OpenLLM-France/wikimedia huggingface dataset:
# Drive Assembly
## Drive Assembly WITH Motor Rotors

Updated: 4/9/2013
Mass = 14.08053732 kilograms
Center of mass: ( meters )
* X = 0.01491251
* Y = 0.02897855
* Z = 0.00105929
Principal axes of inertia and principal moments of inertia: ( kilograms * square meters ) Taken at the center of mass.
| Ix = (0.29816919, 0.95259188, 0.06052970) | Px = 0.07562156 |
| Iy = (-0.86011725, 0.29563757, -0.41568828) | Py = 0.28624760 |
| Iz = (-0.41387613, 0.07188280, 0.90749072) | Pz = 0.29650450 |
Moments of inertia: ( kilograms * square meters ) Taken at the center of mass and aligned with the output coordinate system.
| Lxx = 0.26927886 | Lxy = 0.06013001 | Lxz = 0.00765377 |
| Lyx = 0.06013001 | Lyy = 0.09517194 | Lyz = 0.01147563 |
| Lzx = 0.00765377 | Lzy = 0.01147563 | Lzz = 0.29392286 |
Moments of inertia: ( kilograms * square meters ) Taken at the output coordinate system.
| Ixx = 0.28111888 | Ixy = 0.06621481 | Ixz = 0.00787620 |
| Iyx = 0.06621481 | Iyy = 0.09831901 | Iyz = 0.01190786 |
| Izx = 0.00787620 | Izy = 0.01190786 | Izz = 0.30887835 |

## Drive Assembly WITHOUT Motor Rotors

Updated: 4/9/2013
Center of mass: ( meters )
* X = 0.0180
* Y = 0.0349
* Z = 0.0013
Principal axes of inertia and principal moments of inertia: ( kilograms * square meters ) Taken at the center of mass.
| Ix = (0.2924, 0.9544, 0.0609) | Px = 0.0678 |
| Iy = (-0.8094, 0.2809, -0.5157) | Py = 0.2772 |
| Iz = (-0.5093, 0.1015, 0.8546) | Pz = 0.2861 |
Moments of inertia: ( kilograms * square meters ) Taken at the center of mass and aligned with the output coordinate system.
| Lxx = 0.2616 | Lxy = 0.0589 | Lxz = 0.0076 |
| Lyx = 0.0589 | Lyy = 0.0866 | Lyz = 0.0114 |
| Lzx = 0.0076 | Lzy = 0.0114 | Lzz = 0.2829 |
Moments of inertia: ( kilograms * square meters ) Taken at the output coordinate system.
| Ixx = 0.2759 | Ixy = 0.0662 | Ixz = 0.0079 |
| Iyx = 0.0662 | Iyy = 0.0904 | Iyz = 0.0119 |
| Izx = 0.0079 | Izy = 0.0119 | Izz = 0.3009 |

## Motor Rotors (Without drive assembly

Updated: 4/9/2013
Center of mass: ( meters )
* X = 0.0000
* Y = 0.0000
* Z = 0.0000
Principal axes of inertia and principal moments of inertia: ( kilograms * square meters ) Taken at the center of mass.
| Ix = (1.0000, 0.0000, 0.0000) | Px = 0.0039 |
| Iy = (0.0000, 0.0000, -1.0000) | Py = 0.0049 |
| Iz = (0.0000, 1.0000, 0.0000) | Pz = 0.0049 |
Moments of inertia: ( kilograms * square meters ) Taken at the center of mass and aligned with the output coordinate system.
| Lxx = 0.0039 | Lxy = 0.0000 | Lxz = 0.0000 |
| Lyx = 0.0000 | Lyy = 0.0049 | Lyz = 0.0000 |
| Lzx = 0.0000 | Lzy = 0.0000 | Lzz = 0.0049 |
Moments of inertia: ( kilograms * square meters ) Taken at the output coordinate system.
| Ixx = 0.0039 | Ixy = 0.0000 | Ixz = 0.0000 |
| Iyx = 0.0000 | Iyy = 0.0049 | Iyz = 0.0000 |
| Izx = 0.0000 | Izy = 0.0000 | Izz = 0.0049 |
# Shin Bone

