Intro1_M01_intro
初雨alist解析
初雨alist解析初雨alist解析初雨alist是一款热门的音乐播放软件，它提供了丰富的音乐资源和个性化推荐，深受用户喜爱。
今天，我将为您解析初雨alist 的特点和优势，希望能够帮助您更好地了解这款应用。
一、音乐资源丰富多样初雨alist拥有庞大的音乐库，涵盖了各种风格和流派的音乐，无论您喜欢流行、摇滚、爵士还是古典，初雨alist都能够满足您的需求。
而且，它还定期更新最新的热门歌曲和专辑，让您时刻跟上音乐潮流。
二、个性化推荐精准准确初雨alist通过智能算法分析您的音乐偏好，根据您的喜好推荐适合您的音乐，让您不再为寻找好听的歌曲而烦恼。
无论您是喜欢英文歌曲还是中国风，初雨alist都会根据您的口味为您定制专属的音乐推荐。
三、歌单定制功能强大初雨alist的歌单定制功能让您能够根据自己的需求创建专属的歌单。
您可以根据心情、季节、场景等创造不同的歌单，例如清晨醒来、下雨天、户外运动等，让音乐更好地融入到您的生活中，带给您更多的乐趣和愉悦。
四、高音质音乐享受初雨alist支持高音质的音乐播放，让您能够更好地欣赏音乐的细节和情感。
无论您是用耳机听歌还是连接到车载音响，初雨alist都能够提供优质的音乐体验，让您沉浸在音乐的世界里。
五、社区互动共享乐趣初雨alist还拥有一个活跃的社区，让用户能够和其他音乐爱好者交流和分享。
您可以在社区中发表自己对音乐的看法、推荐喜欢的歌曲，还可以与其他用户一起参与话题讨论，相互学习和借鉴，增进对音乐的理解和欣赏。
总结：初雨alist是一款功能强大、资源丰富的音乐播放软件。
它提供了个性化的音乐推荐，让您能够快速找到适合自己的音乐。
同时，它还支持歌单定制和高音质播放，为您带来更好的音乐体验。
不仅如此，初雨alist还提供一个互动的社区，让用户能够交流和分享音乐的乐趣。
如果您对音乐有着浓厚的兴趣和热爱，初雨alist将是您的最佳选择。
快来下载初雨alist，让音乐伴您度过每一天！。
贴片三极管标识代号
汶川地 震，我们 看到什么
what is love 贴片三极 管代码1
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L5 SOT23 MMBC1623 L5 NPN L51 SOT143 BAS56 dioda-2x L51 SOT143 BAS56 S dual 60V 200mA diodes L52 SOT23 BAS678 dioda L6 BAR17 C pin diode L6 BSS69R N pnp 40V 0.1A 200MHz sw L6 MMBC1623 L6 N MPS3904 hfe 200400 L6 SOT23 BAR17 dioda L6 SOT23 BSS69R PNP
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.。
雅马哈 PSR450 电子琴 说明书
4
PSR-450 使用说明书
使用注意事项
• 请勿将手指或手伸入本乐器的任何空隙。
• 切勿将纸张、金属物品或其它物体塞进面板或键盘上的空隙， 也不要让这些物体掉入其中。如果发生这种情况，请立即切断 电源并从交流电源插座拔下电源线。然后将本乐器交由合格的 雅马哈维修人员检修。
• 请勿将乙烯、塑料或橡胶物品放在本乐器上，以免导致面板或 键盘变色。
• 请勿将电池丢弃到火中。
• 请勿试图给非充电型电池充电。 • 当电池耗尽或预计长时间不使用本乐器时，请从乐器中取出电
池，以防发生电池漏液。 • 电池应存放在儿童无法触及的位置。
• 如果电池发生漏液，应避免接触漏出的液体。如果眼睛、嘴或 皮肤不慎接触到电池液，请立即用水清洗并寻求医治。电池液 具有腐蚀性，可能会导致失明或化学灼伤。
PSR-450 使用说明书
5
使用磁盘驱动器 (FDD) 和磁盘
本乐器的特点之一是配备有内置磁盘驱动器(位于前面板)。用户可以使用它将在本乐器上创作的原始数据保存到磁盘，并可
以将数据从磁盘读取到本乐器。 使用磁盘及磁盘驱动器时请务必小心。请遵循下述重要注意事项。
I 磁盘兼容性
可以使用3.5 英寸2DD和2HD型磁盘。
• 切勿用湿手拔、插电源插头。
防火警告
• 请勿将燃烧的物体 ( 如蜡烛 ) 放在本乐器上。 燃烧的物体可能会倾倒并引发火灾。
发现异常情况时
• 如果交流适配器电源线及插头已磨损或损坏，或者在使用本乐 器的过程中突然没有声音，或者是乐器可能发出异味及烟雾， 请立即关闭电源开关，从插座拔下适配器插头，然后将乐器交 由合格的雅马哈维修人员检修。
型号
序列号
购买日期
请妥善保管本说明书
LightCenter 活出光中心 首部曲 我的选择说明书
LightCenter����活出����首部曲我������卡拉‧魯科特（Carla L. Rueckert）/�爪子/��/�http://LOO.soul.tw光中心 發行獻給懷�愛與感謝將本書獻給Bill Hay與Denise DuBarry-Hay關於作者卡拉‧魯科特（Carla Lisbeth Rueckert）生於1943年伊利諾州的森湖市（Lake Forest）。
她在肯塔基州的路易斯維爾市（Louisville）成長。
她在路易斯維爾大學獲得英語文學學士的學位，緊接著在斯博丁（Spalding）大學獲得圖書館服務的碩士學位。
她與詹姆斯‧麥克卡提（James A. McCarty）於1987年結婚。
魯科特女士自1974年開始成為通靈的管道。
她的第一本書是與唐‧艾爾金斯（Don Elkins）共寫《幽浮的秘密》（Secrets of the UFO），於1976年出版。
之後她也寫了《通靈手冊》（A Channeling Handbook）和《流浪者手冊》（Wanderer's Handbook）。
她出版的通靈作品包括《一的法則》卷五，該書也被稱為「Ra資料」（Ra （The Law of One）卷一至卷五，該書也被稱為「至卷五，該書也被稱為「Ra Material），以及最近的作品《每日箴言》（A Book of Days）。
她也在 寫部落格，部落格的名字是《大宇宙小靈媒》（A Small Medium at Large）。
她的寫作和通靈書稿可以在愛/光研究中心的網站找到：。
讀者可到www. 線上商店訂閱她的作品。
致謝名單感謝艾比‧布莉絲（Abbie Bliss）、溫蒂‧卡瑞（Wendy Jane Carrel）、丹尼斯‧賀（Denise Dubarry Hay）、韋‧佛利（Wynn Free）、比利‧賀（Billy Hay）、雪林‧克林榭（Sharin Klisser）、珍‧寇文（Jean-Claude Koven）與在2006年一月週末討論本書一開始概念的唐‧紐聖（Don Newsom）。
BOSSME20音色参数参考
BOSSME20音色参数参考1. Clean（干净）- 这是一个干净的音色，适合演奏清澈明亮的音乐风格，如流行、民谣等。
可以调节增益、音色和音量来获得不同的干净音色。
2. Crunch（破音）- 这是一个破音的音色，适合演奏摇滚、布鲁斯等风格。
