机high speed reader 高速输入机high threshold logic 高阈值逻辑high value resistor 高值电阻high voltage level 高压电平higher level language 高级语言higher level module 高级模块highest byte 最高字节highest order 最高位highway 局内线路histogram 直方图history 档案history file 存档文件hit 命中hit on the fly printer 飞唤打印机hit rate 命中率hldlc 高级数据链路控制程序hll 高级语言hmos 高性能金属氧化物半导体hold mode 保持状态holding area 保存区holding circuit 保持电路holding register 保持寄存器存储寄存器holding time 保持时间hole 空穴hole conduction 空穴导电hole pattern 孔模hollerith card 霍勒内斯卡片hollerith code 霍勒内斯码hollerith constant 霍勒内斯常数hollerith machine 霍勒内斯计算机hologram 全息照相holographic memory 全息照相存储器holographic retrieval 全息检索home 出发点home address 内部地址home block 起始块home channel 市内线路home computer 家用计算机home exchange 本地交换局home key 起始键home location 起始单元home loop 本地回路home position 原位home record 起始记录homography 同形异义性homophone 同音字母hook 钩hop 转移hopper 送卡箱horizontal cursor 横向光标horizontal feed 水平馈送horizontal line 水平线horizontal microinstruction 横向微指令horizontal microprogramming 横向微程序设计horizontal parity 横向奇偶horizontal pointer 横向指示符horizontal polarization 水平极化horizontal processor 横向处理机horizontal redundance check 横向冗余校验horizontal tabulation 横向制表horizontal tabulation character 横向制表字符horn clause 霍队句host bus 周线host communications 与助通信host computer 制算机host language 诛言host language processor 诛言处理程序host machine 助host processor 枝理机host system 值统hot line 热线hot loop 热线hot spare 热备件hot standby 热备件hot zone 行续区housekeeping 内务操作housekeeping data 内务数据housekeeping information 内务信息housekeeping instruction 内务指令housekeeping operation 内务操作housekeeping routine 内务程序housing 箱hrt 高分辨率计时器ht 横向制表htl 高阈值逻辑hub 磁盘套hue 色调hull 外壳human computer interface 人机接口human engineering 工效学human factor 人员因素human factor error 人错误human failure 人为失效human oriented language 面向人的语言hunting 不规则振荡hybrid circuit 混合电路hybrid computer 混合计算机hybrid database 混合数据库hybrid integrated circuit 混合集成电路hybrid microcircuit 混合微电路hybrid network 混合网络hybrid packaging 混合组装hybrid system 混合系统hypercube 超立方hypermedia 超媒体hypertext 超级正文hypervisor 超级监视者hyphen 连字符hyphenation 连字符连接hypothetical reference circuit 假设基准电路hypothetical world 假想世界hysteresis 滞后现象hysteresis curve recorder 滞后曲线记录器hysteresis error 滞后特性误差hysteresis loop 滞后回线hysteresis loop recorder 滞后曲线记录器hysteresis meter 滞后测定器i/o bound task 受输入输出限制的任务i/o buffer 输入输出缓冲器i/o bus 输入输出总线i/o bus controller 输入输出总线控制器i/o channel 输入输出通道i/o control 输入输出控制i/o control program 输入输出控制程序i/o control system 输入输出控制系统i/o conversion 输入输出数据型转换i/o data 输入输出数据i/o limited program 受输入输出限制的程序i/o operation 输入输出操作i/o port 输入输出口ia 指令地址ibm ibmibm compatible computer ibm 兼容机ic 集成电路ic chip 集成电路片ic computer 集成电路计算机ic memory 集成电路存储器ic socket 集成电路插孔ic tester 集成电路测试机icon 图标iconic representation 图象表示id 识别码ideal value 理想值idealized system 理想化系统ident 识别identical transformation 恒等变换identification 识别identification byte 标识字节identification card 标识卡片identification character 标识字符identification code 识别码identification division 识别部分identifier 标识符identify element 全同元件identifying information 识别信息identity 等同identity gate 同门identity operation 全同运算identity unit 全同单元idle channel 空闲通道idle character 无效字符idle mode 空闲状态idle state 空闲状态idle time 空闲时间idn 综合数字网idp 集中数据处理if statement 如果语句if then operation 蕴含操作ifip 国际信息处理联合会il 等平面集成注入逻辑il technology il 技术illegal access 非法存取illegal access protection 非法存取保护illegal character 非法字符illegal code 非法代码illegal command check 非法命令校验illegal instruction 非法指令illegal operation 非法操作illegal symbol 非法符号image 图象image copy 图象副本image dissector 析像器图像传感器image file 图象文件image generation 图象生成image graphics 图象图形image memory 图象存储器image processing 图象处理image processor 图象处理机image regeneration 再生image restoration 图象复原image sensor 图象传感器image store 图象存储image transmission 视频传输image understanding 图象理解imager 图象机imaginary number 虚数imaginary part 虚数部immediate access 立即存取immediate access memory 立即存取存储器immediate access storage 立即存取存储器immediate address 立即地址immediate addressing 立即寻址immediate answer 立即应答immediate command 立即命令immediate data 直接数据immediate instruction 立即指令immediate mode 立即方式immediate operand 立即操?immediate predecessor relation 直接先秦系immediate processing 直接处理impact printer 或式打印机impact printing 或式印刷imparity check 