最新31孙远工具箱seventeen整理
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2.5次元简易操作手册The user easy operation manual重要提示:1、当测量工作结束时,请把机台归原位,并用防尘罩盖好,这可延长机器的使用寿命;2、不要用湿毛巾之类物品擦拭仪器。
1目前,公司主要产品有:2D、3D影像测量仪;半自动影像测量仪;电动影像测量仪;CNC全自动影像测量仪及导轨、工作台等。
广泛由于机械、模具、塑胶、橡胶、PCB、菲林、电子、电器、航空、汽车、钟表、齿轮、光学元件等行业的产品开发、设计,半成品、成品检测,零部件测绘领域,能大幅度降低工作强度,提高工作效率。
2.启动软件运行影像测量软件步骤:1.从桌面双击图标启动2.“开始”→“程序”→“科溯源”→“KSY应用程序”启动。
3.进入软件界面,如左图:3.软件界面本章分为主菜单、工具栏、状态栏和各窗口的介绍3.1菜单介绍3.1.1文件3.1.2编辑3.1.3绘图3.1.4组合3.1.5标注3.1.6测量3.1.7形位公差3.1.8参数设置3.1.9 CNC设置3.1.10 影像3.1.11坐标设置3.1.12地图3.2工具条3.3状态栏状态栏显示当前直角坐标和极坐标值、十字线显示/隐藏开关、亚像素状态、鼠标捕捉状态、批次公差、系统状态及当前日期。
鼠标放在十字线显示/隐藏开关上双击鼠标就能切换显示或者隐藏十字线,同样的,能在状态栏中操作的还有亚像素测量、去毛边点开关、鼠标捕捉等。
3.4窗口介绍3.4.1图元窗口显示所有测量、绘制、组合及打开文件所生成的图元形元素。
绘制、编辑、标注及组合等操作可以直接在此窗口中进行。
并且通过滚动鼠标中键可进行视图的局部放大缩小操作,方便快捷。
与图元窗口关联的工具(该组工具也适用于地图窗口)有:3.4.2地图窗口将工件拍成地图,然后使用打开地图测量方法实现无仪器的测量,大大方便老板们对生产质量的检测。
I手动拼图:按空格键拍一幅小地图,影像窗口有指示下一幅地图位置的标志,地图拍完后按回车,一幅完整的地图将显示在地图窗口。
重要安全注意事項使用縫紉機前請詳閱本說明書,務必遵循下列安全警告:危險-為了減少觸電的危險,務必遵循以下要點:1. 當縫紉機接上電源后,請勿離開。
2. 機器使用后或清潔前請拔下電源插頭。
3. 本機器使用冷光照明燈(LED)。
假如燈泡有損壞,請務必送回售服中心或有授權的經銷商進行更換,以避免發生危險。
警告-為了防止觸電、受傷、火警的發生,務必遵循以下要點:1. 勿將縫紉機充當玩具使用,當兒童接近時須特別注意。
2. 請依說明書指示操作縫紉機,並使用說明書上建議使用的附屬品。
3. 當電線或插頭損壞、動作不良、摔落受損或掉落水中,請即刻將縫紉機送至最近的授權經銷商或維修中心做維修檢查。
4. 縫紉機及腳控制器之通風口應保持暢通清潔,如有雜物應先清除才可使用。
5. 操作縫紉機時,請特別注意手指遠離車針的運作範圍,以避免傷到手指。
6. 使用合適的針板,錯誤的針板會導致車針折斷。
7. 勿使用彎曲、受損的車針。
8. 縫紉時請勿拉扯或推擠布料,以免車針偏移導致折斷。
9. 調整車針任何部位前,如穿線、換針,引下線或更換壓腳時,請先將縫紉機電源關閉。
10. 當拆卸外蓋、加潤滑油或執行本說明書所提到的任何其他使用者維修調整時,務必拔去電源插頭。
11. 縫紉機任何開啟部位,絕不可放入任何異物。
12. 本縫紉機僅供室內使用。
13. 勿在塵埃多的地方使用縫紉機。
14. 拔下電源插頭前,請先將電源關閉,再拔下插頭。
15. 請握住插頭將電源線拔離插座,切勿直接拉扯電線將插頭拔下。
16. 噪音值在正常的操作之下是小於75dB(A)。
17. 當縫紉機沒有正確地操作時,請將電源關閉或者拔下電源插頭。
18. 請勿在腳控制器上放置任何物品。
19. 當腳控制器損壞,請即刻將縫紉機送至最近的授權經銷商或維修中心做檢查。
20. 縫紉機不適合精神狀況不佳或是缺乏使用縫紉機經驗與常識的人使用(包括兒童);除非有人指導或實際遵照說明書手冊操作。
21. 請監督兒童勿將縫紉機充當玩具。
一、注册篇用户信息这里帐号是免费注册的,如果一个公司多京东店铺,建议仅注册一个即可,因为很多功能是多店铺联合的,比方一键下单,利润统计等。
京东帐号这里的添加帐号,是店铺的登录帐号和密码,本工具箱软件是和店铺绑定的,按照店铺来付费,未付费用户请点击绿色的续费按钮,进行续费。
续费的时候,京东店铺帐号一定要填写店铺登录主帐号不要填写店铺名字充5000,可以62.5 一个月;还可以贴牌,加自己公司信息,适合工作室和培训;充1W,可以47.6 一个月;还可以贴牌,加自己公司信息,适合工作室和培训。
二、同行店铺采集功能输入要采集的关键词,设置要卡的筛选条件,开始采集,筛选出条件可以根据自己要求排序整理。
勾选符合条件的店铺,进行采集店铺产品,筛选出来的数据可以导出,按照不同方式导出你想要的结果。
全店采集功能,这个功能其实和上面功能一样,只不过是直接就可以采集你想采集的已知的店铺。
三、查在线商品数功能这里是用来分析产品关键词京东页面真实数量的,判断好不好卖,搜索词采集功能这个功能是用来深度挖掘关键词下拉框情况的。
四、违规数据导出功能可以把每日店铺的违规数据,不管是重复铺货,互斥属性等违规ID 全部采集出来,然后一键下架或者一键删除,节省人工,提高效率。
店铺信息采集功能这个功能是用来跟踪店群同类目同行上新数据的,挂着就可以了,只要对方上新,你可以第一时间知道,然后低价采集出单,让同行成为我们的员工。
五、商品价格分析功能输入我们要选品的词,用来分析竞争环境,出单价格带,方便我们为我们选的品定价。
每个关键词可以右上角设置最多100 个分组,可以把价格定的更细还可以分析多于 5 个出单评论的商品是专营店多,还是旗舰店或者拼购店以及京东自营店多,平均销量是多少等等。
可以分析到我们选的品定价多少可以出单,这个竞争环境下,我自营店或者我拼购店出单概率大不大,是不是被京东自营和旗舰店攻占了。
六、热门关键词功能这里是可以一键下载你类目下的所有关键词,并且可以自动补全在线商品数,得出蓝海数据来(需要开通高级版本商智)清理无流量功能这个功能我们亲自测试很多次,自己也在用,特别好用,准确,比人工还准确。
小学语文长春版六年级下册教学随笔小学语文长春版六年级下册教学随笔1一、指导思想本册教材构建了开放的、富有活力的教材体系,倡导自主、合作、探究的学习方式,着眼于全面提高学生的语文素养,培养创新精神和实践能力,促进学生的全面发展。
教学中以兴趣为先导,时刻注意培养学生对语文喜欢的态度,为学生的终身学习、生活和工作奠定良好的基础。
本学期以此为教学设计的主体理念,在分析教材、学生的基础上制定学期计划。
二、学生情况分析这个班有74名学生,50名男生,24名女生。
总的来说,我们班的学生学习热情高,基本功扎实,文笔端正,朗读有感情。
有的同学成绩优秀,能独立思考,往往有自己独到的见解。
个别学生在学习上有一定的困难,需要充分利用老师、学生、家长的共同努力,帮助他们取得进步。
本学期注重根据班级学生特点进行有效教学,让学生认真学习,提高学习成绩。
三、教材分析1、内容和编排教材继续按专题整理成八组,分别是:感受自然、我心中的祖国、心灵之歌、珍爱家园、初次认识鲁迅、叩开诗歌之门、人与动物、艺术魅力。
本册的综合性学习安排在第二组“祖国在我心中”和第六组“轻叩诗歌的大门”。
其中,“轻叩诗歌的大门”这个专题,采用的是任务驱动、活动贯穿始终的编排方式,包括“活动建议”和“阅读材料”两大部分。
除去第六组,共有课文二十八篇,精读课文、略读课文各十四篇。
这七组教材,每组由“导语”“课例”“口语交际习作”“回顾拓展”四部分组成。
课例包括四篇课文,精读课文两篇,略读课文两篇。
精读课文后有思考练习题,略读课文前有连接语。
部分课文后面安排了“资料袋”或“阅读链接”。
全册安排“资料袋”三次,安排“阅读链接”两次。
“口语交际习作”依然作为一个独立的栏目。
“回顾拓展”由三个栏目组成,“交流平台”“日积月累”是固定栏目,另有“展示台”“成语故事”“课外书屋”“趣味语文”穿插安排,其中,“趣味语文”“成语故事”“课外书屋”各安排了两次,“展示台”安排了一次。
Fiery Command WorkStation© 2015 Electronics For Imaging. 此产品的《法律声明》适用于本出版物中的所有信息。
目录概述 (13)Command WorkStation (13)Command WorkStation 工作空间 (13)作业中心 (14)设备中心 (15)添加和连接 Fiery Server (17)访问级别 (17)连接到 Fiery Server (17)添加并连接到 Fiery Server (17)搜索可用的 Fiery Server (18)退出 Fiery Server (18)更改 Fiery Server 的用户 (18)查看其他 Fiery Server (19)服务器列表 (19)自定义 Command WorkStation (22)设置 Command WorkStation 预置 (22)管理作业中心的列 (23)更改列显示 (23)调整列宽度 (23)重新定义窗格和队列大小 (24)重新定义“正在打印”和“正在处理”队列的大小 (24)重新定义“作业摘要”和“服务器列表”窗格的大小 (24)自定义工具栏 (24)默认工具栏图标 (25)配置 Fiery Server 设定 (26)关于 Configure (26)我使用的是哪个版本的 Configure? (26)查找帮助以及有关 Configure 的其他信息 (26)访问基于 Java 的旧版本 Configure 的帮助 (27)访问基于 HTML 的新版本 Configure 的帮助 (27)查看服务器配置设定 (27)将服务器配置保存为文件 (28)打印“服务器配置”页 (28)访问 Configure (28)从 Command WorkStation 访问 Configure (28)从 WebTools 访问 Configure (29)退出 Configure (29)用户与群组 (29)创建新用户 (30)创建群组 (30)将用户添加到现有群组 (31)创建扫描作业的邮箱 (32)从群组中删除用户 (32)更改用户属性 (32)更改群组权限 (33)删除用户或群组 (33)关于备份和恢复 (34)备份或恢复 Fiery Server 设定 (35)管理 Fiery Central 工作流程 (37)关于 Fiery Central (37)连接或断开 Fiery Central 服务器 (37)Fiery Central 服务器工作空间 (38)查看 Fiery Central 作业 (39)自定义 Fiery Central 作业中心 (40)查看或编辑 Fiery Central 许可证 (40)配置 Fiery Central (41)Fiery Central Manager (42)访问 Fiery Central Manager (42)Fiery Central 打印机群组 (42)备份或恢复 Fiery Central (45)使用 Fiery Central Paper Catalog (46)设置 VDP 文件搜索路径 (47)设置 Digital StoreFront 连接 (47)查看作业 (48)Fiery 预览 (48)查看已假脱机、未经处理的作业 (49)页面视图、印张视图和校对视图 (51)“设定”窗格 (52)打开“校对视图” (53)预览中的工具栏图标 (54)预览光栅图 (54)光栅预览中的工具栏图标 (55)在光栅预览中合并页面 (56)VDP 光栅预览 (56)打印 (59)导入要打印的作业 (59)将作业导入打印队列 (59)从外部 Fiery Server存档导入作业 (60)设置打印选项 (60)查看作业属性 (60)“作业属性”窗口中的作业操作 (61)打印选项类别 (62)作业属性中的 Fiery Impose 模板 (62)预设打印设定 (63)服务器预设 (67)从作业移除光栅数据 (70)打印方法 (70)使用纸盘对齐 (70)样本打印 (71)校样打印 (72)按序打印 (73)设置按序打印 (74)在 Configure 中设置按序打印选项 (74)使用 Quick Doc Merge (75)管理作业 (77)搜索作业 (77)使用筛选视图选项卡搜索作业 (77)过滤作业列表 (78)导出作业列表 (78)将作业移至其他队列 (79)将作业发送至另一台 Fiery Server (80)存档作业 (80)拖放文件管理 (81)Fiery JDF 作业 (82)关于 Fiery JDF 和 JMF (82)Fiery JDF 设置 (82)启用 JDF 提交应用程序 (82)Fiery JDF 工作流程 (83)提交 JDF 作业 (83)显示 Command WorkStation 中的 JDF 列标题 (83)Fiery JDF 作业和虚拟打印机 (83)指定作业的 JDF 设定 (84)“作业信息”选项卡 (84)“运行列表”选项卡 (85)“关闭作业”选项卡 (85)将 JDF 作业纸张添加到 Paper Catalog (86)解决 JDF 作业中的纸张冲突问题 (86)Fiery Dashboard (87)创建 EFI 通行证帐户(免费) (87)登录到 Fiery Dashboard (87)Fiery Dashboard 数据收集 (88)授权数据收集 (88)取消数据收集的授权 (88)管理颜色 (89)彩色打印选项 (89)查看或编辑默认颜色设定 (89)特性档 (95)查看特性档属性 (96)比较特性档色域 (96)导入或导出特性档 (96)创建或删除特性档 (98)编辑特性档设定 (99)编辑特性档内容 (99)打印测试页 (101)校准 (pre-System 10) (102)Calibrator 模式 (103)使用 ColorCal 进行校准 (103)使用 ES-1000 进行校准 (105)使用 Eye-One 进行校准 (106)对多个校准集应用测量值 (107)创建或删除自定义校准集 (107)恢复默认测量值 (108)校准(System 10 和更高版本) (108)校准黑白打印 (109)校准工作流程 (109)启动 Calibrator (109)打印校准页 (110)使用分光光度计测量色块 (110)使用 ColorCal 测量色块 (111)从备用测量仪器导入测量数据 (113)查看测量结果 (114)导出测量数据 (115)重设测量数据 (115)Calibrator 预置 (116)校准设定 (117)自定义 Image Enhance 设定 (120)Image Enhance Visual Editor (121)何时使用 IEVE 或 Image Enhance 打印选项 (122)打开大型作业 (122)预设 (122)调整图像 (122)保存对作业的编辑 (122)启动 Image Enhance Visual Editor (123)使用预设 (123)打开大型作业 (124)调整色调 (124)调整颜色 (125)调整清晰度 (126)校正红眼 (127)专色 (127)专色群组和定义 (127)更改专色或颜色组的顺序 (128)查找专色 (129)编辑专色 (129)优化专色 (129)创建、重命名或删除专色或颜色群组 (130)导入和导出自定义颜色群组 (131)查看颜色群组的色域 (131)色版页和色版书 (132)打印专色色板页或色板书 (132)测量和导入专色值 (133)替换颜色 (134)二色打印映射 (135)管理服务器资源 (137)虚拟打印机 (137)创建、编辑或复制虚拟打印机 (137)管理虚拟打印机 (138)从 Windows 打印到虚拟打印机 (139)从 Mac OS 打印到虚拟打印机 (139)Paper Catalog (140)从 Paper Catalog 选择纸张 (141)设置 Paper Catalog (142)管理 Paper Catalog 数据库 (147)纸张属性 (149)常见纸张属性 (149)纸盘关联 (157)纸盘关联显示 (158)将纸张分配给纸盘 (158)智能纸张 (159)监控纸盘中的纸张状态 (161)更改列显示 (161)VDP 资源 (162)管理 FreeForm 主文页 (162)备份 VDP 资源 (163)恢复 VDP 资源 (163)查看并删除全局资源 (164)字体 (164)备份和恢复字体 (165)查看用户和群组权限 (165)访问用户和群组 (166)查看用户和群组权限的详细信息 (166)比较权限 (166)查看或添加群组 (166)访问群组 (167)添加群组 (167)使用作业日志 (167)查看作业日志 (168)打印作业日志 (168)导出作业日志的内容 (168)导出和/或清空作业日志的内容 (169)印刷制版工具 (170)Fiery Graphic Arts 的功能 (170)Fiery Graphic Arts Package (Premium Edition) (170)Fiery Productivity Package (170)控制栏 (171)页面大小和控制栏(FS100/100Pro 或较早版本) (172)默认情况下,在每页打印控制栏 (172)查看和编辑控制栏 (172)创建自定义或重复的控制栏 (173)导出、导入或删除自定义控制栏 (173)恢复出厂默认控制栏设定 (174)陷印 (174)设置所有作业的自动陷印 (174)指定陷印宽度 (175)指定陷印颜色减少 (175)指定陷印形状 (175)指定陷印对象类型 (175)进度 (176)查看或编辑进度设定 (176)校样半色调模拟 (176)查看或编辑自定义半色调网屏 (177)纸色模拟白点编辑 (177)编辑纸色模拟白点值 (178)配置和运行预检 (179)ImageViewer (179)启动 ImageViewer (180)调整图像预览 (180)调整图像的大小 (181)查看图像中的颜色值 (181)显示分色 (181)使用曲线编辑颜色响应或灰度响应 (182)使用颜色轮编辑颜色 (183)通过图像编辑灰度响应曲线 (183)将颜色编辑应用于一个或所有页面 (183)通过本地文件应用颜色编辑 (184)通过服务器预设应用颜色编辑 (184)应用 Curve2/Curve3 文件的颜色曲线 (185)应用灰度响应曲线编辑 (185)打印含编辑内容的作业 (186)将软校样导出为 PDF 格式 (186)比较显示器特性档和输出特性档 (187)在 Fiery Server 上安装当前编辑 (187)在 Fiery Server 上恢复出厂默认响应曲线 (188)设置 ImageViewer 预置 (188)Booklet Maker (189)Booklet Maker 拼版 (189)关于 Booklet Maker 和 Fiery Impose (189)访问 Booklet Maker (189)从打印机驱动程序 访问 Booklet Maker (190)在 Command WorkStation 中访问 Booklet Maker (190)创建小册子 (190)从 Booklet Maker 窗口创建小册子 (190)从 Booklet Maker 向导创建小册子 (191)小册子类型 (192)鞍式装订 (193)套叠式鞍式装订 (194)胶装 (195)一合一 胶装 (196)纸张大小 (197)缩小文档页面大小以适合所选的纸张大小 (198)“缩小至适合”选项 (199)页面对齐 (203)对齐页面 (203)页面对齐和装订线 (206)爬移补偿 (208)采用一合一胶装的混合纸张 (208)在 Booklet Maker 中指定混合纸张设定 (209)在混合纸张中浏览作业 (210)以页面形式查看作业的版面 (210)以印张形式查看作业的版面 (210)Booklet Maker 混合纸张限制 (211)添加 封面 (211)在应用程序中更改文档大小 (212)更改测量单位 (212)预览小册子 (213)小册子工作流程示例 (213)打印胶装小册子 (213)打印鞍式装订小册子 (213)打印套叠式鞍式装订小册子 (214)Booklet Maker 限制 (214)Booklet Maker 词汇表 (215)索引 (219)概述Command WorkStationCommand WorkStation 是 Fiery Server的打印作业管理界面。
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.。
智圆100个实用技巧以下是智圆100个实用技巧:1. 使用夹子将开口的塑料袋封起来,以防止食物变质。
2. 将手机放在空杯子里放大音量。
3. 在背面贴上硅胶杯垫,防止杯子滑动。
4. 将橡皮筋套在开关上,可以更容易地开关灯。
5. 使用洗碗刷清洁键盘和电脑。
6. 将剩余的蜡烛放入保鲜袋中,以防止蜡烛燃烧时滴下蜡。
7. 使用夹子将充电线固定在桌子上,以防止它滑到地板上。
8. 使用剩余的瓶子和罐子来储存小物件,如钉子和螺丝。
9. 在洗碗时,使用塑料袋套在手上,以防止手被热水烫伤。
10. 将洗碗液倒入喷壶中,以便更方便地清洗灶台和台面。
11. 使用剪刀在牛奶盒上剪一个小口,以方便倒出牛奶。
12. 使用透明胶带修复损坏的书页。
13. 使用橡皮筋将刷子固定在扫帚上,以方便清理灰尘。
14. 将塑料袋套在电风扇上,以便清洁时收集尘土。
15. 使用洗碗布清洁灶具上的油渍。
16. 使用切割开的橡皮筋将滑溜的鞋底固定在一起。
17. 将旧的拖把头垫在椅子腿上,以防止划伤地板。
18. 使用绳子将桶固定在车顶,以便携带大件物品。
19. 在墙上使用彩色胶带制作一个简易的钥匙挂钩。
20. 使用洗碗刷清洁切菜板上的细菌。
21. 使用吸管将饮料从瓶子中倒入杯子,以防止溅出。
22. 使用塑料袋包裹鞋子,以防止它们弄脏其他物品。
23. 在鞋子内放置茶包,以去除异味。
24. 使用洗碗液和温水清洁橡皮筋,以恢复它们的弹性。
25. 使用绳子将门固定在打开的位置,以便进出房间时不用重复开关。
26. 使用干净的旧袜子擦拭屏幕和眼镜,以防止划伤。
27. 在电视机上贴上一张纸,以减少眩光。
28. 使用切割开的橡皮筋将电线固定在一起,以避免混乱。
29. 使用保鲜膜覆盖油画,以防止灰尘和污垢。
30. 使用橡皮筋将铅笔和钢笔固定在笔筒中,以防止它们滚动。
31. 使用干净的旧牙刷清洁键盘上的灰尘和污垢。
32. 使用透明胶带修复损坏的电线绝缘层。
33. 将旧的塑料瓶切割成一块小板,用于切割食物。
inCube2S控制柜手册引言引言关于本手册本手册是为了让技术人员快速、正确、安全地安装、使用inCube2S控制柜,熟悉相关注意事项以及对控制柜做定期常规维护工作。
操作前提在操作机器人前,请务必仔细阅读产品的通用安全说明和安全预防措施,用户需在了解安全知识和基础操作知识之后,才可操作机器人。
请在必要时参阅:◼《AIR3SC-400A 水平多关节型工业机器人操作机手册》◼《AIR6SC-600A水平多关节型工业机器人操作机手册》◼《SCARA型示教器操作手册》◼《ARL 编程手册》目标群体◼操作人员◼产品技术人员◼技术服务人员◼机器人示教员常见标识含义手册中出现标识及其含义详见下表1。
表1 本文中使用的标识inCube2S 控制柜手册 引言手册说明本手册内容会有补充和修改,请定时留意我公司网站的“下载中心”,及时获取最新版本的手册。
我公司网站网址:/修订记录修订记录累积了每次文档更新的说明。
最新版本的文档包含以前所有文档版本的更新内容。
表 2 文档修订记录文档编号及版本文档编号及版本信息见表3。
表 3文档相关信息适用安全标准的声明工业机器人系统设计符合的要求详见表4。
