澳大利亚-历经15年SF良心作品
拉美和巴西-历经15年SF良心作品
大食蚁兽是生活在美洲的一种以白蚁为食的无齿哺乳动物.它没有牙齿,有 一个很长的嘴,当长嘴前端的鼻子嗅出白蚁的气味以后,便启动锋利的前爪 刨开蚁封,直捣白蚁窝,趁白蚁惊慌逃窜时,它便伸出长约30厘米的舌头,利 用舌上的黏液粘住白蚁,送进嘴里,囫囵吞食. 它们食量很大，一天能吃20000只。目前已被列为濒临绝种的动物。
（二）经济 3、现代民族工业的发展
国家
巴西 阿根廷 委内瑞拉
近几十年来建立起来的工业部门
钢铁、汽车、飞机制造 肉类加工、机械制造
墨西哥
石油工业
拉丁美洲和撒哈拉以南非洲的异同点
项 目 拉丁美洲 撒哈拉以南非洲
种 族
以混血种人为主（56％） 黑人为主（90％）
人口自然增长率 都高：撒’居世界第一位，拉’居世界第二 位 经济发展水平 较低。撒哈拉以南非洲为世界上是贫穷地区
巴西
自然地理特征—亚马孙河
1、水系特征 ⑴干流长，支流多，流域面积广； 2、水文特征： 水量极大，季节变化较小。
巴西
人文地理特征—人口多分布东南沿海
1、种族复杂： 白人＞ 50%，黑白混血：
40% ， 黑 人： 6% ，其它 ； 2、人口分布：东部沿海，东南沿海更密； ⑴自然条件：东部沿海，地形平坦，气候较为暖湿 （热带，高原地势较高，较为凉爽。） ⑵沿海地带交通便利；
三、居民和经济
（一）居民 1、人种：种族复杂，混血种人占一半以上； 2、语言： 拉丁美洲 大多数国家通用西班 牙语，巴西通用葡萄 牙语。
人口分布 拉丁美洲是世界上人口密度 较小的一洲，广大的热带雨 林地区、内陆高原和沙漠地 区，由于条件恶劣，人口稀 少 •拉丁美洲人口比较稠密的 地区是西印度群岛、巴西东 南部、阿根廷沿海等经济比 较发达和气候条件较好的地 区。 •一些位于热带的国家，人 口和城市多分布在气候比较 温和的高原。
澳大利亚经典文学作品
澳大利亚经典文学作品澳大利亚经典文学作品以其独特的风格和深刻的主题，吸引了全球读者的注意。
这些作品以多样的形式展现了澳大利亚的历史、文化和人民的故事。
以下是一些澳大利亚经典文学作品的介绍。
1.《澳大利亚人的自传》作者：大卫·麦考米克出版日期：1901年这本书是澳大利亚文学的经典之作，被认为是澳大利亚最著名的自传体小说。
这部小说以大卫·麦考米克自己的人生为蓝本，描绘了一个年轻人从乡村到城市的成长历程。
小说中展现了澳大利亚社会的巨大变迁和个人的成长与追求。
它被广泛认为是一部揭示澳大利亚文化和社会的重要作品。
2.《麦田守望者》作者：大卫·马洛出版日期：1951年《麦田守望者》是大卫·马洛的代表作，也是现代世界文学的经典之作。
这部小说以一名年轻人霍尔顿·考尔菲尔德的视角叙述了他在澳大利亚和纽约的经历。
小说中探讨了年轻人的成长、社会的虚伪和人性的复杂性。
它以其独特的写实风格和深刻的思考，成为青少年文学中的经典之一。
3.《真爱至上》作者：蒂莫西·康利出版日期：1995年《真爱至上》是一部畅销悬疑小说，同时也是澳大利亚现代文学的代表作之一。
故事围绕着一名年轻的女演员露茜·哈灵顿的失踪展开，她的丈夫亚历克斯成为主要嫌疑人。
小说通过多个角色的视角和回忆，逐渐揭示了真相。
它深入探索了人性的复杂性和社会的黑暗面，同时也展现了澳大利亚的城市生活和政治环境。
4.《从这开始》作者：赫尔曼·赫塞出版日期：1973年《从这开始》是一本以澳大利亚早期殖民历史为背景的历史小说。
故事发生在19世纪晚期，描绘了澳大利亚殖民地的建立和拓荒者的艰苦生活。