* Mass = 0.7477 kilograms
Center of mass: ( meters )
* X = 0.0071
* Y = 0.0310
* Z = 0.1460
Principal axes of inertia and principal moments of inertia: ( kilograms * square meters ) Taken at the center of mass.
| Ix = (-0.0311, 0.0530, 0.9981) | Px = 0.0026 |
| Iy = (-0.0411, -0.9978, 0.0517) | Py = 0.0165 |
| Iz = (0.9987, -0.0395, 0.0332) | Pz = 0.0182 |
Moments of inertia: ( kilograms * square meters ) Taken at the center of mass and aligned with the output coordinate system.
| Lxx = 0.0182 | Lxy = 0.0000 | Lxz = -0.0005 |
| Lyx = 0.0000 | Lyy = 0.0165 | Lyz = 0.0007 |
| Lzx = -0.0005 | Lzy = 0.0007 | Lzz = 0.0027 |
Moments of inertia: ( kilograms * square meters ) Taken at the output coordinate system.
| Ixx = 0.0348 | Ixy = 0.0002 | Ixz = 0.0003 |
| Iyx = 0.0002 | Iyy = 0.0325 | Iyz = 0.0041 |
| Izx = 0.0003 | Izy = 0.0041 | Izz = 0.0035 |
# ATRIAS 2.1 Handbook/Servicing Information/Loctite Procedure

* Clean the hole using the thread chaser.
* Prime the hole and the screw to be used. LET DRY COMPLETELY OR THREADLOCKER WILL NOT SET!
* Apply enough threadlocker to completely cover to the first 5-10 threads of the tip and 1 drop on the threads in the hole.
* Torque screw to specifications. See Torque Specifications below.
Table of torque specifications to be used on ATRIAS 2.1. Use a torque wrench! :
| | Torque | Torque |
| Size | Dry | w/ Loctite |
| ENGLISH BOLTS |
| 4-40 | 5.2 Inch LBS | 4.42 Inch LBS |
| 6-32 | 9.6 Inch LBS | 8.16 Inch LBS |
| 8-32 | 19.8 Inch LBS | 16.83 Inch LBS |
| 10-24 | 22.8 Inch LBS | 19.38 Inch LBS |
| 1/4-20 | 75.2 Inch LBS | 63.92 Inch LBS |
| METRIC BOLTS |
| M6 | 84.0 Inch LBS | 71.40 Inch LBS |
| M8 | 192.0 Inch LBS | 163.20 Inch LBS |
# Leg SubAssembly Mass and Inertias

Link: Exploding view animation of the ATRIAS 2.1 Leg
Mass of one leg = 19.8 kg

## Sub-assemblies

Drive Assembly
Shin Bone
Thigh Bone
Motor Outputs for Shin and Thigh
Four-Bar Link
Lower Leg
# Accordion/Preface

The accordion is a portable box-shaped musical instrument of the hand-held bellows-driven free-reed aerophone family, colloquially referred to as a squeezebox. A person who plays the accordion is called an accordionist.
The instrument is played by compressing or expanding its bellows, while pressing buttons or keys, causing valves called pallets to open which allow air to flow across strips of metal called reeds that vibrate to produce sound inside the body, which then escapes through grilles.
There are three major types of accordion: the diatonic button accordion, the chromatic button accordion (sometimes called a bayan), and the unisoric chromatic piano accordion.
Although the accordion has a reputation in some circles of being cheap, wheezy instruments capable of playing only polkas and folk music, this is not always the case! A full-sized, properly-maintained accordion in the right hands can play almost any type of music, ranging from classical music like Bach and Chopin all the way to jazz and pop, and quite convincingly too. Indeed, many European conservatories and universities regard it as a serious concert instrument, and allow it to be studied at the same level as a piano or string instrument.
This book is currently only about playing the Piano Accordion, although there are many similarities in function to similar instruments, so playing skills such as Bellows, Stradella Bass and Register Switches will transfer to other instruments.
Not all parts will be introduced at first, only sufficient to get you started playing tunes.
# Accordion/Left hand/Lesson 4