表4 适用安全标准的声明inCube2S控制柜手册引言inCube2S控制柜手册目录目录引言 ................................................................................................................................................................ I I 目录 .. (i)1产品规范 (1)1.1一般功能和预定用途的应用范围 (1)1.2环境条件与工作和储存的限制 (1)1.2.1安装环境要求 (1)1.2.2储存环境条件 (1)1.3基本规格 (2)2机器人系统介绍 (3)2.1工业机器人简介 (3)2.2控制柜基本构成 (3)2.3产品标签及含义 (6)3使用前的准备 (9)3.1使用前的安全防护措施 (9)3.2拆包 (11)3.2.1拆包方式 (11)3.2.2防止运输损坏的再包装 (11)3.2.3包装材料的安全处置 (11)3.2.4废弃材料的处置 (11)3.3安装前的准备工作 (11)3.4安装和装配 (12)3.4.1安装尺寸 (12)3.4.2安装方式 (12)3.4.3连接控制柜 (13)3.4.4控制柜电气连接定义 (17)4产品安全使用 (20)4.1控制柜接口 (20)4.2控制柜接口使用说明 (21)4.2.1控制柜指示灯说明 (21)4.2.2控制柜操作按钮说明 (21)4.2.3控制柜对外接口使用说明 (22)4.3控制柜接地 (34)4.4机器人停止方式 (34)4.5机器人系统安全 (35)4.6控制柜启动 (35)5运输与搬运 (36)5.1搬运姿态 (36)5.2叉车搬运 (36)inCube2S控制柜手册目录6预防性的维护 (37)6.1安全防护措施 (37)6.2例行维护项目和周期 (39)6.3维护流程 (39)6.4更换防尘网 (40)7故障查找、诊断和维修 (41)7.1指示灯 (41)7.2重载连接器 (41)7.3风扇 (41)7.4保险丝 (41)附录A inCube2S 配件列表 (42)附录B inCube2S 配件说明 (43)inCube2S控制柜手册产品规范1产品规范1.1一般功能和预定用途的应用范围工业机器人系统用于搬运工具和装置,或加工和运输工件或产品。
【序】5號小房線索一:洗手台上方的紅色金土紙條線索二:洗手台上方的相框線索三:茶壺裡的藍色鑰匙線索四:茶壺下方火爐中的螺絲起子線索五:面對五號小門右側最底下那張床的枕頭底下有藍色金銀紙條線索六:面對五號小門左側鏡子可得紅色鑰匙線索七:將線索二【相框】和線索四【螺絲起子】組合可得解密提示【(金、木、水11、12、13);(金、銀、銅,11、21、31)】面對五號小門左側最底下那張床可發現藍色手提箱,使用道具藍色鑰匙後調查手提箱輸入密碼【1121】(即金銀表示的號碼)後觸碰鑰匙。
可得file以及藍色門卡茶壺左後方窗簾可發現紅色手提箱,使用道具紅色鑰匙後調查手提箱輸入密碼【1115】(金=11,木=12,水=13,火=14,土=15)後觸碰鑰匙,可得紅色門卡。
分別使用紅藍門卡調查五號小門左側讀卡機,之後進入挑選數字根為5的門卡【167】,觸碰讀卡機,觸碰門,序篇逃脫。
過場選項一1.一宮&八代2.尼爾斯&塞文3.SANTA&紫過場選項二1.進入門裡的只能是兩人2.進入門裡的人數必須一樣*3.進入門裡的必須是六人以上過場選項三1.22.33.4*4.5===過場選項四(劇情)====================================1.4號門2.5號門4號門】[之一:火星門]線索一:B92客廳圓桌上的火柴線索二:臥室牆壁上的地圖線索三:梳妝台抽屜內的鑰匙去另外一間房間B93線索四:B93客廳圓桌上的蠟燭將線索一【火柴】和線索四【蠟燭】組合調查漆黑臥室線索五:使用線索三調查梳妝台抽屜得陶瓷板(1)線索六:床上有鋪整的窗簾線索七:蠟燭熄滅時回梳妝台得到燭台鑰匙線索八:出臥室,調查擺設架,對鎖的地方使用線索七【燭台鑰匙】,得陶瓷板(2)線索九:進廁所,使用線索六【窗簾】,回到磁磚牆那面,觸碰右側拉上窗簾,調查破洞可得提示。
線索十:回去紫在的房間B92,進廁所,調查磁磚牆右上角起向左數3向下數5的磁磚,得陶瓷板(3)先記好這個房間的畫長什麼樣子,再回SANTA&八代房間B93,調查缺塊的畫,將它排成像另一個房間一樣。
31孙远工具箱s e v e n t e e n整理竞争What American schools do effectively teach is the competitive method. In innumerable ways children are pitted against each other—whether in classroom discussion, spelling bees, reading groups, or tests. Every classroom is expected to produce a scattering of A's and F's (teachers often grade A=excellent; B=good; C=average; D=poor; and F=failed). A teacher who gives all A's looks too soft—so students are aware that they are competing for the limited number of top marks.标准和道德The truth of the real world is that without standards and judgments, there can be no progress. Unless we are prepared to say irrational things—that nothing can be proven more valuable than anything else or that everything is equally worthless—we must ask the normative question.道德But there are values that all American citizens share and that we should want all American students to know and to make their own: honesty, fairness, self-discipline, fidelity to task, friends, and family, personal responsibility, love of country, and belief in the principles of liberty, equality, and the freedom to practice one's faith.教育孩子老师作则There is no escaping the fact that young people need as examples principals and teachers who know the difference between right and wrong, good and bad, and who themselves exemplify high moral purpose.教育孩子家长作则You can't expect children to take messages about rules or morality seriously unless they see adults taking those rules seriously in their day-to-day affairs. Certain things must be said, certain limits laid down, and certain examples set. There is no other way.重视教育As any parent knows, teaching character is a difficult task. But it is a crucial task, because we want our children to be not only healthy, happy, and successful but decent, strong, and good. None of this happens automatically; there is no genetic transmission of virtue. It takes the conscious, committed efforts of adults. It takes careful attention.失败,错误与成功Most people consider success and failure as opposites, but they are actually both products of the same process. As Yaz suggests, an activity which produces a hit may also produce a miss. It is the same with creative thinking; the same energy which generates good creative ideas also produces errors.Many people, however, are not comfortable with errors. Our educational system, based on "the right answer" belief, cultivates our thinking in another, more conservative way. From an early age, we are taught that right answers are good and incorrect answers are bad. This value is deeply embedded in the incentive system used in most schools:不敢失败和保守的态度With this kind of attitude, you aren't going to be taking too many chances. If you learn that failing even a little penalizes you (e.g., being wrong only 15% of the time garners you only a "B" performance), you learn not to make mistakes. And more important, you learn not to put yourself in situations where you might fail. This leads to conservative thought patterns designed to avoid the stigma our society puts on "failure."From a practical point of view, "to err is wrong" makes sense. Our survival in the everyday world requires us to perform thousands of small tasks without failure. Think about it: you wouldn't last very long if you were to step out in front of traffic or stick your hand into a pot of boiling water. In addition, engineers whose bridges collapse, stock brokers who lose money for their clients, and