Superdeformed Band in ^{36}Ar Described by Projected Shell Model
DEFORM二次开发各模块介绍

材料本构模型是实现计算机数值模拟的前提条件之一,【关于计算机数值模拟技术的发展介绍】本论文所采用的有限元模拟软件DEFORM-3D进行材料的微观组织模拟介绍,DEFORM-3D 有限元软件是集成了原材料、成形、热处理和机加工为一体的软件,可用于分析各种塑性体积成形过程中金属流动以及材料的应力、应变和温度等物理场量的分布变化情况,同时提供了材料的流动、模具间的填充、成型过程的载荷量、模具所受应力、材料的纤维流向、成型过程的坯料形成、材料的韧性断裂以及金属微观组织结构等信息。
为了实现在金属成形工艺模拟过程中进行微观组织演化的定量预测,所使用的模拟软件必须有包含微观组织变化的本构模型和专门的微观组织演化分析模块。
当前国际上虽然有多个知名商业有限元软件流行,但是它们都不具备微观组织演化的预测功能;或者软件具有微观组织变化的本构模型,但仍需使用者输入材料的参数方可进行,而软件不提供材料的参数;故很多软件都淡化此微观组织演化分析模块。
庆幸的是多数商业软件都为二次开发设置了用户子程序功能,通过编制用户子程序就能实现对微观组织演化的预测功能。
用户自定义本构模型的输入方法在当今的科学研究方向中,新材料的开发占据了一个重要的角色。
不同的材料工作者开发了不同的新材料,得到了不同的本构模型,需要对这种新材料进行模拟,为了满足这种需求,DEFORM提供了两种用户自定义本构模型的输入方法:(1)以函数形式输入本构模型。
DEFORM提供了若干常用本构模型,如图4.6所示。
若用户的本构模型与系统提供的本构模型一致,则可直接输入其相关系数即可;若用户的本构模型在系统中不存在,则可通过二次开发编程的方式将用户的本构模型加入到DEFORM中,然后在图4.6中选择“User routine”并输入所调用的本构模型子程序的编号。
(2)以数据形式输入本构模型。
DEFORM还允许通过输入数据的方式来定义材料的塑性流动行为。
具体方法是根据材料的真应力一真应变曲线,取若干个数据点,逐个输入该材料在某个温度、某个变形速率和某个真应变下的真应力。
Autodesk Nastran 2022 用户手册说明书

MPA, MPI (design/logo), MPX (design/logo), MPX, Mudbox, Navisworks, ObjectARX, ObjectDBX, Opticore, Pixlr, Pixlr-o-matic, Productstream,
Publisher 360, RasterDWG, RealDWG, ReCap, ReCap 360, Remote, Revit LT, Revit, RiverCAD, Robot, Scaleform, Showcase, Showcase 360,
TrueConvert, DWG TrueView, DWGX, DXF, Ecotect, Ember, ESTmep, Evolver, FABmep, Face Robot, FBX, Fempro, Fire, Flame, Flare, Flint,
ForceEffect, FormIt, Freewheel, Fusion 360, Glue, Green Building Studio, Heidi, Homestyler, HumanIK, i-drop, ImageModeler, Incinerator, Inferno,
Autodesk Nastran 2022
Reference Manual
Nastran Solver Reference Manual
【阅】deform问题汇总

1.DEFORM4.02帮助文档System setup是根据各种设好的网格划分条件进行网格划分userdefine用于指定特定区域可以有更高的单元密度.absolute是在毛坯或模具表面单位长度上的网格数relative是指定所划分网格最大边长与最小边长的比率而在deform5.03中好像有点改进.在system define中也可以进行局部区域的高密度网格,且好像多了圆柱和环形的局部区域方式。
2.machining_template_3dDeform网格划分应该说还是相当不错的,尤其是2维的deform的网格划分技术,曾被ABAQUS的技术人员誉为行业的骄傲。
deform3d的网格划分也还不错,它的优点是可以指meshwindow。
一个取1,另一个取10,(不管是相对密度,还是绝对尺寸)多了就不保险了。
需用手工划分,deform的缺省网格划分方式还是不错的,它已考虑了变形,温度分布及边界的影响。
先把划分好的网格(你不满意的)生成数据库,退出再打开,然后重新生成一下网格就ok 了。
也就是说生成完整的database文件,退出程序,再启动打开这个文件,重新mesh——detailedsetting——surfacemesh——solidmesh。
3.DEFORM-3D則用boolean作切削4.改变底色要从deform拷贝出底色为白色的图形?默认的是黑色的!————在显示屏幕点击右键,好像有一项theme的选项,点击它后就有菜单弹出,就可以改变底色了5.deform可以的!在stat evariable中得type中选择linecontour就可以了!后处理中选择color\linecouter将所有颜色改为黑色另外,再将底色改为白色就可以了。
6.deform3d怎样分析锻造缺陷折叠可以看网格,断裂就是看损伤,如果设置断裂和删除准则,可以直接看到断裂元7.有没有人用过deform工件材料-AISI1045(45#钢),设置Cockroft&Latham破坏准则的临界值=0.38.再点右边按钮9.华氏度F=32+(9/5)乘以摄氏度C10.Elastic-viscoplasticity——弹-黏塑性热力耦合——thermal force coupling11.Material data:Regular:phrasematerial(有物相转化)Mixture:混合材料Elasticdata:是用来分析弹性材料和弹塑性材料的。
DEFORM仿真论坛个人整理【待更新哈大家可以补充上传】

1、后处理中“Date Extraction”按钮里面可以提取每个步数的数据。
2、如果是模拟的运动是复杂的多阶段运动,则可以分别设置第一个阶段的运动,模拟完成之后再进入前处理,设置第二阶段的运动。
以此类推。
3、要在DEFORM上实现需在凹模上加一频率为10HZ,振幅为1MM的振动可以通过在speed 中的functions of time来设置。
4、deform3d用的.pat文件的格式:关键点个数关键点编号 x y z坐标..流线条数 3(这里的3尚未明白是代表什么,哪位达人弄清楚后告诉一下)流线编号流线穿过的关键点个数流线中穿过的关键点编号表(在同一行中,不要换行,点号之间空格数不限).5、deform做冲压很不合适,用dynaform或LS-DYNA(都是dyna求解,一样的)做好些,我有切身的体会~其一是做冲压,坯料得用弹塑性,这在deform中会导致收敛不成功或是很慢,用dyna求解的话,不用担心收敛的问题,做一次模拟的速度要快N多。
其二是材料问题,坯料用弹塑性,得到的应力应变曲线不能简化成刚塑性曲线,所以不知道以那个点为切入点输入。
有点不好就是dyna计算冲压和回弹是分开计算的,所以会麻烦点。
冲压用dyna或dynaform 分析较好,deform不适合分析冲压(薄板)。
6、Deform的磨损使用的是Archard模型,这个帮助文件里有具体的操作过程。
7、冲头完成先向下运动,当达到一定距离后,再做旋转运动:如何设置问题如下可以分两步走第一步先模拟冲头向下走,设计冲头运动为向下走,运行,后处理查看第一步是否已经达到目的第二步将从之前已经运算好的文件再进行前处理,选择你要的那一步,在进行设计,将冲头设为旋转运动,再进行运算)再查看,应该就是你想要的结果8、冲头完成先向下运动,当达到一定力,再做旋转运动要实现它,有两种办法:在deform中最简单的一种是:分两步进行:第一步,movement速度控制,向下运动,simulation controls中stop中设置主模的最大载荷,即到该载荷后模具停止运动;第二步,将第一步算完的db文件重新设置旋转运动,计算比较复杂一点办法,编写movement用户子程序,子程序可以满足你希望的运动方式!9、在材料参数设定中的Advanced中,有Body Force设定比重。
Native Instruments MASCHINE MK3 用户手册说明书

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 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 (25)1.1MASCHINE Documentation (26)1.2Document Conventions (27)1.3New Features in MASCHINE 2.8 (29)1.4New Features in MASCHINE 2.7.10 (31)1.5New Features in MASCHINE 2.7.8 (31)1.6New Features in MASCHINE 2.7.7 (32)1.7New Features in MASCHINE 2.7.4 (33)1.8New Features in MASCHINE 2.7.3 (36)2Quick Reference (38)2.1Using Your Controller (38)2.1.1Controller Modes and Mode Pinning (38)2.1.2Controlling the Software Views from Your Controller (40)2.2MASCHINE Project Overview (43)2.2.1Sound Content (44)2.2.2Arrangement (45)2.3MASCHINE Hardware Overview (48)2.3.1MASCHINE Hardware Overview (48)2.3.1.1Control Section (50)2.3.1.2Edit Section (53)2.3.1.3Performance Section (54)2.3.1.4Group Section (56)2.3.1.5Transport Section (56)2.3.1.6Pad Section (58)2.3.1.7Rear