小说以其丰富的细节和真实的描写，展示了澳大利亚早期的历史和文化。
它被广泛认为是对于澳大利亚的历史和身份的重要贡献。
5.《大地》作者：欧内斯特·巴恩斯出版日期：1939年《大地》是一部关于澳大利亚内陆的小说，也是澳大利亚文学中的代表作品之一。
Fitbit Inspire 3手冊版本1.3说明书
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澳大利亚红酒介绍-中文版
目录1 前言 ............................................................................................. 错误！未定义书签。
2 澳大利亚概况 (2)3 澳大利亚葡萄酒简介 (3)4 澳大利亚葡萄酒历史 (4)5 澳大利亚主要葡萄酒产区 (4)6 澳大利亚主要葡萄酒产品 (5)7 澳大利亚葡萄酒的特点及与欧洲、中国葡萄酒的比较 (6)9 迅速成长的中国市场与潜在的巨大商机和无穷发展潜力 (7)11 葡萄酒种类介绍 (8)12 如何阅读酒标 (10)13 如何选购葡萄酒 (11)14 如何品尝葡萄酒 (12)15 美酒配餐 (12)16 葡萄酒与健康 (14)17 健康生活温馨提示 (15)2澳大利亚概况（图片 1：澳大利亚地图）澳大利亚是世界上最古老的大陆之一，其地理位臵在印度洋和太平洋之间。
它的面积约为七百七十万平方公里，目前约有二千三百万人口。
澳大利亚近三分之一的大陆位于热带地区，其余的位于温带地区。
年平均气温从最北部的27℃到最南部的13℃。
澳大利亚的地理区域多种多样，每个地区都有极美丽和与众不同的地形。
其北部有广阔的平原和雨林；东南部有雪原；中部有沙漠；而东部、东南和西南部却有肥沃的耕地。
因此，澳大利亚产品丰富，同时也是世界上最大的羊毛、铁矿和葡萄酒生产国之一。
作为一个发达国家，澳大利亚的生活标准和生活方式与美国、法国、英国和加拿大非常相似。
在最近很多年，澳大利亚几次被评为世界上最适合人类居住的国家之一，也是世界上生活标准最高的少数几个国家之一。
同时，澳大利亚又是一个多元文化社会。
最近50年来，来自近200个国家的移民为澳大利亚做出了相当多的贡献。
他们和本地人一起把澳大利亚建成了一个美丽和多姿多彩的家园。
澳大利亚对科学与技术的发展作出了重要的贡献。
它拥有6个诺贝尔奖获得者就是最有力的证据之一。
澳大利亚的高等教育久负甚名，教育出口是这个国家主要收益来源之一。
1999至2007年历届成人奥斯卡最佳影片巡礼
1999至2007年历届成人奥斯卡最佳影片巡礼代表作：1999年《七宗罪成人版》2000年《休斯顿VS620个男人》2001年《寻梦之旅》《象花一样凋谢》2002年《道格风格1号》2003年《当布丽亚娜爱上珍娜时》《黑暗之心》2004年《史诺普的淫乱生活日志》《女按摩师》2005年《巴黎一夜》(夜巴黎)2006年《加勒比海盜成人版》2005年度《巴黎一夜》(夜巴黎)1 Night in Paris，红灯区出品(Red Light District)主演：帕丽斯.希尔顿(Paris Hilton )著名的希尔顿集团创始人康拉德.希尔顿的曾孙女帕丽斯.希尔顿(Paris Hilton )三年前(当时只有19岁)被前男友偷拍的一段做爱录像，最初被放到网上引发下载狂潮，后经当事双方协商发行了DVD《巴黎一夜》(1 Night In Paris) ，据说帕丽斯发现与其无法避免隐私外泄，倒不如发行影像制品并可与前男友分享版权费。