Using your current knowledge of the bass system, you will now attempt playing a simple scale. Using the diagram below as reference, play a "C major" scale using the following directions.
* Play the middle "C" with your third (middle) finger.
* Reach up and play the "D" two rows above with your second finger.
* Play the "E" on the counterbass row with your third finger.
* Hit the "F" on the main bass row immediately adjacent to the "E" with your fourth finger.
* Play the "G" two rows above with the second finger.
* Now go down several rows on the counterbass row and find the "A". Hit it with your fourth finger. (This is the biggest stretch of the entire scale, it might take a while to find it.)
* Play the "B" on the counterbass row two rows above the "A" with the third finger.
* Hit middle "C" with your fourth finger.
* To play the scale again, repeat parts 3 through 8. To play a scale going downwards, simply do parts 2-8 in reverse order.
Try to "learn" where the distances between notes are so you are able to perform the scale smoothly and without thinking too much about it.
The beauty of the Stradella system is that it's key-neutral and makes transposing very easy. If you move the entire pattern described above up or down several rows and use the same fingerings, you'd play another major scale in another key. Play a major scale in the keys of "F" and "G" simply by starting a button lower or higher and playing the same pattern with the same button distances. (The middle "C" button having a marker might confuse you, so just ignore it.)
This concludes the bass-study section of this book. Although you're probably not completely comfortable with the basses yet, you're well on your way to Stradella fluency.
<<< Back to Lesson 3 • Main Page
# Accordion/Operating the Bellows

The bellows are the engine for making the sound in an accordion. They are the lungs of the instrument - depending on how hard the bellows are pulled, the sound will be softer or louder. A well-maintained accordion can have a good dynamic range from pianissimo to around a forte. When totally stationary, the instrument is silent. With accordions that also have inbuilt electronic synthesizers, the electronic sound will continue as long as keys are depressed (but this is beyond the scope of this book).
The bellows should be operated with your left hand. Bellows can be somewhat fragile, so don't pull them too hard or too far out. When pulling or pushing, avoid jerky motions and move them cleanly.
Eventually you'll need to change direction and move the bellows back in to keep playing. This can be a bit tricky to do correctly. When changing direction, try to move smoothly yet quickly so avoid a break in the melody or make the dynamics change suddenly. Resist the temptation to jerk the accordion. It's advisable not to pull the bellows out too far, because it's uncomfortable for the left hand to be extended like that and it affects accuracy.
If you're finding you have to move your bellows a lot, check to see if they aren't leaking by letting the bellows fall open on your lap without touching them or depressing any keys. If they move quickly (or you hear a "whoosh" noise), there's likely a leak, which means the instrument consumes more air than is necessary. (If they just creep out slowly, that's okay. Most accordions naturally let out very small amounts of air.) Find a reputable accordion repairman and have it fixed - you can't play properly with leaking bellows!
# Accordion/Right hand

The keys on the right hand of the accordion are played like you'd play any other keyboard, so if you've ever played the piano (or other keyboard instrument), this part should not pose any particular difficulty and requires little explanation. Note though, that accordion keyboard technique and fingerings sometimes differ from the piano's, because of the angle of the keyboard and because the keys do not control the volume of the instrument. For pianists, another change is that it is harder to see an accordion keyboard, making finding notes and chords harder. (While the accordionist can see the keyboard, she looks down on it from the top of the row of keys.)
The accordion's keys are also somewhat smaller than a piano's, making certain stretches and leaps more convenient. In some way, the technique is closer to that of a harpsichord or an organ, in the sense that all the keys are struck with about the same amount of force regardless of dynamics.
When playing, make sure your elbow does not sag towards the side of your body but is kept up and outwards, so that your arm from the elbow down is more or less parallel with the keyboard. This may seem a bit unusual at first, but in the long run will give you more control and accuracy because the circulation to the extremities of the hand is not impeded.
Make sure your hand is as relaxed as possible while still hitting all the notes correctly - also try not to make much extraneous motion with your fingers. This way, you will tire yourself out as little as possible. Remember there's no need to hit the keys with a lot of force for extra volume like on the piano. On the accordion, to get extra volume, you use the bellows with more pressure or speed.
Like the organ, the keyboard hand has access to register switches which change the sound. The accordionist changes these switches either between songs, or, if a change is needed during a song, in a rest for the keyboard hand. On an accordion, the register switches for the keyboard are on the keyboard side, while the register switches for the buttons are on the button side.
Note: This book does not currently contain learning material for those unfamiliar with the keyboard layout, but you may wish to see relevant sections of the Piano book for instructions in the meantime, which should be similar to the accordion as well.
# Accordion/Left hand/Lesson 1