可以调节增益和音色来获得不同的破音效果，增加一些重低音可以增强破音效果。
3. Lead（主音）- 这是一个主音的音色，适合演奏主音吉他独奏。
可以调节增益、音色和延迟效果来获得不同的主音效果，增加一些谐波效果可以增强主音的音色。
4. Metal（金属）- 这是一个适合演奏重金属风格的音色。
可以调节增益和音色来获得不同的金属音色，增加一些压缩效果可以增强金属音色的延音效果。
5. Acoustic（原声）- 这是一个适合演奏原声吉他的音色。
可以调节音量、音色和混响效果来获得不同的原声音色，增加一些合唱效果可以增强原声音色的深度。
6. Resonance（共鸣）- 这是一个增加共鸣效果的音色。
可以调节增益和共鸣效果来获得不同的共鸣音色，增加一些调制效果可以增强共鸣音色的音色。
7. Wah（嗡鸣）- 这是一个嗡鸣效果的音色，通过控制Wah脚踏开关来实现。
可以调节嗡鸣的幅度和速度来获得不同的嗡鸣效果，增加一些失真效果可以增强嗡鸣音色的尖锐度。
8. Delay（延迟）- 这是一个延迟效果的音色，可以调节延迟时间和混响效果来获得不同的延迟音色，增加一些颤音效果可以增强延迟音色的层次感。
9. Chorus（合唱）- 这是一个合唱效果的音色，可以调节合唱的幅度和速度来获得不同的合唱音色，增加一些模拟和合唱效果可以增强合唱音色的立体感。
总结起来，BOSSME-20音色参数有很多种，每种音色都可以根据自己的需求进行调节。
以上只是一部分常见的参数设置，你可以根据自己的喜好和演奏风格来调整这些参数，创造出属于自己的音色。
BOSSME-20可以满足各种音乐风格的需求，是吉他手们在演奏中的得力助手。
VCP6中文培训资料-M01_CourseIntro
VMware vCenter 套件 VMware vSphere Enterprise
应用 服务
可用性 - VMware vSphere® vMotion® - VMware vSphere® Storage vMotion® - vMotion（无共享存储） - vSphere HA - vSphere Fault Tolerance - Data Recovery - Data Protection - VMware vCloud® Connector™ - VMware® Tools™：零停机升级 计算 安全性 可扩展性
有关 VMware® 认证的详细信息，请访问：
/portals/certification
要查看最新的 VCP6-DCV 考试蓝本和信息，请访问： https:///mgrReg/plan.cfm? plan=64180&ui=www_cert
- VMware® vShield 组件
- DRS - 热添加
基础架构 服务
存储 - VMFS - Thin Provisioning - Storage I/O Control - Storage DRS - 配置文件驱动的存储 - 存储回收
网络 - 增强的分布式 交换机 - Network I/O Control - SR-IOV 支持
VMware vSphere：安装、配置和管理
1-2
学员的学习目标
本课程结束后，您应能够做到以下几点： 配置和管理 ESXi 网络连接和存储 创建、配置、迁移、管理和监控虚拟机及虚拟设备 管理用户对虚拟基础架构的访问 使用 vCenter Server 监控资源使用情况 扩展 vSphere 虚拟基础架构 规划业务连续性解决方案 管理 vSphere 环境的变更 安装和配置 ESXi 和 vCenter Server
MK 4数字微声头部用户手册说明书
Instruction manualB142536ᕡᕣᕢAad be c fiP o diP h o n ei P a dHirose STUSB Typ AHirose ST DMKW 4*als optie verkrijgbare toebehoren / дополнительные аксессуары /备选附件MZP 40*510101520+10-10-20-302010020050050MK 4 digital | 1The MK 4 digitalThe MK 4 digitalThe MK 4 digital is a large diaphragm true condenser studio micro-phone for very detailed, professional studio recordings. The MK 4digital connects directly to iOS devices and Mac or Windows computers and is ideal for home recording and professional studio use, as well as for mobile recording.The MK 4 digital allows you on the one hand to make recordings using professional audio production software, while, on the other hand, A pogee offers special recording apps designed to be used as an i nterface and control application for iOS devices.Features• Large-diaphragm capsule (1") in true condenser design, internally shock-mounted for low handling noise• 24-carat gold-plated diaphragm• Apogee A/D conversion and mic preamp technology• Rugged metal housing• Designed for mobile recording• Excellent sound quality• Made in GermanyAreas of application• Speech/vocals• Acoustic guitars• Guitar amplifiers• Grand pianos• Strings• Wind instruments• Drums and percussionPackage contents and product overview A ** Diagrams can be found on the cover pages.a MK 4 digital microphoneb MZQ 4 microphone clampc Lightning cabled USB cable (Type A)e Pouchf Instruction manual 1 Sound inlet basket 2 Thread for mounting 3 Hirose ST socketPutting the MK 4 digital into operationPutting