奇数奇偶性较验impedance 阻抗imperative go to statement 强制go to语句imperative language 强制性语言imperative statement 强制语句imperfect tape 缺陷带implementation 执行implementation specification 实现规格implementator 实现者implication 蕴含操作implication gate 隐含门implicator 隐含门implicit address 隐地址implicit addressing 隐式寻址implicit computation 隐式计算implicit declaration 隐式声明implicit knowledge 隐性知识implicit opening 隐式打开implied operand 隐操?import list 输入表improper character 非法字符improper command check 非法命令校验impulse 脉冲impulse code 脉冲编码impulse recorder 脉冲记录器impurity 杂质ims 信息管理系统in circuit emulator 集中仿效程序in core compiler 内存常驻编译程序in gate 输入门in house line 内部线路in house programming 自用程序设计in house software 内部软件in line check 直接插入检查in line code 直接插入代码in line coding 直接插入编码in line procedure 联机程序in line processing 直接插入处理in line subroutine 直接插入子程序in line subroutine expansion 直接插入子程序展开in out parameter 写入读出参数in parameter 写入参数in stream procedure 输入撂序inaccessibility 不可存取性inactive file 待用文件inactive program 待用程序inactive station 不活动站inbuilt function 内在功能inches per second 英寸/秒incidence matrix 关联矩阵incident vertex 关联顶点inclusion 包含inclusion relation 包含关系inclusive disjunction 或inclusive or 或inclusive or function 或功能inclusive or operation 或操作含或操作inclusive reference 相容引用inclusive segments 相容段inclusive tree 相容树incoming check 输入检测incoming flow 输入流incoming group 输入组incoming inspection 输入检验incoming line 引入线incompatibility 不兼容性incomplete data 不完全数据incomplete information 不完全信息incompleteness 不完全性inconsistency 不一致性inconsistent compilation 非一致编译incorrect length 不正确长度increment 增大increment size 增量大小incremental compiler 可增编译程序incremental computer 增量计算机incremental coordinates 增量坐标incremental display 增量显示incremental garbage collection 增量无用单元收集incremental integrator 增量积分器incremental refinement 逐步求精incremental representation 增量表示incremental system 增量系统incremental vector 增量向量incrementer 增量机indentation 锯齿形缺口independent control 独立控制independent program 独立程序independent utility 独立使用independent variable 自变量index 她index and base register addressing 双寄存瓢址index card 她卡index entry 附标入口index file 她文件index mode 她方式index register 变址寄存器index word 下标字indexed access 变址存取indexed address 变址地址indexed addressing 变址indexed file 加她文件indexed method 变址方式indexed organization 她组织indexed sequential access 她顺序存取indexed sequential access method 加下标顺序访问法indexed sequential data set 加下标顺序数据集indexed sequential file 她顺序文件indexed sequential organization 她顺序编制indexing 标引indexing hole 她孔indexing unit 变址单元indicating device 指示部件indication error 显示误差indicative data 指示性数据indicator 指示器indicator diagram 指示图indicator dial 指示迫盘indicator tube 指示管indirect action 间接酌indirect address 间接地址indirect addressing 间接寻址indirect control 间接控制indirect file 间接文件indirect input 间接输入indirect instruction 间接指令indirect method 间接法indirection 间接indirection operator 间接算符indirectly controlled system 间接被控系统induced failure 诱发故障induction 感应inductive load 电感负载industrial computer 工业控制用计算机industrial control 工业控制industrial data processing 工业数据处理industrial instruments 工业仪表industry robot 工业机扑ineffective time 无效时间inequivalence 异inexact reasoning 不严密推理infancy failure 早期故障inference 推理inference chain 推理链inference engine 推理机构inference machine 推理机构inference method 推理方法inference net 推理网inference operation 推论操作inference rule 推理规则infinite looping 循环infinity 无穷大infix notation 插入表示法infix operator 插入算符informatics 信息学information algebra 信息代数information bit 信息位information center 信息中心information channel 信息通道information character 信息字符information circuit 信息传送线路information collector 信息收集者information content 信息量information content unit 信息量单位information density 信息密度information display speed 信息显示速度information economy 信息经济information feedback system 信息反馈系统information flow 信息流information format 信息格式information graph 信息图information hiding 信息隐藏information item 情报单元information loss 信息丢失information management system 信息管理系统information market 情报市场information medium 信息媒体information message 信息报文information organization 情报组织information output 信息输出information pollution 信息污染information processing 信息处理information processing system 信息处理系统information processing technology 信息处理技术information product 信息商品information property 