Panel (63)2.4MASCHINE Software Overview (65)2.4.1Header (66)2.4.2Browser (68)2.4.3Arranger (70)2.4.4Control Area (73)2.4.5Pattern Editor (74)3Basic Concepts (76)3.1Important Names and Concepts (76)3.2Adjusting the MASCHINE User Interface (79)3.2.1Adjusting the Size of the Interface (79)3.2.2Switching between Ideas View and Song View (80)3.2.3Showing/Hiding the Browser (81)3.2.4Showing/Hiding the Control Lane (81)3.3Common Operations (82)3.3.1Using the 4-Directional Push Encoder (82)3.3.2Pinning a Mode on the Controller (83)3.3.3Adjusting Volume, Swing, and Tempo (84)3.3.4Undo/Redo (87)3.3.5List Overlay for Selectors (89)3.3.6Zoom and Scroll Overlays (90)3.3.7Focusing on a Group or a Sound (91)3.3.8Switching Between the Master, Group, and Sound Level (96)3.3.9Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.973.3.9.1Extended Navigate Mode on Your Controller (102)3.3.10Navigating the Software Using the Controller (105)3.3.11Using Two or More Hardware Controllers (106)3.3.12Touch Auto-Write Option (108)3.4Native Kontrol Standard (110)3.5Stand-Alone and Plug-in Mode (111)3.5.1Differences between Stand-Alone and Plug-in Mode (112)3.5.2Switching Instances (113)3.5.3Controlling Various Instances with Different Controllers (114)3.6Host Integration (114)3.6.1Setting up Host Integration (115)3.6.1.1Setting up Ableton Live (macOS) (115)3.6.1.2Setting up Ableton Live (Windows) (116)3.6.1.3Setting up Apple Logic Pro X (116)3.6.2Integration with Ableton Live (117)3.6.3Integration with Apple Logic Pro X (119)3.7Preferences (120)3.7.1Preferences – General Page (121)3.7.2Preferences – Audio Page (126)3.7.3Preferences – MIDI Page (130)3.7.4Preferences – Default Page (133)3.7.5Preferences – Library Page (137)3.7.6Preferences – Plug-ins Page (145)3.7.7Preferences – Hardware Page (150)3.7.8Preferences – Colors Page (154)3.8Integrating MASCHINE into a MIDI Setup (156)3.8.1Connecting External MIDI Equipment (156)3.8.2Sync to External MIDI Clock (157)3.8.3Send MIDI Clock (158)3.9Syncing MASCHINE using Ableton Link (159)3.9.1Connecting to a Network (159)3.9.2Joining and Leaving a Link Session (159)3.10Using a Pedal with the MASCHINE Controller (160)3.11File Management on the MASCHINE Controller (161)4Browser (163)4.1Browser Basics (163)4.1.1The MASCHINE Library (163)4.1.2Browsing the Library vs. Browsing Your Hard Disks (164)4.2Searching and Loading Files from the Library (165)4.2.1Overview of the Library Pane (165)4.2.2Selecting or Loading a Product and Selecting a Bank from the Browser (170)4.2.2.1[MK3] Browsing by Product Category Using the Controller (174)4.2.2.2[MK3] Browsing by Product Vendor Using the Controller (174)4.2.3Selecting a Product Category, a Product, a Bank, and a Sub-Bank (175)4.2.3.1Selecting a Product Category, a Product, a Bank, and a Sub-Bank on theController (179)4.2.4Selecting a File Type (180)4.2.5Choosing Between Factory and User Content (181)4.2.6Selecting Type and Character Tags (182)4.2.7List and Tag Overlays in the Browser (186)4.2.8Performing a Text Search (188)4.2.9Loading a File from the Result List (188)4.3Additional Browsing Tools (193)4.3.1Loading the Selected Files Automatically (193)4.3.2Auditioning Instrument Presets (195)4.3.3Auditioning Samples (196)4.3.4Loading Groups with Patterns (197)4.3.5Loading Groups with Routing (198)4.3.6Displaying File Information (198)4.4Using Favorites in the Browser (199)4.5Editing the Files’ Tags and Properties (203)4.5.1Attribute Editor Basics (203)4.5.2The Bank Page (205)4.5.3The Types and Characters Pages (205)4.5.4The Properties Page (208)4.6Loading and Importing Files from Your File System (209)4.6.1Overview of the FILES Pane (209)4.6.2Using Favorites (211)4.6.3Using the Location Bar (212)4.6.4Navigating to Recent Locations (213)4.6.5Using the Result List (214)4.6.6Importing Files to the MASCHINE Library (217)4.7Locating Missing Samples (219)4.8Using Quick Browse (221)5Managing Sounds, Groups, and Your Project (225)5.1Overview of the Sounds, Groups, and Master (225)5.1.1The Sound, Group, and Master Channels (226)5.1.2Similarities and Differences in Handling Sounds and Groups (227)5.1.3Selecting Multiple Sounds or Groups (228)5.2Managing Sounds (233)5.2.1Loading Sounds (235)5.2.2Pre-listening to Sounds (236)5.2.3Renaming Sound Slots (237)5.2.4Changing the Sound’s Color (237)5.2.5Saving Sounds (239)5.2.6Copying and Pasting Sounds (241)5.2.7Moving Sounds (244)5.2.8Resetting Sound Slots (245)5.3Managing Groups (247)5.3.1Creating Groups (248)5.3.2Loading Groups (249)5.3.3Renaming Groups (251)5.3.4Changing the Group’s Color (251)5.3.5Saving