the MK 4 digital into operation Mounting the MK 4 digital B*To mount the MK 4 digital using the microphone clamp:1. Screw the MZQ 4 microphone clamp to a solid and sturdy stand2. Place the MK 4 digital from above into the microphone clamp and screw it tight.3. To orient the MK 4 digital, always loosen the wing screw.To suppress structure-borne noise, you can use the MKS 4 shock mount, which is available as an optional accessory:4. Screw the shock mount to a solid and sturdy stand5. Place the MK 4 digital from above into the inner shock mount cage and screw it tight.6. To orient the MK 4 digital, always loosen the wing screw. Connecting the MK 4 digital C*You can connect the MK 4 digital to an iOS device (iPhone, iPad or iPod touch) or to a Mac or Windows computers.If you want to use an iOS device for your recordings:X Connect the Hirose ST connector of the Lightning cable to the MK 4 digital and connect the Lightning connector to the iOS device.If you want to use a Mac or Windows computer for your recordings:X Connect the Hirose ST connector of the USB cable to the MK 4 digital and connect the USB connector to the Mac or PC.*Diagrams can be found on the cover pages.2 | MK 4 digitalPreparing recordingsDepending on your device, you can use different applications to make recordings and configure your MK 4 digital.1. iOS devices: Apogee MetaRecorder, Apogee Maestro or other com-patible core audio apps2. Mac and Windows computer: other audio production softwareX When using Apogee MetaRecorder or Apogee Maestro, observe the following chapters in the isntallation and configuration of the apps.Connecting headphones or a headsetTo avoid feedback when making recordings on iOS devices, the input signal of the MK 4 digital must not be sent to the device loudspeaker, but must be sent to headphones or a headset. If you want to make recordings on a Mac or Windows computer, you can also use monitor-ing loudspeakers.CAUTION Limited recording quality due to a wrongly-selected audio sourceThe Apogee MetaRecorder and Apogee Maestro apps usethe last connected device as the audio source. If you areusing a headset for monitoring, recordings can inadver-tently be made via the headset’s microphone.X Connect the headphones or the headset to your iOSdevice before connecting the MK 4 digital.X Make sure that the MK 4 digital is recognized as thelast connected device by the app.To be able to monitor the input signal on an iOS device, you also have to activate the monitoring function in your recording app (see chapter “Preparing recordings using Apogee MetaRecorder” or “Preparing recordings using Apogee Maestro”).X Connect headphones or a headset to the headphone connection of your iOS device.During the recording, you can monitor the input signal via the headphones or the headset.If you want to use monitoring loudspeakers on a Mac or Windows c omputer:X Set up the loudspeakers in the range of the lowest sensitivity of the MK 4 digital (see diagram D on the cover pages).MK 4 digital | 3Installing the Apogee MetaRecorder