信息产权information read wire 信息读出线information resources 信息资源information retrieval 情报检索information retrieval problem 情报检耸题information retrieval system 情报检说统information retrieval time 情报检吮间information separator 信息分隔符information system 信息系统information technology 信息技术information theory 信息论information transfer 信息传送information unit 情报单元information wire 信息线information word 信息字information write wire 信息写入线informational needs 信息需要informationism 信息论informatization 信息化informatology 情报工程学informetrics 情报计量学infrared keyboard 红外线键盘inherent addressing 固有寻址inherent characteristic 固有特性inherent error 固有误差inherent regulation 自动第inherent stability 固有稳定性inheritance 继承inheritance hierarchy 继承层次inherited error 原有错误inhibit circuit 禁止电路inhibit current 禁止电流inhibit pulse 禁止脉冲inhibit winding 禁止绕组inhibit wire 禁止线inhibiting input 禁止输入inhibiting signal 禁止信号inhibition 禁止inhibitory gate 禁止门inhibitory pulse 禁止脉冲initial address 起始地址initial condition 初始条件initial order 起始指令initial program loader 初始程序装入程序initial program loading 初始程序装入initial test routine 初始测试程序initial value 初值initial value problem 初值问题initial vertex 初始顶点initialization 初始化initialization routine 启动程序initiating pulse 启动脉冲initiating task 启动任务initiation 启动initiator 启动程序initiator terminator 启动终止程序injection luminescence diode 发光二极管ink 墨水ink jet 墨水喷射ink jet printer 喷墨印刷机ink jet printing 喷墨印刷ink ribbon 墨带inker 油墨印码器印字机inking 墨迹式画图inner loop 内循环inner macro instruction 内部宏指令inner vertex 内顶点input 输入input action 输入动作input area 输入区input block 输入块input buffer 输入缓冲器输入缓冲区input capacitance 输入电容input card 输入卡片input channel 输入通道input check 输入检测input command 输入命令input computer 输入计算机input control 输入控制input data 输入数据input device 输入装置input equipment 输入装置input file 输入文件input format 输入格式input instruction 入口指令input job queue 输入椎排队input job stream 输入椎流input language 输入语言input line 输入行input list 输入表input load 输入负载input message 输入信息input mode 输入方式input noise 输入噪声input operation 输入操作input pointer 输入指示器input port 输入口input primitive 输入图元input process 输入过程input program 输入程序input quantity 输入量input queue 输入队列input rate 输入速率input reader 输入阅读器input record 输入记录input register 输入寄存器input routine 输入程序input signal 输入信号input state 输入状态input station 输入站input storage 输入存储器input stream 输入流input terminal 输入终端input unit 输入装置input variable 输入变量input winding 输入绕组input/output 输入输出input/output buffer 输入输出缓冲器input/output bus 输入输出总线input/output channel 输入输出通道input/output control 输入输出控制input/output control system 输入输出控制系统input/output controller 输入输出控制器input/output data 输入输出数据input/output device 输入输出设备input/output interface 输入输出接口input/output interrupt 输入输出中断input/output library 输入输出程序库input/output limited system 输入输出受限系统input/output list 输入输出表input/output operation 输入输出操作input/output port 输入输出口input/output processor 输入输出处理机input/output register 输入输出寄存器input/output request 输入输出请求input/output routine 输入输出程序input/output section 输入输出存储区input/output specification 输入输出说明input/output supervisor 输入输出管理程序input/output unit 输入输出装置inquiry character 询问字符inquiry processing 查问处理inquiry station 询问台inquiry terminal 询问终端inquiry unit 询问装置insert mode 插入方式insert subroutine 插入子程序insertion 插入insertion point 插入点installation 安装installation instructions 安装说明装配规定installation plan 布置图installation time 安装时间instance 实例instantaneous access 立即存取instantaneous frequency 瞬时频率instantaneous storage 立即存取存储器instantaneous value 瞬时值instruction 空操赘令instruction address 指令地址instruction address register 指令地址寄存器instruction area 指令存储区instruction buffer 指令缓冲器instruction classification 指令分类instruction code 指令码instruction control unit 命令控制器instruction counter 指令计数器instruction cycle 指令周期instruction decoder 指令译码器instruction element 指令元件instruction fetch cycle 取指令周期instruction fetching 取指令instruction field 指令字段instruction format 指令格式instruction group 指令组instruction interpretation 指令解释instruction length 指令长度instruction list 指令集合instruction logic 指令逻辑instruction mix 指令混合比instruction modification 指令修改instruction modifier 指令修改量instruction processor 指令处理机instruction record 指令集合instruction register 指令寄存器instruction sequence 指令序列instruction set 指令集合instruction stack 指令栈instruction stream 指令流。