Groups (253)5.3.6Copying and Pasting Groups (255)5.3.7Reordering Groups (258)5.3.8Deleting Groups (259)5.4Exporting MASCHINE Objects and Audio (260)5.4.1Saving a Group with its Samples (261)5.4.2Saving a Project with its Samples (262)5.4.3Exporting Audio (264)5.5Importing Third-Party File Formats (270)5.5.1Loading REX Files into Sound Slots (270)5.5.2Importing MPC Programs to Groups (271)6Playing on the Controller (275)6.1Adjusting the Pads (275)6.1.1The Pad View in the Software (275)6.1.2Choosing a Pad Input Mode (277)6.1.3Adjusting the Base Key (280)6.1.4Using Choke Groups (282)6.1.5Using Link Groups (284)6.2Adjusting the Key, Choke, and Link Parameters for Multiple Sounds (286)6.3Playing Tools (287)6.3.1Mute and Solo (288)6.3.2Choke All Notes (292)6.3.3Groove (293)6.3.4Level, Tempo, Tune, and Groove Shortcuts on Your Controller (295)6.3.5Tap Tempo (299)6.4Performance Features (300)6.4.1Overview of the Perform Features (300)6.4.2Selecting a Scale and Creating Chords (303)6.4.3Scale and Chord Parameters (303)6.4.4Creating Arpeggios and Repeated Notes (316)6.4.5Swing on Note Repeat / Arp Output (321)6.5Using Lock Snapshots (322)6.5.1Creating a Lock Snapshot (322)6.5.2Using Extended Lock (323)6.5.3Updating a Lock Snapshot (323)6.5.4Recalling a Lock Snapshot (324)6.5.5Morphing Between Lock Snapshots (324)6.5.6Deleting a Lock Snapshot (325)6.5.7Triggering Lock Snapshots via MIDI (326)6.6Using the Smart Strip (327)6.6.1Pitch Mode (328)6.6.2Modulation Mode (328)6.6.3Perform Mode (328)6.6.4Notes Mode (329)7Working with Plug-ins (330)7.1Plug-in Overview (330)7.1.1Plug-in Basics (330)7.1.2First Plug-in Slot of Sounds: Choosing the Sound’s Role (334)7.1.3Loading, Removing, and Replacing a Plug-in (335)7.1.3.1Browser Plug-in Slot Selection (341)7.1.4Adjusting the Plug-in Parameters (344)7.1.5Bypassing Plug-in Slots (344)7.1.6Using Side-Chain (346)7.1.7Moving Plug-ins (346)7.1.8Alternative: the Plug-in Strip (348)7.1.9Saving and Recalling Plug-in Presets (348)7.1.9.1Saving Plug-in Presets (349)7.1.9.2Recalling Plug-in Presets (350)7.1.9.3Removing a Default Plug-in Preset (351)7.2The Sampler Plug-in (352)7.2.1Page 1: Voice Settings / Engine (354)7.2.2Page 2: Pitch / Envelope (356)7.2.3Page 3: FX / Filter (359)7.2.4Page 4: Modulation (361)7.2.5Page 5: LFO (363)7.2.6Page 6: Velocity / Modwheel (365)7.3Using Native Instruments and External Plug-ins (367)7.3.1Opening/Closing Plug-in Windows (367)7.3.2Using the VST/AU Plug-in Parameters (370)7.3.3Setting Up Your Own Parameter Pages (371)7.3.4Using VST/AU Plug-in Presets (376)7.3.5Multiple-Output Plug-ins and Multitimbral Plug-ins (378)8Using the Audio Plug-in (380)8.1Loading a Loop into the Audio Plug-in (384)8.2Editing Audio in the Audio Plug-in (385)8.3Using Loop Mode (386)8.4Using Gate Mode (388)9Using the Drumsynths (390)9.1Drumsynths – General Handling (391)9.1.1Engines: Many Different Drums per Drumsynth (391)9.1.2Common Parameter Organization (391)9.1.3Shared Parameters (394)9.1.4Various Velocity Responses (394)9.1.5Pitch Range, Tuning, and MIDI Notes (394)9.2The Kicks (395)9.2.1Kick – Sub (397)9.2.2Kick – Tronic (399)9.2.3Kick – Dusty (402)9.2.4Kick – Grit (403)9.2.5Kick – Rasper (406)9.2.6Kick – Snappy (407)9.2.7Kick – Bold (409)9.2.8Kick – Maple (411)9.2.9Kick – Push (412)9.3The Snares (414)9.3.1Snare – Volt (416)9.3.2Snare – Bit (418)9.3.3Snare – Pow (420)9.3.4Snare – Sharp (421)9.3.5Snare – Airy (423)9.3.6Snare – Vintage (425)9.3.7Snare – Chrome (427)9.3.8Snare – Iron (429)9.3.9Snare – Clap (431)9.3.10Snare – Breaker (433)9.4The Hi-hats (435)9.4.1Hi-hat – Silver (436)9.4.2Hi-hat – Circuit (438)9.4.3Hi-hat – Memory (440)9.4.4Hi-hat – Hybrid (442)9.4.5Creating a Pattern with Closed and Open Hi-hats (444)9.5The Toms (445)9.5.1Tom – Tronic (447)9.5.2Tom – Fractal (449)9.5.3Tom – Floor (453)9.5.4Tom – High (455)9.6The Percussions (456)9.6.1Percussion – Fractal (458)9.6.2Percussion – Kettle (461)9.6.3Percussion – Shaker (463)9.7The Cymbals (467)9.7.1Cymbal – Crash (469)9.7.2Cymbal – Ride (471)10Using the Bass Synth (474)10.1Bass Synth – General Handling (475)10.1.1Parameter Organization (475)10.1.2Bass Synth Parameters (477)11Working with Patterns (479)11.1Pattern Basics (479)11.1.1Pattern Editor Overview (480)11.1.2Navigating the Event Area (486)11.1.3Following the Playback Position in the Pattern (488)11.1.4Jumping to Another Playback Position in the Pattern (489)11.1.5Group View and Keyboard View (491)11.1.6Adjusting the Arrange Grid and the Pattern Length (493)11.1.7Adjusting the Step Grid and the Nudge Grid (497)11.2Recording Patterns in