or Apogee Maestro app The Apogee Maestro app allows you to configure the MK 4 digital, while the Apogee MetaRecorder app allows you to make professional recordings. If desired, you can also use all other compatible apps with recording function.If you want to use an iOS device (iPhone, iPad or iPod touch) for your recordings:X Install the Apogee MetaRecorder and Apogee Maestro apps from the App Store.Preparing recordings using Apogee MetaRecorderTo configure settings for the recording:X Start the Apogee MetaRecorder appand tap on the Rec/Play tab 1.X Make sure that the MK 4 digital isconnected and recognized by theapp. In this case, the name of theMK 4 digital 2 is displayed belowthe microphone icon 3.X Tap on the microphone icon 3 todisplay the input level slider 4.X Move the input level slider 4 tothe left or right to adjsut the desiredinput level.To activate the monitoring function:X Tap the Settings tab 5.X Activate the Input Monitorf unction 6.Further information on theconfiguration and operationof the app can be found inthe Apogee Knowledgebaseat http://www.apogeedigital.com/knowledgebase or in theinstruction manuals at/apps.MK 4 digital4 | MK 4 digitalMaking recordingsPreparing recordings using Apogee MaestroTo activate the monitoring function:select the Sennheiser MK 4 digitalfrom the main menu.X Activate the ON button 1 under theInput Monitoring menu item.To configure settings for the recording:X Turn the gain control 2 to adjust thedesired input gain. Fine adjsutmentcan be done using the + and – but-tons 3.The level indicator 4 allows you tocheck the current setting of the inputlevel.Further information on the configuration and operation ofthe app can be found in the Apogee Knowledgebase at/knowledgebase or in theinstruction manuals at /apps. Making recordingsUsing the MK 4 digital E*X Orient the MK 4 digital towards the mouth or audio source.XMK 4 digital | 5Cleaning and maintaining the MK 4 digitalMaking recordings using an appIf you are using an iPhone or an iPad, it is recommended toset the device to flight mode to prevent incoming calls frominterrupting the recording.X Start the Apogee MetaRecorder app or another compatible core audio app.The MK 4 digital is automatically recognized and selected as the input device.X If you haven’t done so already, connect a pair of headphones to the headphone socket of the iOS device or the Mac or Windows computer.During the recording, you can monitor the input signal via the headphones.X Tap on the Record button 1 tostart the recording.Cleaning and maintaining the MK 4 digitalCAUTION Damage to the product due to liquidsLiquids entering the product can short-circuit the elec-tronics or damage the mechanics. Solvents or cleansingagents can damage the surfaces of the product.X Keep all liquids away from the product.X Do not use any solvents or cleansing agents.X Only clean the product only with a dry cloth.When not using the MK 4 digital for extended periods of time:X Store the MK 4 digital in a dry, clean and dust-free place at room temperature.Accessories