实际上这部由红灯区发行的DVD只有前40分钟是帕丽丝与前男友在巴黎某宾馆里的做爱过程，后半段则是红灯区公司推出的6位新人的XXX级短片，之所以能成为年度销售冠军当然是公众窥视名人绝对隐私的卖点。
04-05年度《女按摩师》The Masseuse 生动娱乐集团(Vivid Entertainment Group)导演：保罗托马斯(Paul Thomas，《海贼王》《泰山成人版》等) 主演：珍娜.贾米森(Jenna Jameson)、萨瓦娜.萨姆森(Savanna Samson)、温迪.迪维妮(Wendy Divine)、贾斯汀.斯特灵(Justin Sterling)、伊万.斯通(Evan Stone)、曼迪.布莱特(Mandy Bright)、蕾切尔.罗特恩(Rachel Rotten)等。
简介：由成人大导演保罗托马斯执导的这部影片，横扫A VN电影奖，几乎囊括了所有的提名。
成人巨星珍娜贾米森在片中演出了一个从影以来最大胆的角色，充斥了支配、挑逗、链铐，甚至为那―痛楚的肌肉‖涂上一点润滑油，珍娜是最好的按摩师，就象一块橡皮在不停地磨擦....2004年度《史诺普的淫乱生活日志》Hustlaz: Diary of a Pimp，皮条客影像出品(Hustler Video)著名黑人成人电影制作人史诺普.道格(Snoop Dogg)亲自赤裸上阵，影星包括：阿什莉.朗(Ashley Long)、布丽特尼.斯奇(Brittany Skye)、贾达.福克斯(Jada Fox)、切尔萨.布鲁(Chelsea Blue)、霍莉.好莱坞(HollyHollywood)、米娅.斯迈尔斯(Mia Smiles)等。
尼克.武伊契奇
经过长期训练，残缺的左“ 经过长期训练，残缺的左“脚”成了武伊契奇的好帮手，不仅帮助他保持身 成了武伊契奇的好帮手， 体平衡，还可以踢球、打字。他要写字或取物时， 体平衡，还可以踢球、打字。他要写字或取物时，也是用两个脚指头夹着笔或其 他物体。 我管它叫‘小鸡腿’ 武伊契奇开玩笑说， 他物体。 “我管它叫‘小鸡腿’，”武伊契奇开玩笑说，“我呆在水里时可以漂 起来，因为我身体的80%是肺，‘小鸡腿’则像是推进器。”游泳并不是武伊契奇 起来，因为我身体的80%是肺， 小鸡腿’则像是推进器。 80%是肺 惟一的体育运动，他对滑板、足球也很在行， 最喜欢英超比赛” 惟一的体育运动，他对滑板、足球也很在行，“最喜欢英超比赛”。 • 他还能打高尔夫球。击球时，他用下巴和左肩夹紧特制球杆，然后击打。 他还能打高尔夫球。击球时，他用下巴和左肩夹紧特制球杆，然后击打。 • 去年，武伊契奇在美国夏威夷学会了冲浪。他甚至掌握了在冲浪板上360 360度旋 去年，武伊契奇在美国夏威夷学会了冲浪。他甚至掌握了在冲浪板上360度旋 转这样的超高难度动作。由于这个动作属首创， 转这样的超高难度动作。由于这个动作属首创，他完成旋转的照片还刊登在了 冲浪》杂志封面。 我的重心非常低，所以可以很好地掌握平衡， 《冲浪》杂志封面。“我的重心非常低，所以可以很好地掌握平衡，”他平静地 说。 • 由于武伊契奇的勇敢和坚忍，2005年他被授予 澳大利亚年度青年” 年他被授予“ 由于武伊契奇的勇敢和坚忍，2005年他被授予“澳大利亚年度青年”称号随 Nick的成长 他学会了怎样应付自身的不足而且开始自己做越来越多的事情， 的成长， 着Nick的成长，他学会了怎样应付自身的不足而且开始自己做越来越多的事情， 他开始适应他的生存环境，找到方法完成其他人必须要手足才可以完成的事情， 他开始适应他的生存环境，找到方法完成其他人必须要手足才可以完成的事情， 就像刷牙、洗头、打电脑、游泳、做运动，其他更多的事情。