Note: For the purposes of this guide, we'll assume you have either a 96- or 120- bass instrument (or close to that). These instructions may not necessarily be compatible with a smaller bass system).
After putting your accordion on, slip your left hand into the bellows strap and start feeling the buttons for one that has either a bump or a depression in it (it should be somewhere in the middle, closer to the inside of the instrument). This is your "C" pedal note. Press it. Then press the note diagonally-up from the pedal note. This is the "major" chord of the corresponding pedal note (C major). Now alternate pushing these two buttons while simultaneously pulling or pushing the bellows. You are now playing the stereotypical "oom-pah" accompaniment.
Note about fingerings: There are several schools of thought on what fingering to use for this oom-pah accompaniment. You can either use the fourth (ring) finger on the pedal note and the third/ second on the chord buttons, or alternatively use the middle finger for the pedal and the second for the chords. Both methods are widely used, although nowadays there is a growing preference for the former one. We suggest doing whatever you find most comfortable.
Now you know where two buttons are located. Using one of the fingerings described above, keep one finger on the pedal note but move the one on the chord button diagonally-up another notch. If you found the correct one, it should be "C minor". Again, alternate the pedal and chord for another, different-sounding accompaniment.
Repeat this process for the two buttons on the two outermost vertical rows to find the C dominant seventh and C diminished buttons. You should slowly start getting used to the fact that the C pedal and chord notes are on a sort of diagonal-horizontal row upwards, and adjust your hand position accordingly so that it becomes easy and natural to play all the buttons on this row.
Tip: For this, and future, lessons, don't shift the accordion down on your knees so you can see the basses. A professional accordionist never looks at their basses - and if the instrument is positioned correctly, it is impossible to see them anyway. If you can't play at all without looking, try sitting in front of a mirror and checking your left hand as a temporary aid.
<< Back to Introduction • Lesson 2 >>
# Accordion/Left hand/Lesson 3

Now that you're (somewhat) familiar with where the different notes and chords are on the accordion's basses, we've covered all the basses except for the innermost row. This row is called the "counterbass" row, and it is one of two rows that play single notes and not chords. Press the middle "C". Now find the note that is diagonally-down from it (between the main "C" and "F" buttons). This plays a note a third above the main note. It follows the same vertical pattern as the main pedal row - a circle of fifths. Going up on this row, you will hit the notes "B", "F sharp", and so on, and downwards you will hit "A", "D", etc. With these two rows, you can play simple melodies - useful for if you want to play melodies both in your right and left hands at once.
In our next lesson, we'll spice things up a bit and learn to play a scale on the basses and get you into a little more advanced bass technique.
<< Back to Lesson 2 • Lesson 4 >>
# Annotations to James Joyce's Ulysses/Ithaca/639
## Annotations

alias an assumed name; otherwise known as.
(a mendacious person mentioned in sacred Scripture) Molly is probably confusing alias with Ananias, a liar mentioned in the Acts of the Apostles 5:3: But Peter said, Ananias, why hath Satan filled thine heart to lie to the Holy Ghost, and to keep back part of the price of the land?

## References

* ↑ Gifford (1988) 576. Thornton (1968) 466.
* ↑ Acts of the Apostles 5.
# Bards Irish Fiddle Tunebook Supplement/Rocky Road to Dublin

"Rocky Road to Dublin" is a fast-paced 19th century song with Irish lyrics about a man's experiences as he travels to Dublin, Ireland from his home in Tuam. The tune has a typical Irish rhythm, classified as a Treble Jig and is often performed instrumentally.

## Origin

The words were written by D.K. Gavan, "The Galway Poet", for the English music hall performer Harry Clifton (1824-1872), who popularised the song.
The song refers to the Irish capital city Dublin, the Irish towns Tuam and Mullingar, the Welsh town Holyhead, the Irish city Galway and the English city Liverpool.

### Variations

The song is partially recited several times by Mr. Deasy in James Joyce's Ulysses.
There are many variations in the lyrics depending on the singer. For instance "June" in the first line is often replaced by "May", etc. Most interpretations of the twentieth century omit the second and antepenultimate couplets, and replace the chorus by the following :
    One two three four five,
    Hunt the hare and turn her down the rocky road
    And all the way to Dublin, whack-fol-la-de-da !