copywriters whose ad campaigns decrease sales won't keep their jobs very long.Nevertheless, too great an adherence to the belief "to err is wrong"can greatly undermine your attempts to generate new ideas. If you are more concerned with producing right answers than generating original ideas, you'll probably make uncritical use of the rules, formulae, and procedures used to obtain these right answers. By doing this, you'll by-pass the germinal phase of the creative process, and thus spend littletime testing assumptions, challenging the rules, asking what-if questions, or just playing around with the problem. All of these techniques will produce some incorrect answers, but in the germinal phase errors are viewed as a necessary by-product of creative thinking. As Yaz would put it, "if you want the hits, be prepared for the misses." That's the way the game of life goes.失败的名人例子!太好啦!As a matter of fact, the whole history of discovery is filled with people who used erroneous assumptions and failed ideas as stepping stones to new ideas. Columbus thought he was finding a shorter route to India. Johannes Kepler stumbled on to the idea of interplanetary gravity because of assumptions which were right for the wrong reasons. And, Thomas Edison knew 1800 ways not to build a light bulb.这一段好哪!失败走向成功的例子Negative FeedbackErrors serve another useful purpose: they tell us when to change direction. When things are going smoothly, we generally don't thinkabout them. To a great extent, this is because we function according to the principle of negative feedback.Often it is only when things or people failto do their job that they get our attention. For example, you are probably not thinking about your kneecaps right now; that's because everything is fine with them. The same goes for your elbows: they are also performing their function—no problem at all. But if you were to break a leg, you would immediately notice all of the things you could no longer do, but which you used to take for granted.Negative feedback means that the current approach is not working,and it is up to you to figure out a new one. We learn by trial and error,not by trial and rightness. If we did things correctly every time, wewould never have to change direction—we'd just continue the current course and end up with more of the same.For example, after the supertanker Amoco Cadiz broke up off the coast of Brittany in the spring of 1978, thereby polluting the coast with hundreds of thousands of tons of oil, the oil industry rethought many of its safety standardsregarding petroleum transport. The same thing happened after the accident at the Three Mile Island nuclear reactor in 1979—many procedures and safety standards were changed.We learn by our failures. A person's errors are the whacks that lead him to think something different.引用The creative director of an advertising agency told me that he isn't happy unless he is failing at least half of the time. As he puts it, "If you are going to be original, you are going to be wrong a lot."One of my clients, the president of a fast-growing computer company, tells his people: "We're innovators. We're doing things nobody has ever done before. Therefore, we are going to be making mistakes. My advice to you: make your mistakes, but make them in a hurry."Nature's Errors[[Nature serves as a good example of how trial and error can be used to make changes. Every now and then genetic mutations occur—errors in gene reproduction. Most of the time, these mutations have a deleterious effect on the species, and they drop out of the gene pool. But occasionally, a mutation provides the species with something beneficial, and that change will be passed on to future generations.The rich variety of all species is due to this trial and error process. If there had never been any mutations from the first amoeba, where would we be now?]]If you're not making many errors, you might ask yourself, "How many opportunities am I missing by not being more aggressive?"Remember these two benefits of failure. First, if you do fail, you learn what doesn't work; and second, the failure gives you an opportunity to try a new approach.我们学不完,我们不象Aristotle,我们要怎么学Unlike Aristotle who is believed to have known everything there was to know at the time he lived, it is impossible for us to deal with the voluminous amounts of information which are produced daily. The lifelong learning which we have alluded to will not always be acquired through the traditional sixteen-week college course. We in the community college need to provide a smorgasbord of opportunities for individuals who wish to increase their mobility and options.大学要不要规定各种课程What I've missed is an education that integrates philosophy, history, literature and the other humanities into a coherent whole. Part of the fault is my own: I did not seek out some classes that I should have. But a large share of the burden lies with the university, which lacks a core curriculum—for example, "Great Books"—that could provide a general education.