are available from your Sennheiser partner.A list of suitable accessories can be found on our websiteat .6 | MK 4 digitalSpecificationsSpecificationsApogee PureDigital analog-to-digital converterBit depth16/24 bitsSampling frequency44.1/48/88.2/96 kHzLatency platform-dependentplatform-dependentJitter of the audio outputsignalDC offset of the audio data none (zero)Conversion multibit DeltaSigmaPreamplification0 dB to 50 dBPower supply powered by iOS device or Mac/WindowscomputerMK 4 digital microphoneTransducer principle externally polarized condenser microphone Diameter of diaphragm25.4 mm/1"Acoustic operating principle pressure gradient transducerPick-up pattern cardioidFrequency response20 Hz to 20,000 HzSensitivity min. gain: –61 dBFS (80 dB SPL, 1 kHz)max. gain: –11 dBFS (80 dB SPL, 1 kHz) Noise level min. gain: –117 dBFS(A)max. gain: –79 dBFS(A)Max. SPL min. gain: 141 dBmax. gain: 91 dBConnector Hirose to Apple MFi Lightning connectorHirose to USB Type AWeight approx. 485 gDiameter approx. 57 mmLength approx. 160 mmOperating temperature0°C to +40°CStorage temperature–20°C to +70°CPolar digram and frequency response curveThe polar digram and the frequency response curve F can be found on the cover pages.MK 4 digital | 78 | MK 4 digitalManufacturer DeclarationsManufacturer DeclarationsWarrantySennheiser electronic GmbH & Co. KG gives a warranty of 24 months on this product. For the current warranty conditions, please visit our website at or contact your Sennheiser partner.In compliance with the following requirements•WEEE Directive (2012/19/EU)Please dispose of this product at the end of its operational lifetime by taking it to your local collection point or recycling center for such equipment.CE Declaration of Conformity•• RoHS Directive (2011/65/EU)• EMC Directive (2014/30/EU)The declaration is available at /download.In compliance withEuropeEMC EN 55032, EN 55103/-2USAFCC 47 CFR 15 subpart B CAN ICES-3 (B)/NMB-3(B)CanadaIndustry Canada ICES-003China 15Australia/ New ZealandKorea MSIP-REM-SE9-MK4A/S: 1544-1699Statements regarding FCC and Industry CanadaThis device complies with Part 15 of the FCC Rules and with RSS-210 of Industry Canada. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.This class B digital apparatus complies with the Canadian ICES-003Changes or modifications made to this equipment not expressly approved by Sennheiser electronic Corp. may void the FCC authorization to operate this equipment.13。
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INTRODUCTION TO ANSYS 11.0
Training Manual
INTRODUCTION TO ANSYS 11.0
前言
培训材料
• • • 您手中的培训手册是这组幻灯片的复制本。 练习题的说明在练习附录中。 可以从教师那里拷贝练习文件（如果需要）。
Training Manual
INTRODUCTION TO ANSYS 11.0
ANSYS 11.0入门培训 – 第1篇
目录
1. 前言 2. 有限元分析与ANSYS 3.从这里开始 4. ANSYS 基础 5. 一般分析过程 6. 建立实体模型 7. 建立有限元模型 8. 定义材料 9. 加载 10. 求解 11. 结构分析 12. 热分析 13. 耦合场分析 14. 后处理 15. 专题
Training Manual
Training Manual
前言
第1章
前言
培训材料
讲授以下ANSYS 基本内容: • ANSYS功能，ANSYS基本术语和ANSYS图形用户界面。 • 如何进行一个完整的ANSYS分析——基本步骤。 • 建立或输入一个实体模型并划分网格。 • 加载,求解和观察结果。 • 高级工具 — 逻辑选择,APDL语言,批处理方式等。