## Recordings

* Bert Jansch
* Blaggards, in 2005.
* Brobdingnagian Bards, in 2002.
* Christy Moore, in 2000.
* The Clancy Brothers with Tommy Makem, in 1964.
* Clandestine, in 1996.
* Cruachan, in 2002.
* Damien Dempsey, in 2008.
* Dropkick Murphys, in 2001 and 2002.
* Fiddler's Green, in 1992.
* Orthodox Celts, on Green Roses (1999).
* The Dubliners, in 1964.
* Luke Kelly, in 1973
* Gaelic Storm, in 1998.
* The Pogues, as part of a medley on If I Should Fall from Grace with God and on its own on Just Look Them Straight in the Eye and Say....POGUE MAHONE!!
* Paddy Reilly, in 1985.
* The Rolling Stones with The Chieftains, in 1995.
* Ryan's Fancy, in 1973.
* The Young Dubliners, on the 1994 album Rocky Road and With All Due Respect - The Irish Sessions, in 2007
* The High Kings, in 2008.
* The Tossers, in 2008.
* The Permanent Cure, in 1996
* The Irish Descendants
* Belfast Food, on album Zašto zato in 2000
* Culann's Hounds, on One for the Road in 2008
* Sherlock Holmes (Remastered Recording by The Dubliners) in 2009.

## External links

* Lyrics (Manus O'Connor in 1901)
* http://www.orthodoxcelts.com Listen to the song (click Discography then Rocky Road - View)
* Rocky Road to Dublin on TradTune.com
# Bards Irish Fiddle Tunebook Supplement/Flowers of Edinborough

Template:British/Celticmusic Flowers of Edinburgh is a traditional fiddle tune of Gaelic lineage, Irish and Scottish. It is also prominent in American fiddle, Canadian fiddle and wherever old time fiddle is cultivated.

## History

According to a self-deprecating secondary report in "A Native’s Guide to Edinburgh" By Tom Mc Rae, "The stench from the loch permeated the old City and probably gave rise to the traditional tune “The Flowers of Edinburgh.” A more neutral perspective suggests that the tune "dates from near 1740, may have been written by Oswald though he didn't claim this."

## Technical

G Major (one sharp)

## Recordings

A few of the many notable recordings of a tune by this name:
* 50 Fiddle Solos by Aly Bain
* Father's Of The Newfoundland Fiddle Volume 1 by Rufus Guinchard
* Fiddle by Cape Breton Symphony
* Irish Folk The Collection Vol.2 by Various Artists
* Jefferson And Liberty by The Itinerant Band
* Rig-a-jig-jig: Dance Music Of The South Of England by Various Artists
* Rogha Scoil Samhraidh Willie Clancy 2007 by Various Artists
* Shetland Fiddle Music by School Of Scottish Studies, University Of Edinburgh
* Shetland Springs Fae Da Bonnie Isle by Gibbie Hutchison
* Souvenir Of Scotland by Hamish MacGregor And The Blue Bonnets
* Strict Tempo: Scottish Country Dance Music From The 1950's, Volume 1 by Adam Rennie And His Scottish Country Dance Quartet
* The Cat That Ate The Candle by John Carty And Brian McGrath
* The Devils Of Dublin by Celtic Music Society (East Rochester HS)
* The Fiddlesticks Collection by Jerry Holland
* Traditional Irish Fiddle Music by The Kilfenora Fiddle Ceili Band
* Vivacious by Samantha Robichaud

## Other names

Blata Duin-Eudain, Knuckle Down, My Love Was Once A Bonnie Lad, My Love's Bonny When She Smiles On Me, To The Battle Men Of Erin, The Weobley Hankie Dance, The Weobley Hanky Dance.

## Bibliographys

* Captain Simon Fraser’s Airs and Melodies Peculiar to the Highlands of Scotland (1816 )

## See also

Scottish fiddle
Music of Ireland
Music of Scotland
Old Time Fiddle

## Videographic documentation

* Proper performance Ashley MacIsaac's February 20, 2010 concert in Victoria, with guests Qristina and Quinn Bachand. Also featuring Bryan Skinner on bodhran and Jason King on whistle.
* Sometimes played in D Major.Title: Flowers of Edinburgh & Spootiskerry - Ashley MacIsaac & The Bachands
* Dance tune. Lopez Island 2008

## References

* ↑ A Native’s Guide to Edinburgh|Tom Mc Rae, Brisbane, Queensland, Australia|©2007 This article appeared previously in Lowlands-L Travels
* ↑ http://gdaebouzouki.blogspot.com/2011/06/flowers-of-edinburgh.html
* ↑ http://www.thesession.org/tunes/display/2549
# Bards Irish Fiddle Tunebook Supplement/Listening
## Footwork: Fiddler standing

Dupuis More Dupuis

## Step dancing

* Kevin Burke at Port Townsend
Mark Graham - harmonica
Sandy Silva - step dancing
Paul Kotapish - mandolin