2005年Nick被授予 就像刷牙、洗头、打电脑、游泳、做运动，其他更多的事情。2005年Nick被授予 澳大利亚年度青年”的荣誉称号，这是一项很大的的荣誉。Nick鼓励每个人勇 “澳大利亚年度青年”的荣誉称号，这是一项很大的的荣誉。Nick鼓励每个人勇 于面对并改变生活，所以他们开始完成人生梦想的征程。 于面对并改变生活，所以他们开始完成人生梦想的征程。通过自己人生的点点滴 滴和令人难以置信的幽默与人们沟通的惊人能力，Nick深受孩子 深受孩子、 滴和令人难以置信的幽默与人们沟通的惊人能力，Nick深受孩子、少年和青年人 的喜爱，Nick是真正地使人倍受鼓舞的演说家 是真正地使人倍受鼓舞的演说家。 的喜爱，Nick是真正地使人倍受鼓舞的演说家。 •
Native Instruments MASCHINE MIKRO 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 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.。
澳大利亚经典文学作品
澳大利亚经典文学作品摘要：1.澳大利亚经典文学作品概述2.澳大利亚文学的历史发展3.澳大利亚经典文学作品的特点4.澳大利亚经典文学作品的代表作家及作品5.澳大利亚经典文学作品的影响正文：【澳大利亚经典文学作品概述】澳大利亚经典文学作品是指那些具有代表性、影响力和历史价值的澳大利亚文学作品。
这些作品反映了澳大利亚独特的历史、文化、社会和自然环境，为世界文学贡献了丰富的内容和独特的视角。
【澳大利亚文学的历史发展】澳大利亚文学始于欧洲殖民者的到来。
最早的澳大利亚文学作品主要是探险家和移民的日记、信件和回忆录。
19 世纪中期，澳大利亚开始出现具有本土意识的文学作品。
20 世纪初，澳大利亚文学逐渐走向成熟，出现了一系列具有国际影响力的作家和作品。
【澳大利亚经典文学作品的特点】澳大利亚经典文学作品具有以下特点：首先，这些作品反映了澳大利亚独特的历史和文化，如对土著居民的生活、澳大利亚大陆的拓荒和移民经验等；其次，这些作品强调澳大利亚的自然环境，如对荒漠、草原、海洋等自然景观的描绘；最后，这些作品往往具有强烈的社会批判性，揭示了澳大利亚社会的不公和阶级矛盾。
【澳大利亚经典文学作品的代表作家及作品】澳大利亚经典文学作品的代表作家包括：哈利·吉尔伯特、欧内斯特·亨利、阿瑟·肯特、帕特里克·怀特等。
代表作品有：《斯特拉》、《我的光辉生涯》、《卡普船长》、《风暴之眼》等。
【澳大利亚经典文学作品的影响】澳大利亚经典文学作品对世界文学产生了深远的影响。
它们不仅丰富了世界文学的内容和形式，还为世界文学提供了一个独特的视角，让人们更好地了解澳大利亚的历史、文化和社会。
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悉尼歌剧院的设计灵感来源于一个剥开的橘子
【填图认知】
120°E 140°E
20°S
1、位置和范 （1）绘120°E ，130°E， 150°E，20°S，30°S， 40°S. （2）海洋：B__洋,A__洋。 （3）大陆与岛屿： C_____________大陆、 D___________岛、 E___________岛、 F___________岛。