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.。

Versant Test 练习题一、听力理解1. 听录音，选择正确的答案。

A. 男子在谈论他的工作。

B. 女子在描述她的假期经历。

C. 两人正在讨论天气情况。

A. 他们在哪里见面？B. 男子为什么迟到？C. 女子建议做什么活动？A. 男子是一名工程师。

B. 女子喜欢旅行。

C. 两人计划去海滩。

二、阅读理解A. 文章主要讲述了什么？B. 作者对什么观点表示赞同？C. 文章提到了哪些例子？A. 文章的主题是什么？B. 文章中有哪些关键信息？C. 文章的结论是什么？A. 文章认为科技发展对人类有益。

B. 作者反对环保政策。

C. 文章提出了一种新的解决方案。

三、语法与词汇1. 选择正确的词语填空。

A. I _______ (am/is/are) going to the movies tonight.B. She _______ (has/have/had) finished her homework.C. They _______ (do/does/did) not like spicy food.2. 选择正确的词语完成句子。

A. I _______ (eat/eaten/eating) breakfast at 7 a.m.B. She _______ (go/goes/went) to the gym every day.C. They _______ (play/played/playing) soccer on weekends.3. 用所给词的正确形式填空。

A. He _______ (be) a teacher for five years.B. They _______ (not finish) their project yet.C. I _______ (meet) her at the airport yesterday.四、写作题目：我最难忘的一次旅行题目：网络购物对实体店的影响题目：如何保持健康的生活方式五、口语表达A. 他们在谈论什么？B. 男子对什么表示担忧？C. 女子提出了哪些建议？话题：我最喜欢的电影话题：在餐厅点餐六、词汇填空1. Fill in the blanks with the correct form of the word given.C. The _______ (economy/economic/economically) of the country has improved over the last decade.A. The _______ (climate/climate's/climates) in the mountains is very different from the city.C. The _______ (discover/discoverer/discovery) of the new planet was a significant achievement.七、完形填空1. Read the passage and fill in the blanks with the correct word.2. Read the passage and fill in the blanks with the correct word from the list below.(List: affect, affective, affection, effective, effectual, efficient)Some people believe that technology has a(n) _______ (a) impact on human relationships. Others argue that it can be _______ (b) in improving our quality of life. It is important to find a balance that is _______ (c).八、改写句子1. Rewrite the following sentence using the word "although."The weather was bad, but we still went hiking.2. Rewrite the following sentence using the word "because."She couldn't attend the meeting; she was feeling sick.3. Rewrite the following sentence using the word "if."You will not pass the exam unless you study harder.九、翻译练习1. Translate the following sentence into English.尽管面临许多挑战，他们还是按时完成了项目。

专利名称：Recording device发明人：Toji, Shigeru, Funai Electric Co., Ltd.申请号：EP07014178.3申请日：20070719公开号：EP1883229A3公开日：20110406专利内容由知识产权出版社提供专利附图：摘要：When a recording device is connected to a power source and a main power is supplied, position information of the recording device is obtained by using GPS satellites.A region where the recording device is installed is decided based on the obtainedposition information. Channel information appropriate for the decided region is read outfrom a storage medium such as a memory, and a tuner of the recording device is set automatically using the read channel information thus read. Additionally, when the position information is obtained, it is decided whether or not the position where the recording device is installed is within a predetermined distance from a boundary between regions. If it is adjacent to other region, a plurality of region codes are read out, and a request for selecting one to perform the channel setting is displayed using a display panel or an OSD function so that the selection can be received.申请人：Funai Electric Co., Ltd.地址：7-1, Nakagaito 7-chome Daito-shi, Osaka 574-0013 JP国籍：JP代理机构：Beetz & Partner更多信息请下载全文后查看。

投资是企业发展生产和经营的必要手段，通过技术改造、改建、扩建形成的固定资产一经建成第二产业企业法人单位资产总计占比为11%，第三产业资产总计占比为89%。

负债合计为6436.2亿元，资产是负债2.1倍，渝中企业总体经营稳定。

徐莉丽（二）租赁和商务服务业企业资产最多，电力、热力、燃气及水生产和供应业企业规模最大2018年末，全区租赁和商务服务业企业法人单位数5281个，占全区企业法人单位总数的22.5%,低于排在首位的批发零售业14.1个百分点；资产总计为3124.7亿元，占全区企业法人单位资产总计的24.2%，位居国民经济行业企业涉及的16个行业之首。

从户均资产来看，全区户均规模最大的是电力、热力、燃气及水生产和供应业，其户均资产达到了153.2亿元/户，其次是水利环境和公共设施管理业，其户均资产达到了15.39亿元/户。

户均资产规模最小的是教育业、制造业和居民服务、修理和其他服务业，分别仅只有100万元/户和200万元/户。

二、渝中区企业实现固定资产投资情况在激烈的市场竞争中，企业通过固定资产的投资，可以提高企业的获利能力、改善资金结构、增强偿债能力，能够扩大其资本积累规模，提高其收益能力，增强其抵御风险的能力。

据渝中区第四次全国经济普查数据显示：截止2018年末，全区企业实现固定资产投资项目391个，其中房地产开发项目39个，建设与改造以及纯购置设备等352个。

计划总投资4211亿元，累计完成投资2659.6亿元，占计划总投资63.1%，其中2018年当年实现固定资产投资657.6亿元，占计划总投资15.6%。

表2 2018年渝中区企业单位固定资产投资规模情况（一）从投资规模来看，大项目支撑作用明显2018年末，在渝中区企业投资项目391个中，有224个项目计划总投资在5000万元以上，占总投资项目个数57.3%。

其计划总投资4167.5亿元，占全区企业投资项目计划总投资的99%，累计完成投资2634.9亿元，完成计划总投资的63.2%，占全区企业累计完成投资的99.1%。

文章标题：深度探索VBA Caretposition的用法1. 介绍VBA（Visual Basic for Applications）是一种用于Microsoft Office 应用程序的编程语言，它允许用户在Excel、Word、PowerPoint等程序中自定义功能和自动化任务。