好比喻,大学的作用,专业课的不全面的危害Undergraduates are therefore denied the opportunity to pursue a comprehensive curriculum. Instead, they are left, like shoppers in a giant supermarket, to wander the aisles, picking products at random, never sure that their selections will add up to a nutritious meal. Laissez faire may work in the economy, but it's no way to run a university.太注重专业课First, granting that our graduates know a good deal, their knowledge lies about in fragments and never gets welded together into the stuff of a tempered and mobile mind. Secondly, our university graduates havebeen so busy boring holes for themselves, acquiring special knowledge and skills, that in later life they have astonishingly little in common in the way of ideas, standards, or principles, Thirdly, it is alleged that the past two decades have revealed a singular want of clarity about the greatends of living, attachment to which gives significance and direction to a life.真是好!苏格拉底说真正的教育But genuine education, as Socrates knew more than two thousand years ago, is not inserting the stuffings of information into a person, but rather eliciting knowledge from him; it is the drawing out of what is in the mind. "The most important part of education," once wrote William Ernest Hocking, the distinguished Harvard philosopher, "is this instruction of a man in whathe has inside him."And, as Edith Hamilton has reminded us, Socrates never said, "I know, learn from me." He said, rather, "Look into your own selves and find the spark of truth that God has put into every heart, and that only you can kindle to a flame."电信和技术的发展1. The development of information technologies.Throughout the world, information and telecommunication technologies are bringing about a new industrial revolution whichalready looks to be as important and radical as those revolutions which preceded it.全球化2. Internationalization is connected both with political situation and with the development of technologies.Nowadays our world is becoming smaller and smaller, and turns into a "global village." International academic cooperation is an excellent basis for nation-wide cooperation and one of the key factors for sustainable development.传统教学模式的转变The learning community reflects a shift away from the typical lecture approach where the professor professes, i.e. imparts knowledge to the student and the student simply takes it down and takes it in. The new emphasis will be on learning, in addition to the lecture through student initiative in setting the program, acquiring knowledge through the Internet as needed, collaborating with peers in special projects, experiential learning through internships, study abroad, and many other out-of-classroom experiences.需要全面发展,对研究也是如此The research role will continue to be a key function in the research university, but there will continue to be a shift in emphasis away from single investigator, working on a particular and narrow area, toward multi-disciplinary teams working on problems driven by societal need.职业培训和教育Training is intended primarily for the service of society; education is primarily for the individual. Society needs doctors, lawyers, engineers, teachers to perform specific tasks necessary to its operation, just as it needs carpenters and plumbers and stenographers. Training supplies the immediate and specific needs of society so that the work of the world may continue. And these needs, our training centers the professional and trade schools fill. But although education is for the improvement of the individual, it also serves society by providing a leavening of men of understanding, of perception, and wisdom. They are our intellectual leaders, the critics of our culture, the defenders of our free traditions, the instigators of our progress. They serve society by examining its function, appraising its needs, and criticizing its direction. They may be earning their livings by practicing one of the professions, or in pursuing a trade, or by engaging in business enterprise. They may be rich or poor. They may occupy positions of power and prestige, or they may be engaged in some humble employment. Without them, however, society either disintegrates or else becomes an anthill.艺术/ 全面教育In the liberal arts college, on the other hand, the student is encouraged to explore new fields and old fields, to wander down the bypaths of knowledge. There the teaching is concerned with major principles, andits purpose is to change the student, to make him something different from what he was before, just as the purpose of the Y gym is to make a fat man into a thin one, or a strong one out of a weak one.专业课和艺术In general, certain courses of study are for the service of society and other courses are for self-improvement. In the hierarchy of our educational system, the former are the function of our professional schools and the latter are the function of the college of liberal arts.智慧是什么There are, I think, several factors that contribute to wisdom. Of these I should put first a sense of proportion: the capacity to take account of all the important factors in a problem and to attach to each its due weight.有关智慧和人类Comprehensiveness alone, however, is not enough to constitute wisdom. There must be, also, a. certain awareness of the ends of human life.要的It is not only in public ways, but in private life equally, that wisdom is needed. It is needed in the choice of ends to be pursued and in emancipation from personal prejudice.