Real Time (501)11.2.1Recording Your Patterns Live (501)11.2.2The Record Prepare Mode (504)11.2.3Using the Metronome (505)11.2.4Recording with Count-in (506)11.2.5Quantizing while Recording (508)11.3Recording Patterns with the Step Sequencer (508)11.3.1Step Mode Basics (508)11.3.2Editing Events in Step Mode (511)11.3.3Recording Modulation in Step Mode (513)11.4Editing Events (514)11.4.1Editing Events with the Mouse: an Overview (514)11.4.2Creating Events/Notes (517)11.4.3Selecting Events/Notes (518)11.4.4Editing Selected Events/Notes (526)11.4.5Deleting Events/Notes (532)11.4.6Cut, Copy, and Paste Events/Notes (535)11.4.7Quantizing Events/Notes (538)11.4.8Quantization While Playing (540)11.4.9Doubling a Pattern (541)11.4.10Adding Variation to Patterns (541)11.5Recording and Editing Modulation (546)11.5.1Which Parameters Are Modulatable? (547)11.5.2Recording Modulation (548)11.5.3Creating and Editing Modulation in the Control Lane (550)11.6Creating MIDI Tracks from Scratch in MASCHINE (555)11.7Managing Patterns (557)11.7.1The Pattern Manager and Pattern Mode (558)11.7.2Selecting Patterns and Pattern Banks (560)11.7.3Creating Patterns (563)11.7.4Deleting Patterns (565)11.7.5Creating and Deleting Pattern Banks (566)11.7.6Naming Patterns (568)11.7.7Changing the Pattern’s Color (570)11.7.8Duplicating, Copying, and Pasting Patterns (571)11.7.9Moving Patterns (574)11.7.10Adjusting Pattern Length in Fine Increments (575)11.8Importing/Exporting Audio and MIDI to/from Patterns (576)11.8.1Exporting Audio from Patterns (576)11.8.2Exporting MIDI from Patterns (577)11.8.3Importing MIDI to Patterns (580)12Audio Routing, Remote Control, and Macro Controls (589)12.1Audio Routing in MASCHINE (590)12.1.1Sending External Audio to Sounds (591)12.1.2Configuring the Main Output of Sounds and Groups (596)12.1.3Setting Up Auxiliary Outputs for Sounds and Groups (601)12.1.4Configuring the Master and Cue Outputs of MASCHINE (605)12.1.5Mono Audio Inputs (610)12.1.5.1Configuring External Inputs for Sounds in Mix View (611)12.2Using MIDI Control and Host Automation (614)12.2.1Triggering Sounds via MIDI Notes (615)12.2.2Triggering Scenes via MIDI (622)12.2.3Controlling Parameters via MIDI and Host Automation (623)12.2.4Selecting VST/AU Plug-in Presets via MIDI Program Change (631)12.2.5Sending MIDI from Sounds (632)12.3Creating Custom Sets of Parameters with the Macro Controls (636)12.3.1Macro Control Overview (637)12.3.2Assigning Macro Controls Using the Software (638)12.3.3Assigning Macro Controls Using the Controller (644)13Controlling Your Mix (646)13.1Mix View Basics (646)13.1.1Switching between Arrange View and Mix View (646)13.1.2Mix View Elements (647)13.2The Mixer (649)13.2.1Displaying Groups vs. Displaying Sounds (650)13.2.2Adjusting the Mixer Layout (652)13.2.3Selecting Channel Strips (653)13.2.4Managing Your Channels in the Mixer (654)13.2.5Adjusting Settings in the Channel Strips (656)13.2.6Using the Cue Bus (660)13.3The Plug-in Chain (662)13.4The Plug-in Strip (663)13.4.1The Plug-in Header (665)13.4.2Panels for Drumsynths and Internal Effects (667)13.4.3Panel for the Sampler (668)13.4.4Custom Panels for Native Instruments Plug-ins (671)13.4.5Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) (675)13.5Controlling Your Mix from the Controller (677)13.5.1Navigating Your Channels in Mix Mode (678)13.5.2Adjusting the Level and Pan in Mix Mode (679)13.5.3Mute and Solo in Mix Mode (680)13.5.4Plug-in Icons in Mix Mode (680)14Using Effects (681)14.1Applying Effects to a Sound, a Group or the Master (681)14.1.1Adding an Effect (681)14.1.2Other Operations on Effects (690)14.1.3Using the Side-Chain Input (692)14.2Applying Effects to External Audio (695)14.2.1Step 1: Configure MASCHINE Audio Inputs (695)14.2.2Step 2: Set up a Sound to Receive the External Input (698)14.2.3Step 3: Load an Effect to Process an Input (700)14.3Creating a Send Effect (701)14.3.1Step 1: Set Up a Sound or Group as Send Effect (702)14.3.2Step 2: Route Audio to the Send Effect (706)14.3.3 A Few Notes on Send Effects (708)14.4Creating Multi-Effects (709)15Effect Reference (712)15.1Dynamics (713)15.1.1Compressor (713)15.1.2Gate (717)15.1.3Transient Master (721)15.1.4Limiter (723)15.1.5Maximizer (727)15.2Filtering Effects (730)15.2.1EQ (730)15.2.2Filter (733)15.2.3Cabinet (737)15.3Modulation Effects (738)15.3.1Chorus (738)15.3.2Flanger (740)15.3.3FM (742)15.3.4Freq Shifter (743)15.3.5Phaser (745)15.4Spatial and Reverb Effects (747)15.4.1Ice (747)15.4.2Metaverb (749)15.4.3Reflex (750)15.4.4Reverb (Legacy) (752)15.4.5Reverb (754)15.4.5.1Reverb Room (754)15.4.5.2Reverb Hall (757)15.4.5.3Plate Reverb (760)15.5Delays (762)15.5.1Beat Delay (762)15.5.2Grain Delay (765)15.5.3Grain Stretch (767)15.5.4Resochord (769)15.6Distortion Effects (771)15.6.1Distortion (771)15.6.2Lofi (774)15.6.3Saturator (775)15.7Perform FX (779)15.7.1Filter (780)15.7.2Flanger (782)15.7.3Burst Echo (785)15.7.4Reso Echo (787)15.7.5Ring (790)15.7.6Stutter (792)15.7.7Tremolo (795)15.7.8Scratcher (798)16Working with the Arranger (801)16.1Arranger Basics (801)16.1.1Navigating Song View (804)16.1.2Following the Playback Position in Your Project (806)16.1.3Performing with Scenes and Sections using the Pads (807)16.2Using Ideas View (811)16.2.1Scene Overview (811)16.2.2Creating Scenes (813)16.2.3Assigning and Removing Patterns (813)16.2.4Selecting Scenes (817)16.2.5Deleting Scenes (818)16.2.6Creating and Deleting Scene Banks (820)16.2.7Clearing Scenes (820)16.2.8Duplicating Scenes (821)16.2.9Reordering Scenes (822)16.2.10Making Scenes Unique (824)16.2.11Appending Scenes to Arrangement (825)16.2.12Naming Scenes (826)16.2.13Changing the Color of a Scene (827)16.3Using Song View (828)16.3.1Section Management Overview (828)16.3.2Creating Sections (833)16.3.3Assigning a Scene to a Section (834)16.3.4Selecting Sections and Section Banks (835)16.3.5Reorganizing Sections (839)16.3.6Adjusting the Length of a Section (840)16.3.6.1Adjusting the Length of a Section Using the Software (841)16.3.6.2Adjusting the Length of a Section Using the Controller (843)16.3.7Clearing a Pattern in Song View (843)16.3.8Duplicating Sections (844)16.3.8.1Making Sections Unique (845)16.3.9Removing Sections (846)16.3.10Renaming Scenes (848)16.3.11Clearing Sections (849)16.3.12Creating and Deleting Section Banks (850)16.3.13Working with Patterns in Song view (850)16.3.13.1Creating a Pattern in Song View (850)16.3.13.2Selecting a Pattern in Song View (850)16.3.13.3Clearing a Pattern in Song View (851)16.3.13.4Renaming a Pattern in Song View (851)16.3.13.5Coloring a Pattern in Song View (851)16.3.13.6Removing a Pattern in Song View (852)16.3.13.7Duplicating a Pattern in Song View (852)16.3.14Enabling Auto Length (852)16.3.15Looping (853)16.3.15.1Setting the Loop Range in the Software (854)16.4Playing with Sections (855)16.4.1Jumping to another Playback Position in Your Project (855)16.5Triggering Sections or Scenes via MIDI (856)16.6The Arrange Grid (858)16.7Quick Grid (860)17Sampling and Sample Mapping (862)17.1Opening the Sample Editor (862)17.2Recording Audio (863)17.2.1Opening the Record Page (863)17.2.2Selecting the Source and the Recording Mode (865)17.2.3Arming, Starting, and Stopping the Recording (868)17.2.5Using the Footswitch for Recording Audio (871)17.2.6Checking Your Recordings (872)17.2.7Location and Name of Your Recorded Samples (876)17.3Editing a Sample (876)17.3.1Using the Edit Page (877)17.3.2Audio Editing Functions (882)17.4Slicing a Sample (890)17.4.1Opening the Slice Page (891)17.4.2Adjusting the Slicing Settings (893)17.4.3Live Slicing (898)17.4.3.1Live Slicing Using the Controller (898)17.4.3.2Delete All Slices (899)17.4.4Manually Adjusting Your Slices (899)17.4.5Applying the Slicing (906)17.5Mapping Samples to Zones (912)17.5.1Opening the Zone Page (912)17.5.2Zone Page Overview (913)17.5.3Selecting and Managing Zones in the Zone List (915)17.5.4Selecting and Editing Zones in the Map View (920)17.5.5Editing Zones in the Sample View (924)17.5.6Adjusting the Zone Settings (927)17.5.7Adding Samples to the Sample Map (934)18Appendix: Tips for Playing Live (937)18.1Preparations (937)18.1.1Focus on the Hardware (937)18.1.2Customize the Pads of the Hardware (937)18.1.3Check Your CPU Power Before Playing (937)18.1.4Name and Color Your Groups, Patterns, Sounds and Scenes (938)18.1.5Consider Using a Limiter on Your Master (938)18.1.6Hook Up Your Other Gear and Sync It with MIDI Clock (938)18.1.7Improvise (938)18.2Basic Techniques (938)18.2.1Use Mute and Solo (938)18.2.2Use Scene Mode and Tweak the Loop Range (939)18.2.3Create Variations of Your Drum Patterns in the Step Sequencer (939)18.2.4Use Note Repeat (939)18.2.5Set Up Your Own Multi-effect Groups and Automate Them (939)18.3Special Tricks (940)18.3.1Changing Pattern Length for Variation (940)18.3.2Using Loops to Cycle Through Samples (940)18.3.3Using Loops to Cycle Through Samples (940)18.3.4Load Long Audio Files and Play with the Start Point (940)19Troubleshooting (941)19.1Knowledge Base (941)19.2Technical Support (941)19.3Registration Support (942)19.4User Forum (942)20Glossary (943)Index (951)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 Getting Started: This document provides a practical approach to MASCHINE viaa set of tutorials covering easy and more advanced tasks in order to help you familiarizeyourself with MASCHINE.