在VBA中，Caretposition（光标位置）是一个重要的概念，它可以用来控制文本输入的位置和进行文本处理操作。

在本文中，我们将深入探讨VBA中Caretposition的用法，帮助读者更好地理解和运用这一概念。

2. 简单介绍在VBA中，Caretposition代表着光标当前所在的位置，可以通过对Caretposition的控制来实现文本的插入、删除以及其他诸多操作。

使用Caretposition，可以轻松地对文本进行格式化、搜索和替换，从而实现更高效的文本处理操作。

3. 深入探讨在VBA中，Caretposition的用法非常广泛，主要涉及以下几个方面：- 文本插入：通过控制Caretposition来插入指定文本到特定位置。

- 文本删除：在指定的位置上删除文本，从而实现文本的编辑和整理。

- 光标移动：通过改变Caretposition的位置，可以实现光标的移动和文本的处理。

- 文本格式化：在特定的Caretposition位置上进行文本格式化操作，例如设置字体、颜色、样式等。

4. 实例演示让我们通过一个简单的示例来演示如何使用Caretposition来实现文本的处理。

假设我们在VBA中需要将一个特定的字符串插入到文本的指定位置，并将其格式化为加粗的红色字体。

我们可以按照以下步骤来实现：1）确定需要插入文本的位置，可以通过移动Caretposition来实现。

2）在特定的Caretposition位置上插入指定的字符串。

3）设置插入文本的格式，包括字体、颜色和样式。

通过以上实例，我们可以看到Caretposition在文本处理中的重要作用，它可以帮助我们实现复杂的文本操作，从而提高文本处理的效率和灵活性。

Word操作技巧与实战应用目录CATALOGUE•Introduction to BasicOperations and Functions ofWord•Text Format Setting and Optimization•Table processing and dataanalysis functions•Image and text mixing andimage processing techniques目录CATALOGUE•Long document editing andtypesetting skills•Application and Expansion of Advanced Features in Word01CATALOGUE Introduction to Basic Operations and Functionsof WordStarting and Exiting WordStart WordLaunch the Word applicationthrough the Start menu ordesktop shortcut.Exit WordClick the close button in theupper right corner of theWord window,or select the"Exit"option from the"File"menu.displays the name of the current document and version information ofthe Word application.Title barContains multiple tabs, each with a set of related command buttons forperforming various operations.Ribbonan area used for inputting and editing text, including text boxes, rulers,scrollbars, etc.Editing area displays the status information of the current document, such as page count,word count, view mode, etc.Status barInterface layout and functional areas1 2 3Select the "New" option from the "File" menu, select a blank document or create a new document based on a template. Create a new documentSelect the "Open" option from the "File" menu, browse and select the document you want to open.Open existing documentSelect the "Save" or "Save As" option from the "File" menu, name the document, and select the save location.Save DocumentDocument creation, opening, and savingEnter textEnter the text content in the editing area and use the enter key to wrap.Select TextUse the mouse or keyboard to select the text you want to edit.Copy and PasteUse the "Copy" and "Paste" commands to copy the selected text to another location.Cut and PasteUse the "Cut" and "Paste" commands to move the selected text to another location.Revoke and restoreUse the "undo" and "restore" commands toundo or restore the previous operation.Find and ReplaceUse the "Find" and "Replace" commands to find and replace the specified text content.Basic editing functions02CATALOGUEText Format Setting and OptimizationFont, size, and color settingsFont selectionChoose the appropriate font based on thedocument type and requirements, such as Songtypeface, bold font, regular font, etc.Font size settingSet an appropriate font size based on the texthierarchy and importance, usually using small fouror five font sizes in the main text.Color matchingReasonably use colors, highlight key content, andimprove document readability.Paragraph alignment and indentation adjustmentAlignment methodAccording to the text layout requirements, choose leftalignment, right alignment, center alignment, orjustification at both ends.Indent settingOptimize paragraph formatting by adjusting first lineindentation, hanging indentation, etc.Use of bullets and numberingBulletsUsing bullets can make the listclearer, such as dots, squares,arrows, etc.Number settingFor lists that require numbering,the automatic numbering functioncan be used or the numberingformat can be customized.First drop01By setting the first drop, the title or paragraph beginning of the article can be made more prominent.Column layout02For documents such as newspapers and magazines that require column layout, the column function can be used to achieve it.Other special formats03According to requirements, special formats such as shading, borders, watermarks, etc. can also be applied.Special format applications (such as drop caps, column breaks, etc.)03CATALOGUETable processing and data analysis functionsCreate and edit tablesInsert TableIn a Word document, you can create a table by selecting the desired number ofrows and columns through the "Table" function in the "Insert" tab.Adjusting Table SizeYou can adjust the size of the table by dragging the handle in the bottom rightcorner of the table, or you can precisely set the row height and column widththrough the "Cell Size" function in the "Layout" tab.Insert, delete rows and columnsIn a table, you can select the insert or delete operation by right clicking on therow or column.Table Style Setting and OptimizationApply built-in stylesWord provides multiple built-in table styles that can be quickly applied through the "Table Styles" featurein the "Design" tab.Custom StyleIn addition to built-in styles, you can also customize the style of the table through the "Shading","Borders", "Fonts" and other functions in the "Design" tab.Optimize Table LayoutYou can optimize the layout of the table by adjusting parameters such as row height, columnwidth, and cell margins to make it more beautiful and readable.Data sortingWord tables support sorting data, and you can choose the sorting method (such as ascending or descending) through the "Data" function in the "Layout" tab.要点一要点二Data filteringWord spreadsheets also support filtering data by selecting filtering criteria through the "Data" function in the "Layout" tab, thereby only displaying data that meets the criteria.Data CalculationWord spreadsheets provide simple calculation functions such as summation, averaging, etc. You can choose the corresponding calculation method through the "Data" function in the "Layout"tab.