理智的作用,满好的I think the essence of wisdom is emancipation, as far as possible, from the tyranny of the here and the now. We cannot help the egoism of our senses. Sight and sound and touch are bound up with our own bodiesand cannot be made impersonal. Our emotions start similarly titan ourselves. An infant feels hunger or discomfort, and is unaffected except by his own physical condition. Gradually with the years, his horizon widens, and, in proportion as his thoughts and feelings become less personal and less concerned with his own physical states, he achieves growing wisdom. This is of course a matter of degree. No one can view the world with complete impartiality; and if anyone could, he would hardly be able to remain alive. but it is possible to make a continual approach towards impartiality, on the one hand, by knowing things somewhat remote in time or space, and, on the other hand, by giving to such things their due weight in our feelings. It is this approach towards impartiality that constitutes growth in wisdom.计算机与教育:对学生和老师Computers enhance a student's learning experience in many ways. First of all, the computer has the ability to accommodate individual differences in learning speed because the user (the student) is the one who controls the pace of the lessons. In addition, because a computer Is nonjudgmental, the learner does not have to be afraid of reprisal or humiliation when making errors. For example, because computers can repeat information over and over, the user can ask for many repetitions of a lesson without fearing a judgmental response about his or her ability to learn. The beneficial effects of learning in a stress-free atmosphereare well documented. A third advantage of CAI is that a computer can give a student immediate feedback. It can tell the student why she or he is wrong as soon as an error is made, and it can even provide an appropriate hint for figuring out the correct answer.Not only do computers benefit students, they also make the teacher's job easier. One advantage lies in the preparation of instructional materials. Schools and colleges can purchase educational computer programs that can be adapted to any learning situation. These systems, called "authoring systems," are like skeletal lesson plans: The format of several exercises and tests is already planned out; all the teacher adds is the information he or she wants the students to learn (mathematical problems, vocabulary lists, and so forth). The authoring system automatically incorporates these teaching points into its preplanned format and then is ready to be used by several students for a long time. The system can also correct the students' work and determine and record grades. In addition, the computer offers numerous advantages to teachers in managing their classrooms. A computer laboratory (a room having one computer for every two students) can free the teacher to meet individually with students while the rest of the class is occupied with computer lessons. Finally, computers can help teachers keep student records and chart student progress, thereby cutting down on time-consuming paperwork."计算机引发疾病In an atmosphere of computer monitoring, inept work stations, inflexible pacing, and nerve-wracking anxiety, workman's compensation claims based on job stress have more than doubled since 1980, and now account for approximately 15 percent of all occupational disease claims.According to estimates by the OTA, stress-related illness costs business, between $50 and $75 billion per year.太阳能:环保的潜力But the era of solar power will have to wait for the cost of converting sunlight to fall far enough to pay for the cost of installing a system. "Solar is competitive now if you take the long view," says SMUD general manager Freeman. "And it's going to be highly competitive by the end of the decade." If he's right, the forecast for the industry in the 21st century is bright and sunny.技术的进步In the past, one of the biggest disadvantages of machines has been their inability to work on a micro (or tiny) scale. For example, doctors did not have devices allowing them to go inside the human body to identify health problems or to perform delicate surgery. Repair crew did not have a way of identifying broken pipes located deep within a high-rise apartment building. However, that's about to change. Advances in computers and biophysics have started a microminiature revolutionthat's allowing scientists to envision and in some cases actually build microscopic machines. These devices promise to radically change the way we live and work.技术导致的环境污染New technologies often cause new forms of pollution and environmental stress. Pollution may be defined as the addition to the environment of agents that are potentially damaging to the welfare of humans or other organisms. Environmental stress is a more general term that refers to the effects of society on the natural environment Pollution is the most common form of environmental stress, but it is not the only one.