2
3
水源：
4
交通： 东南沿海地区海运条件优越； 历史： 殖民者最先到达，历史悠久。
5
探究：畜牧业发达的原因
1.气候温和，有利于牲畜越冬。 2.热带草原气候广阔，牧草丰富 3.大自流盆地有丰富的牲畜饮用水源。 4.没有大型食肉动物，牲畜缺少天敌。 5、地形平坦。 6.地广人稀，土地租金低。（社会经济原因）
地形比较单 一，起伏小。
西澳大利亚寒流降 温减湿作用
【填图认知】 二、人文地理 5、物产：“骑在羊背上”和“坐 在矿车上”的国家 （1）澳大利亚的农牧业发展较早， 以出口 和 著名世界， 因为绵羊较多，被称为 “ ”。 （2）澳大利亚矿产资源空间分布 有何特点？并体会它被称为 “坐在矿车上”的国家的含义？ 6、农业：澳大利亚混合农业主要 分布在 和 。
澳大利亚
澳大利亚
【学习目标】 1、了解澳大利亚的海陆位置和范围。 2、掌握澳大利亚的自然地理环境要素的特征。 3、掌握澳大利亚的社会经济要素特征 4、能分析澳大利亚特殊的气候分布区成因。 5、能分析澳大利亚人口分布和牧业发达的原因。 【学习重点】 1、能分析澳大利亚特殊地区的气候分布区成因。 2、能分析澳大利亚人口分布和牧业发达的原因。
40°S
130°E
150°E
2、地形（ 1）山脉、河流： G_______山脉、H__________ 河； I_________盆地，该地的地下水多属________水，有盐分。
澳大利亚地形
大自流盆地： 井水为什么自动向外流呢？
大自流盆地东西两侧高，中间低，形成承 压水构造，盐度高（流经含水层距离长，溶 解了一些盐类物质），不宜灌溉，可作牲畜
鸸鹋
袋鼠
鸭嘴兽
探究1：澳大利亚东北部A处不受赤道低压带影响，却形 成热带雨林气候的原因？ A处地处东南信风带内， 东南信风带来大量水汽。
地处大分水岭东侧的迎风 坡，多地形雨。
东澳大利亚暖流的增温增湿 作用也是气候形成的原因。
探究2澳大利亚四面环海，为何干旱荒漠面积广？
副热带高压带控制地区广 东部大分水岭阻挡 海洋气流深入内陆
【填图认知】 3、气候：读右图完成下列认知填图 （1）A_____气候、B______气候 C_______气候、D_______气候 E______气候、F________气候 （2）澳大利亚气候带呈 状分 布。 4、特有的动物：几千万年以前， 澳大利亚就同其他大陆相分离， 孤立存在于南半球的海洋上。位 置的孤立，自然条件的单一使许 多古老动物容易保存下来， 如 ， 等珍奇动物。
澳大利亚的混合农业 墨累—达令盆地混合农业的优点： ①农场是一个良性的农业生态系统。有利于保持土壤的肥 力 ②农民可有效地利用时间安排农业活动，（小麦耕作活动与
牧羊活动交替进行） ③农业生产具有很大的灵活性和对市场的适应性
特点：主要是家庭农场、农场规模大、机械化水平很高， 主要出口到英国 墨累—达令盆地农业不利条件及解决措施： 不利：处于大分水岭西部，属雨影区，降水稀少，灌溉成 为农牧业的限制性条件 措施：政府实施东水西调促进农业发展
7、城市与职能：读右 图填写下列城市及 其职能 J____， _______； K____，_______； M_____； ______。
澳大利亚的人口分布集中分布在东南沿海地区
东南沿海
1
地形： 东南沿海地区地形较平坦； 气候： 东南沿海地区气候温暖湿润，适合人类居住，并有 利于农牧业的发展. 东南沿海地区受海洋水汽影响大，降水丰富，水 源充足；