要点三Data sorting, filtering, and calculationInsert ChartIn a Word document, you can create a chart by selecting the desired chart type through the "Chart" function on the "Insert" tab.Edit chart dataYou can open the data editingwindow by double clicking onthe chart to modify the datasource and display method ofthe chart.Custom chart styleIn addition to built-in styles,you can also customize thestyle of the chart throughfunctions such as "ChartStyle", "Color", "Font" in the"Design" tab.Chart generation and editing04CATALOGUEImage and text mixing and image processingtechniquesInsert ImageUse the "Image" button in the "Insert" tab to select a local or online image for e the mouse to drag theedges or sides of the imageto adjust its size; Adjust theposition of the image in thedocument by dragging it.Select "WordArt" in the"Insert" tab, select theappropriate WordArt style,and enter the text.Set the font, size, color,and adjust the shape andeffect of artistic characters. Adjust image size andpositionInsert WordArt Edit artistic charactersInsert images and artistic designImage Format Setting and OptimizationImage Format SettingsAfter selecting an image, use the "Format" button in the "Image Tools" tab tocrop, adjust brightness, contrast, color, and other settings for the image.Image optimizationReduce image file size and improve document loading speed by compressingimages, changing resolution, and other methods.Image effect settingsAdd shadows, lighting, and softened edges to the image to enhance itsexpressive power.Text wrappingSet the text wrapping method, such as "square", "tight", etc., to make the text more coordinated with the image.Use alignment anddistribution tools to alignand distribute images andtext, making the layoutcleaner and moreaesthetically pleasing.Through the columnfunction, text and imagesare placed in differentcolumns to achievediversified layout. Alignment andDistributionColumn LayoutAdjustment of mixed layout of graphics and textAdd watermarkSelect "Watermark" in the "Page Layout" tab, select the appropriate watermark style or customize the watermark content.Set BackgroundUse the "Background" button inthe "Page Layout" tab to add abackground color, backgroundimage, or background texture tothe document.Header and FooterSettingsAdd elements such as imagesand text to the header and footerto enrich the presentation of thedocument. At the same time,practical information such aspage numbers and dates can beset.Advanced settings such as watermarks and backgrounds05CATALOGUELong document editing and typesetting skillsCatalog generation and updateGenerate table of contents using title styleApply title style in the document, then insert the table of contents through citation function, andautomatically generate the table of contents structure based on the title style.Update Table of ContentsWhen the content of a document changes, the update table of contents function can be used to quicklyupdate the table of contents and maintain consistency between the table of contents and the documentcontent.Custom Table of Contents StyleYou can customize the font, size, spacing, and other styles of the table of contents accordingto your needs, making it more beautiful and easy to read.Header and Footer Settings and Page Number ArrangementInsert header and footerInsert header and footer in the document to addcompany logo, page number, date, and otherinformation, enriching the content of the document.Edit header and footerYou can edit the header and footer, adjust the font,size, color, and other properties, and also insertelements such as images and text boxes.Page arrangementBy setting the page format and position, the pagearrangement of the document is achieved, making iteasy to read and print.Insert Section BreakInserting a section break in a document can divide the document into multiple independent parts, each with different page settings and layout.Page layoutadjustmentBy using section breaks, the pagelayout of a document can beadjusted, such as setting differentpaper sizes, orientations, margins,etc.Implementingcomplex layoutBy flexibly utilizing section breaksand page settings, complex layoutrequirements for documents canbe achieved, such as creatingbooks, magazines, etc.Section breaks and page layout adjustmentsEnter the outlineviewSwitch to the outline view through the view function to clearly view the structure and hierarchy of the document.AdjustingdocumentstructureIn the outline view, the level ofthe title can be adjusted throughthe up and down function tochange the structure of thedocument.Quick positioningand navigationBy utilizing the navigationfunction in the outline view,specific parts of the documentcan be quickly located, improvingediting efficiency.010203 Structural adjustment in outline view06CATALOGUE Application and Expansion of Advanced Features inWord01 02 03Macro recordingBy recording a macro, a series of operation steps are recorded to quickly perform the same operation when needed.Automated operationBy utilizing the function of macro recording, it is possible to achieve automated formatting and formatting of documents, thereby improving work efficiency.Macro editing and debuggingEdit and debug recorded macros to meet specific needs and achieve more complex automation operations.Macro recording and automation operation implementationUnderstand the basic concepts and application scenarios of mail merge, such as batch sending personalized emails, creating tags, etc.Prepare data sources for mailmerge, such as Excelspreadsheets, Access databases,etc.Master the operation steps ofmail merge, including selectingdata sources, inserting mergefields, previewing merge results,etc.Overview of Mail Merge Data sourcepreparationMail Merge StepsApplication of mail merge functionProtect document security settingsRestrict editingBy setting editing restrictions, prevent others from making arbitrary modifications to the document and protect its integrity.Document encryptionEncrypt important documents to ensure that their content is not illegally accessed or leaked.Digital signatureUsing digital signature technology to signdocuments, ensuring that the source of the document is genuine and reliable, and preventing tampering.Collaborating with ExcelImplementing data exchange and sharing between Wordand Excel, improving work efficiency.Collaborate with PowerPointImport Word document content into PowerPoint andquickly create presentations.Collaborate with OneNoteAssociate Word documents with OneNote notes for easyaccess and organization of information.Word collaborates with other software030201THANKS感谢观看。