技术的负面影响In sum, although scientific discoveries and technological advances have produced tremendous improvements in the quality of human life, they have often had negative consequences as well. The risk of cancer caused by the inhalation of asbestos particles, the possibility of large-scale industrial accidents, the ethical issues raised by the use of life-prolonging technologies, and the ever-present danger of nuclear holocaust are as much a part of the modern era as space travel, miracle drugs, and computers that can operate whole factories. Although technology is not "out of control," there is clearly a need for improved procedures for anticipating and preventing the negative consequences of new technologies高科技导致失业It should be noted that the effects of new technologies are not always positive. The phrase technological dualism is sometimes used to refer to the fact that technological changes often have both positive and negative effects. The introduction of diesel locomotives, for example, greatly increased the efficiency of railroad operations, but it also led to the decline and eventual abandonment of railroad towns whose economies were based on the servicing of steam locomotives. Another example is the automation of industrial production. Automation has greatlyimproved manufacturing processes in many industries. It has increased the safety of certain production tasks and led to improved productquality in many cases. But it has also replaced thousands of manual workers with machines, and significant numbers of those workers find themselves unemployed and lacking the skills required by the high-tech occupations of postindustrial society.人们对技术的依赖Sociologists who have studied this issue point out that the problem is not one of humans being dominated by machines but, rather, one of depending on technology to meet a wide and growing range of human needs.科技对社会的影响The obvious importance of technology to human cultural and social evolution has led some sociologists to view technology as a basic principle of social change. The classic statement of this view is that of William Fielding Ogburn. Ogburn hypothesized that inventions affect the size of populations, which in turn influences the course of history. (For example, overpopulation often leads to wars and migrations.) Some inventions affect population directly: Improvements in sanitation, the development of cures for fatal illnesses, and more effective contraceptive techniques are examples. But inventions can also have indirect effects on population. For example, techniques that improve crop yields or permit long-term storage of food surpluses make it possible to support a larger population with a given amount of farmland. And improvements in military technology (e.g., the use of horses in warfare, the invention of gunpowder, and the development of the armored tank) have bad dramatic effects on the conduct of war and hence on population size.科技对能源满好的Throughout human history a central aspect of technological change has been the quest for new sources of energy to meet the needs of growing populations. That quest has given rise to a succession of energy technologies, each more sophisticated than the last. Animal power gave way to steam-driven machinery, which in turn was replaced by the internal-combustion engine. Reliance on oil and its derivatives, especially gasoline, encouraged the growth of powerful energy corporations, which often lobby government agencies for assistance in developing new technologies like nuclear energy. And today the technologically advanced nations are attempting to control the fusion reaction, in which hydrogen atoms are fused into helium, thereby producing an enormous release of energy. The implications of this energy technology, if it can be achieved, are staggering. Fusion promises to bring about a major revolution in human existence. It could make possible the colonization and exploration of space, the rapid development of the less-developed nations, the elimination of energy technologies based on oil and coal (which pollute the environment), and much else. But the effort to develop fusion power is also indicative of a fundamental crisis in modern life: the dwindling supply of energy resources.要It would seem from what we have said so far that the quest for energy is a positive force that results in new, sometimes revolutionarytechnologies that greatly improve the quality of human life. Many people believe that societies can meet their growing energy needs bycontinually investing in more sophisticated technologies. This approach has led to the development of huge nuclear-power plants to replace oil-fueled generators, and it is widely hoped that investment in fusion, an even more complex technology, will eliminate the dangers posed by nuclear power."Soft" energy technologies depend on renewable sources like sun and wind and tend to be labor-intensive in that larger numbers of people are needed to produce a given amount of energy. They are more diverse than "hard'' energy technologies and are more directly matched to energy needs. (Solar energy, for example, can be used to heat water withoutfirst being converted into electricity.) But the major difference between the two paths, according to Lovins, is that whereas the soft path depends on "pluralistic consumer choice in deploying a myriad of small devices and refinements, the hard path depends on difficult, large-scale projects [e.g., nuclear-power plants and fusion reactors] requiring a major social commitment under centralized management" Such projects are characterized by a "remote and…uncontrollable technology run by a faraway, bureaucratized, technical elite who have probably never heard of you."