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:▪Controller Editor Manual: Besides using your MASCHINE hardware controller together withits dedicated MASCHINE software, you can also use it as a powerful and highly versatileMIDI controller to pilot any other MIDI-capable application or device. This is made possibleby the Controller Editor software, an application that allows you to precisely define all MIDIassignments for your MASCHINE controller. The Controller Editor was installed during theMASCHINE installation procedure. For more information on this, please refer to the Con-troller Editor Manual available as a PDF file via the Help menu of Controller Editor.▪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.1.2Document 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 can be expected:Furthermore, the following formatting is used:▪Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software and paths 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 the software is printed in blue. Whenever you see this formatting applied, you will find the same text appearing somewhere on the screen.▪Text appearing on the displays of the controller is printed in light grey. Whenever you see this 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 see this 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.Unlabeled Buttons on the ControllerThe buttons and knobs above and below the displays on your MASCHINE controller do not have labels.。
deform模拟常见问题

1.我用 deform 模拟轧制过程时,推进块(pusher)和轧件( slab)再整个运动过程中一直粘在一同,我设置多个轧辊速度都不可以使其分别,为何?请能手指点?(1)你给推进块设置一个速度时间曲线就能够了吧,让它在某一时间停下来,不就分别了的一些参数跟我们传统理工科的习惯很不一致,致使建模、模拟的时候常常会莫名的犯错,并且很难找出问题出在哪里!比方: (1)界限条件设置( BDRY)中的压强( pressure)——依据我们的习惯,施加在面上的应为压应力(由于是压强嘛),假如想设置为拉应力的话,要取负值;可在 DEFORM中倒是相反的。
不信你建个简单的立方体模型,上下边加压(正的值),模拟结果很显然是物体被拉长了! (2)旋转方向设置——假如从旋转轴的箭头方去看,我们往常以顺时针为正;但是在 DEFORM中是反过来的!并且有的时候你选了轴,可在用系统选定旋转中心点后(俗称小绿帽),刚才选好的轴会改正,原来你选的 -X,它有时会变为 +X(很奇异!),出现这类状况只好经过正负值的设定来改变旋转方向了。
特别是在轧制、旋压加工的时候,千万要看准工作辊旋转方向! (3)界限条件设置( BDRY)中的力( force)——这地方的正负值只是是决定方向的,更值得注意的地方是:有时你设置的拉力或张力在生成 DB 文件的时候不写入的(可能是 DEFORM有个允许范围,你设置的值溢出了),也就是说你的界限力是没有加上去的,模拟的时候为零。
还要注意,你输入的力值是加在每个所选的节点上的,举例:你想在面上加载100kN 的力,面上节点数为100,这时你在力值的输入窗口所写的值应为1kN。
近似的细节问题还有好多,一不当心或稍有不熟习便可能出问题,并且很难排查出,最伤人了!(1)正应力—拉、负应力—压是知识呀;旋转方向的鉴别采纳右旋定章,即右手握住旋转轴,大拇指挺直与旋转轴正向一致。
3.我用 Dform 3D 进行轧制模拟,开初用稳态ALE模型,但是轧件歪曲很严重,计算很快就停止了。
adams仿真报错解读

adams仿真报错解读
Adams仿真报错可能有多种原因,需要具体情况具体分析。
一
般来说,Adams仿真报错可能是由于模型设置问题、初始条件问题、边界条件问题、数值稳定性问题等引起的。
下面我将从几个可能的
原因进行解读。
首先,模型设置问题可能导致Adams仿真报错。
在建立模型时,可能存在参数设置错误、约束条件错误、初始条件设定不合理等问题,这些都可能导致仿真报错。
解决这类问题需要仔细检查模型的
各项设置,确保其符合实际物理情况。
其次,初始条件问题也可能导致Adams仿真报错。
如果初始条
件设置不合理,例如初始速度过大、初始位移设定错误等,都可能
导致仿真报错。
解决这类问题需要对初始条件进行仔细检查和调整。
另外,边界条件问题也是常见的导致Adams仿真报错的原因之一。
如果边界条件设置不合理,例如边界约束条件错误、边界载荷
设定错误等,都可能导致仿真报错。
解决这类问题需要对边界条件
进行仔细检查和调整。
此外,数值稳定性问题也可能导致Adams仿真报错。
在仿真过程中,数值稳定性是一个非常重要的问题,如果数值积分步长选择不合理、数值积分算法选择不当等,都可能导致仿真报错。
解决这类问题需要对数值积分参数进行仔细调整。
综上所述,Adams仿真报错可能由多种原因引起,需要具体情况具体分析。
在解决报错问题时,需要对模型设置、初始条件、边界条件和数值稳定性等方面进行全面的检查和调整,以确保仿真能够顺利进行。
希望以上解读能帮助你更好地理解Adams仿真报错问题。
DEFORM相关模块介绍

DEFORM相关模块介绍DEFORM相关模块介绍1、DEFORM-2D在同⼀集成环境内综合建模、成形、热传导和成形设备特性等,主要⽤来分析成形过程中平⾯应变和轴对称等⼆维材料流动,适⽤于热、冷、温成形,⼴泛⽤于分析锻造、挤压、拉拔、开坯、镦锻和许多其他⾦属成形过程,提供极有价值的⼯艺分析数据,如:材料流动、模具填充、锻造负荷、模具应⼒和缺陷产⽣发展情况等。
包含了DEFORM的核⼼功能。
⽀持PC平台的Windows XP/Vista系列操作系统,⽀持UNIX/LINUX系统。
2、DEFORM-3D在同⼀集成环境内综合建模、成形、热传导和成形设备特性等,主要⽤于分析各种复杂⾦属成形过程中三维材料流动情况,适⽤于热、冷、温成形,提供极有价值的⼯艺分析数据,如:材料流动、模具填充、锻造负荷、模具应⼒和缺陷产⽣发展情况等,DEFORM-3D功能与2D类似,但它处理的对象为复杂的三维零件、模具等。
⽀持PC平台的Windows XP/Vista 系列操作系统,⽀持UNIX/LINUX系统。
3、DEFORM-F2集成前处理、求解器和后处理于⼀体的独⽴分析系统,具有向导式的操作界⾯,使得⽤户可以⽅便地建⽴模型并完成分析过程。
主要⽤于典型的平⾯应变和轴对称等⼆维材料流动的冷、温、热成形以及传热过程分析。
相对于DEFORM-2D,DEFORM-F2更容易使⽤,⽤户能够很轻松完成前处理设置。
但是软件功能上有⼀些限制,⽐如:⽀持材料本构类型相对于DEFORM-2D较少,不⽀持⽤户⼦程序,不能设置复杂的边界条件,不能配置ADD-ON的模块,只能⼿动设置多步成形等等。
在PC平台的Windows XP/Vista系列操作系统下使⽤。
4、DEFORM-F3与DEFORM-F2类似,DEFORM-F3为3D的简化版本。
相对于DEFORM-3D,DEFORM-F3更容易使⽤,主要⽤于分析各种复杂⾦属成形过程中三维材料流动情况,对于典型成形过程,具有向导化的操作界⾯,⽤户能够很轻松完成前处理设置。