NAJIT POSITION PAPEROnsite Simultaneous Interpretation of a Sound File is Not Recommended National Association of Judiciary Interpreters & TranslatorsT he information provided in NAJIT position papers offers general guidance for courtadministrators, judiciary interpreters and those who rely on interpreting services in legal settings. This information does not include or replace local, state or federal court policies. For more information, please contact: National Association of Judiciary Interpreters & Translators, 206-267-2300, or visit the NAJIT website at .n IntroductionWhen participants in a judicial process face the examina-tion of an evidentiary sound file in a language other than English, the court, in an effort to be expeditious and conserve resources, may order the court interpreters present in the court room to provide an on-the-spot simultaneous interpretation of the sound file in question. The quality of in-court interpretation of a sound file will almost always fall short of the evidentiary standards that must be met, due to the lack of time, technology, and resources required by the practitioner to perform the task correctly. This paper explains why simultaneous interpreting of a recording in the courtroom is usually an impossible task that should not be ordered by a court, nor attempted by an interpreter.n Why not interpret a sound file on the spot? Transcription/translation (TT) is a highly specialized discipline within the broader range of language services for the judiciary. These critical factors come into play when converting information on a sound file from one language to another:• Knowledge of the transcription/translation process • Time• Technology• Research tools Clearly some of these factors are lacking in the court-room when the judge orders the immediate simultaneous interpretation of a sound file—even when the recording is of short duration, for example, a 911 call. The interpreter present may have knowledge of the TT process, but will lack the other tools listed above, needed to perform the task at hand successfully. It follows that simultaneous interpreting of a recording in the court room will yield at best mediocre results when the life and liberty of a defendant and the pursuit of justice are on the line. A forensic psychiatrist would be remiss, indeed disqualified, if he provided an expert opinion on a patient based upon seeing the patient for the first time in the court room. Along the same lines, forensic TT requires expertise, time, and technology to perform the work required to an adequate standard.n Why transcribe a sound file in a foreign language?The rationale to transcribe a sound file in a language other than English follows on the heels of the rationale to transcribe sound files in English. Transcripts as an “Aid to Understanding” were first distributed by the prosecutor with permission from the Court in People v. Feld, in the 1953 decision of New York’s highest court. An alternate view of the transcript as an Aid to Understanding is the Transcript as Opinion Evidence. In either instance, a transcript is produced by the prosecution to aide in processing sound that may not be readily accessible to the unassisted ear of jurors, the parties, and the Court.1There may be rare instances where a tape is so perfectly clear that everyone can hear it, and it leaves no room for a challenge. However, this rarely happens, and a challenge often follows. When any portion of the sound file is challenged in the absence of a transcription/ translation, the only source of reference is the official record, which will have to be read every time reference ismade to a specific portion of the recording. If someone challenges the use of a specific word, there is no transcription to reference for the word in question. Aside from a reading from the official record, the only other options are to rely on the memory of the interpreter, who may or may not be present in the courtroom during all proceedings, or to listen to the sound file each and every time a word or phrase is challenged. This method is not expeditious. For this reason, a transcription translation that stands up to scrutiny in the courtroom and meets legal evidentiary standards should always be used.n What qualifies an individual to perform transcription/ translation?A qualified TT practitioner will meet an extensive range of criteria, some of which are listed below; this list is not exhaustive. Fuller details on the necessary qualifications will be included in NAJIT’s Transcription/Translation Guidelines, now under preparation.• Acute hearing• Native-quality knowledge of languages• Understanding of cultural factors• Expertise in recognition of language registers• Formal higher education• Analytical skills• Attention to detail• Knowledge of research methodology• Ethical expertise• Problem-solving skills• Neutrality• Awareness of forensic testimony requirements• Ability to self-monitor and correct• Openness to third-party review• Knowledge of technical tools• Openness to new technology and methodsn The actual product of transcription/translation1) Investment of time. In order to produce a transcribed and translated text, a substantial investment of timeis required. Ordinarily, the standard unit of measure for TT is one hour of work per minute of sound. Some practitioners working with very clear audio and simple content can produce a good product at a faster rate, while practitioners working with unclear and distorted audio may take even longer.2) Transcribing poor-quality audio. Initially, a recording may appear unintelligible or inaudible. Sometimes the voices in the recording overlap, or thereare multiple layers of noise mingled with the dialogue. The poorer the audio, the more technical enhancement is required. Listening over and over to the recording and, sometimes, enhancing the sound file takes time. It is through multiple hearings and the use of professional equipment that the discourse eventually emerges from the fog of noise and overlaps. When the audio qualityis very poor, the transcriber/translator may also needto put the task aside and come back to it later — the fatigue factor is very prevalent in TT work. Only this extended process makes it possible to go beyond the noise, distortions, and overlaps, to obtain a good final transcription, the first stage of the process.3) Translating the transcribed audio. The second stage is to prepare a translation into English of the transcribed audio recording. This phase often requires specialized library and internet research. Additionally, to ensure accuracy in the entire process, the practitioner must frequently consult with other members of the team possessing specialized knowledge in specific areas such as slang, regionalisms, or myriad technical issues.4) Form of final product. The final product of this process is a two-column page placing both the foreign-language transcription and the English translation side by side, so that easy reference and checking for accuracy is possible. The conventions recommendedto produce this product in the most usable format will be fully detailed in NAJIT’s Transcription/Translation Guidelines, now under preparation.n Potential violation of interpreter’s oathDespite the considerations given above, an interpreter may be ordered to interpret a recording on the spot in the simultaneous or consecutive modes. The interpreter’s oath mandates faithfulness and accuracy to the best of the interpreter’s ability. The interpreter should make it clear to all parties that an immediate rendition of the material in question will likely fail to meet the high standards set forth by that oath.n ConclusionGiven all that is at stake in the courtroom, there isno room to cut corners in the forensic TT process. What may appear to be a savings in time and money may cost twice as much in the end, when the entire project must be redone. For this reason, it is to the benefit of all parties involved in the judicial processto familiarize themselves with the fundamentals of transcription/translation and all that it entails. There are very substantial reasons why onsite simultaneous interpretation of a sound file is not recommended.n Footnote:1. Clifford Fishman, “Recordings, Transcripts and Translations as Evidence.” Draft distributed internally for publication review.Authors: Teresa C. Salazar and Gladys Segal Editorial team: Ann G. Macfarlane, Silvia San Martin, Roger ShuyCopyright 2006 by the National Association of Judiciary Interpreters & Translators. NAJIT hereby grants permission to reprint this publication in any quantity without charge, provided that the content is kept unchanged and NAJIT is credited as the source.Issued May 15, 006National Association of Judiciary Interpreters & Translators603 Stewart St., Suite 610Seattle, WA 98101Tel: 206-267-2300 · Fax: 206-626-0392Email:**********************Onsite Simultaneous Interpretation。