科技在现代社会中的一句总结The place of technology in modern societies is a subject of continuing controversy. Key issues include not only the Impact of technology on daily life but also the need to control the development and uses of technological innovations so that they benefit all sectors of society.医疗的问题Throughout most of human history, limitations on food production, together with lack of medical knowledge, have placed limits on the sizeof populations. Dreadful diseases like the bubonic plague have actually reduced populations. In England the plague, known as the Black Death, was responsible for a drastic drop in the population in 1348 and for the lack of population growth in the seventeenth century. In 1625 more than 35,000 residents of London died of the plague. Smallpox and dysentery have had similar, though less dramatic, effects.医疗好让人口猛增In sum, as medical science progressed toward greater understanding of the nature of disease and its prevention, new public-health andmaternal-care practices contributed to rapid population growth.技术的不好:很好的开头!The case of medical technology illustrates once again that technology can be both a blessing and a curse. In recent decades we have become increasingly aware that the problems of human life cannot always be solved by technological means. The "technological fix" can have adverse consequences. In the case of medical technology, vital ethical issues must be addressed. Other technologies, such as nuclear power and chemical plants, can directly threaten human life. As Charles Perrow writes, "Human-made catastrophes appear to have increased with industrialization as we built devices that could crash, sink, burn, orexplode." Perrow also points out that the increasing complexity of modern technology has led to a new kind of catastrophe: the failure of whole systems (i.e., activities and organizational networks as well as apparatus), as in the case of the Three Mile Island accident or the Challenger disaster.核污染例子研究者不更新和质问理论而视为当然地咨询Rather than spending their time testing and refuting existing hypotheses in order to establish new, more valid ones, they often take it for granted that existing theories are valid and use them in their efforts to solve specific problems. In other words, the researcher uses existing theories and methods as a paradigm, or model, to guide future research.研究者与社会脱节,固守传统理论This view of the scientific community (or, rather, communities of specialized researchers) implies that science is insulated from the rest of society. Scientists are guided by the tradition of research in their field, which is passed along from one generation of scientists to the next. The problems they choose to solve are determined by that tradition, as are the methods they use in trying to solve them. This process continues, according to Kuhn, until the paradigm is no longer useful—that is, until enough members of the scientific community believe a particular set of observations can no longer be explained by existing theories and procedures. Then the community becomes more open to outside influences. Its members explore a variety of ideas not directly related to the dominant paradigm in their field, ideas that in some cases lead to a scientific revolution. When this occurs, the old paradigm is set aside in favor of a new one that will henceforth guide the work of the members of a particular scientific community. Some of the most famous scientific revolutions have occurred in physics, for example, in the shift from Newtonian physics to Einstein's theory of relativity and quantum theory and most recently in the discovery of the existence of subatomic particles.物理学上的发展更新和飞跃的例子好句子呀!科学的本义是普遍而非个人色彩One of the basic norms of scientific institutions is universalism: The truth of scientific knowledge must be determined by the impersonal criteria of the scientific method, not by criteria related to race, nationality, religion, social class, or political ideology.科学是大家共有的Another norm of science is common ownership of scientific findings. Those findings are a result of collaboration and hence are not the property of any individual, although in some cases they may bear the name of the person who first published them, as in "Darwin's theory of evolution" or "Einstein's theory of relativity."科技对交流,传媒We noted earlier that a significant aspect of modern science is its contribution to the rapid pace of technological change. The technologies produced by scientific research are applied to all aspects of human life and hence are a major force in shaping and changing other institutions in addition to scientific institutions themselves. An example is the impact of technological change on the institutions of mass communication. The advent of radio and then television dramatically changed the ways in。