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a r X i v :n u c l -t h /0009070v 2 14 D e c 2000Superdeformed Band in36Ar Described by Projected Shell ModelGui-Lu Long 1,2and Yang Sun 1,3,41Department of Physics,Tsinghua University,Beijing 100084,P.R.China2Institute of Theoretical Physics,Chinese Academy of Sciences,Beijing 100080,P.R.China 3Department of Physics and Astronomy,University of Tennessee,Knoxville,Tennessee 379964Department of Physics,Xuzhou Normal University,Xuzhou,Jiangsu 221009,P.R.ChinaThe projected shell model implements shell model configuration mixing in the projected deformed basis.Our analysis on the recently observed superdeformed band in 36Ar suggests that the neutron and proton 2-quasiparticle and the 4-quasiparticle bands cross the superdeformed ground band at the same angular momentum.This constitutes a picture of band disturbance in which the first and the second band-crossing,commonly seen at separate rotation frequencies in heavy nuclei,occur simultaneously.We also attempt to understand the assumptions of two previous theoretical calculations which interpreted this band.Electromagnetic properties of the band are predicted.PACS:21.10.Re,21.60.Cs,23.20.Lv,27.30.+tThe topic of superdeformation has been at the fore-front of nuclear structure physics since the observation of the first superdeformed (SD)band in 152Dy [1].To-day,superdeformation at high spin is not an isolated phe-nomenon,but instead is observed across the nuclear pe-riodic table [2],and its microscopic foundation has been firmly established.However,with the recent observation of the SD band in 36Ar [3],it is astonishing that the quan-tum shell effects can stabilize the system at superdefor-mation in a nuclear system with such few particles (here N =Z =18).These new data have a large impact on theories,as they provide an ideal test case for nuclear structure mod-els.The 36Ar SD data presented in Ref.[3]were discussed by two theoretical calculations,the Cranked Nilsson-Strutinsky (CNS)model [4]and the spherical shell model (SM)[5].The fact that these models can give a comple-mentary description for the SD band in 36Ar indicates that they both are appropriate approaches.Neverthe-less,certain assumptions were made in both calculations.On the one hand,for a feasible SM calculation,the 1d 5/2orbital had to be excluded from the shell model space.It is known that in the deformed single-particle picture for the present SD minimum,the orbital K =5qp-vacuum|0 corresponds to the SD g-band,whereas the projected2-and4-qp states to2-and4-qp bands, respectively.The2-and4-qp states are selected so that the low-lying states for each kind of configuration should be included.If all multi-qp states were considered in Eq.(1),one would obtain the full shell model space generated by particles of the three major shells.As in the usual PSM calculations,we employ the Hamiltonian[6]ˆH=ˆH0−12of1d5/2and K=12and32and32of1d5/2and K=12and5between the g-band and the2-qp bands,and the second crossing between the2-qp and the4-qp bands.They cause thefirst and the second back-bending in moment of inertia,typically seen in the rare earth nuclei at spin I∼12and∼24,respectively[6].The band-crossing picture in N=Z nuclei in which a4-qp band crosses directly with the g-band was suggested earlier by Sheikh et al.[12]and further elaborated in Ref.[13].Thus,we can interpret the band disturbance in36Ar as a consequence of the simultaneous breaking of the1f7/2 neutron and proton pairs.After the band-crossing,the main component of the yrast band is from the4-qp band. We observe that all the(0-,2-,and4-qp)bands shown in Fig.1behave similarly at higher spins:above spin I=10,all bands displayed are approximately parallel, indicating that they rotate with the same frequency.In Fig.2a,the PSM energy levels are compared with data,and with the SM calculations[3]in the E(I)−E(I−2)plot.We observe that the PSM can reasonably reproduce the data and the results are com-parable with those of the SM.Following the SD band, one sees that the discontinuity around spin I=10, which corresponds to the band-crossing discussed earlier, has been reproduced.Nevertheless,in contrast to near-perfect agreement at the low spins,the PSM calculation has small deviations from the data at the band-crossing region,and for the higher spin states.For the N∼Z nuclei,there has been an open question of whether the proton-neutron pair correlation plays a role in the struc-ture discussions.It has been shown that with the renor-malized pairing interactions of the like-nucleons in an ef-fective Hamiltoinan,one can account for the T=1part of the proton-neutron pairing[13].However,whether the renormalization is sufficient for the complex region that exhibits the phenomenon of band-crossings,in par-ticular when both neutron and proton pair alignments occur at the same time,is an interesting question to be investigated.We note also that the amount of angular momentum gained by the alignment is below what one expects from decoupled f7/2pairs.Experiment on the neighboring odd-mass