电力常用英文缩写AGC Automatic Generation Control自动发电控制AMR Automatic Message Recording 自动抄表ASS Automatic Synchronized System 自动准同期装置A TS Automatic Transform System 厂用电源快速切换装置A VR Automatic V oltage Regulator 自动电压调节器BCS Burner Control System 燃烧器控制系统BMS Burner Management System 燃烧器管理系统CCS Coordinated Control System 协调控制系统CIS Consumer Information System 用户信息系统CRMS Control Room Management System 控制室管理系统CRT Cathode Ray Tube 阴极射线管DA Distribution Automation 配电自动化DAS Data Acquisition System 数据采集与处理系统DCS Distributed Control System 分散控制系统DDC Direct Digital Control 直接数字控制（系统）DEH Digital Electronic Hydraulic Control 数字电液(调节系统) DMS Distribution Management System 配电管理系统DPU Distributed Processing Unit 分布式处理单元DSM Demand Side Management 需求侧管理EMS Energy Management System 能量管理系统ETS Emergency Trip System 汽轮机紧急跳闸系统EWS Engineering Working Station 工程师工作站FA Feeder Automation 馈线自动化FCS Fieldbus Control System 现场总线控制系统FSS Fuel Safety System 燃料安全系统FSSS Furnace Safeguard Supervisory System 炉膛安全监控系统 FTU Feeder Terminal Unit 馈线远方终端GIS Gas Insulated Switchgear 气体绝缘开关设备GPS Global Position System 全球定位系统HCS Hierarchical Control System 分级控制系统LCD Liquid Crystal Display 液晶显示屏LCP Local Control Panel 就地控制柜MCC Motor Control Center （电动机）马达控制中心MCS Modulating Control System 模拟量控制系统MEH Micro Electro Hydraulic Control System 给水泵汽轮机电波控制系统 MIS Management Information System 管理信息系统NCS Net Control System 网络监控系统OIS Operator Interface Station 操作员接口站OMS Outage Management System 停电管理系统PAS Power Application Software 电力应用软件PID Proportion Integration Differentiation 比例积分微分PIO Process Input Output 过程输入输出（通道）PLC Programmable Logical Controller 可编程逻辑控制器PSS Power System Stabilizator 电力系统稳定器RTU Remote Terminal Unit 站内远方终端SA Substation Automation 变电站自动化SCADA Supervisory Control And Data Acquisition 数据采集与监控系统 SCC Supervisory Computer Control 监督控制系统SCS Sequence Control System 顺序(程序)控制系统SIS Supervisory Information System 监控信息系统SOE Sequence Control System 事件顺序记录TDCS（TDC） Total Direct Digital Control 集散控制系统TSI Turbine Supervisory Instrumentation 汽轮机监测仪表UPS Uninterrupted Power Supply 不间断供电WMS Work Management System 工作管理系统。