nuclei may help us to understand this issue.Fig.2b and2c present the calculated B(E2)and g-factor values for the36Ar SD band.We found that the band-crossing does not cause sudden changes around the crossing spin in either quantity.In the B(E2)calcula-tions,the effective charges are0.5e for neutrons and1.5e for protons,which are the same as those used in previous work and in other shell models[14].We emphasize that employment of different effective charges can modify the absolute B(E2)values,but the essential spin dependence is determined by the wave functions.In Fig.2b,the B(E2)values begin to decrease after spin I=8,and a smooth decrease is seen for higher spin states.At the band termination spin I=16,an approximate40%drop in B(E2)(compared to the maximum value at I=8)ispredicted.Our results thus suggest that a considerable collectivity remains even at the band termination.In the g-factor calculations,we use for g l the free values and forg s the free values damped by the usual0.75factor.Theresults are presented in Fig.2c.We observe a smooth increase in the g-factor from0.4at the bandhead to Z/A =0.5at I=8,and this rotor value remains thereafter.The nearly constant g-factor at higher spins indicates a cancellation between the proton and the neutron contri-bution.To see this clearly,we plot two additional curves in Fig.2c where the neutron and proton contributions are separated.This is done by eliminating the proton (neutron)qp states in Eq.(1)in the calculation for neu-tron(proton)contribution.It is now seen that the pro-ton alignment increases the g-factor,leading a peak at I=8,whereas the neutron alignment decreases it,caus-ing a valley at the same spin.The average of the two curves gives the total g-factor that shows aflat behav-ior as a function of spin.This reinforces our previous conclusion about the simultaneous breaking of the1f7/2 neutron and proton pairs and their combined alignment.To test these predictions,lifetime measurements for the states in the36Ar SD band are required,and we hope that recently developed techniques[15]can permit the g-factor measurement.Wefinally show the calculated pairing gaps in Fig.2d, in which expectation values of the pair operator are cal-culated by using the PSM wave functions.It is found that for this lightest SD nucleus,both neutron and pro-ton pairing gaps are larger than1MeV at I=0,which is a non-negligible value that is of comparable size to pairing gaps in a heavy,deformed system.However,the pairing gaps fall quickly as the nucleus rotates.After I=8,the falling continues,and saturates eventually at0.3–0.4MeV.This suggests that in order to describethe low-spin spectrum properly,pairing and its dynamic evolution are important.For the high spin states,the remaining weak pairing correlation may play a role in sustaining collectivity.In summary,the new experimental data of the SD band in36Ar,the lightest SD nucleus reported so far,has been described by the PSM.The calculated energy levels agreed well with the data,as well as with the SM results.We may thus conclude that the PSM is an efficient shell model truncation scheme for the well-deformed light nu-clei also,in which the quadrupole collectivity and pairing correlations dominate the properties.Similar conclusions have been drawn in the study of48Cr[14].It has been found that in the present case,the0-,2-,and4-qp bands cross each other at about spin I=10.Therefore,the 2-qp configurations do not have a chance to play a major role in the structure of the SD yrast band because imme-diately after the band-crossing,the4-qp band dominates the band structure.Analysis of the rotational behav-ior for various bands in the band diagram and calcula-tion of the pairing gaps could help us understand the 3assumptions in the CNS and the SM calculations that were previously used to interpret the data.Electromag-netic properties in this SD band have been studied with predictions made for the B(E2)and g-factor values. Communication with Dr.C.Baktash is acknowledged. The authors sincerely thank Dr.D.J.Hartley for careful reading the manuscript.Y.S.thanks the Department of Physics of Tsinghua University for warm hospitality, and for support from its senior visiting scholar program. This work is supported also by the Major State Basic Research Developed Program Grant No.G2000077400, the China National Natural Science Foundation Grant No.19775026,the Fok Ying Tung Education Foundation, and the Excellent Young University Teachers’Fund of Education Ministry of China.Spin I48121620E n e r g y (M e V )Fig.1, Long and Sun。