OpenLLM-France/wikimedia huggingface dataset:
# Local Area Network design

Originally imported from WikiAppunti: Progetto di reti locali lecture notes
* LAN basics
** Introduction to Local Area Networks
** Ethernet
** Repeaters and bridges
** Ethernet evolutions
** Advanced features on Ethernet networks
* Spanning tree
** Spanning Tree Protocol
** Rapid Spanning Tree Protocol
* Additional LAN standards
** Quality of service in IEEE 802 LANs
** Link aggregation – IEEE 802.3ad
** IGMP snooping
* Advanced LAN configuration and design
** Virtual LANs
** Redundancy and load balancing at layer 3 in LANs
** The network layer in LANs
* Additional topics
** Introduction to Storage Area Networks
# Learn to Play Drums/Lessons/Fills

A fill is a part of a song that is different from the main beats. I hope you have noticed that the toms were left unused in the lesson A 4/4 beat. This is because the snare and bass drums, along with the hi-hat, are the main instruments used. We say 'instruments' because we (well, okay, I who wrote this bit) view the drums as a lot of different instruments used together to form one sound - if you know what I mean.
This is the 4/4 beat of the previous lesson coupled with a fill and crash cymbal. If you play this on the drums you will realise what we mean when we say that fills break away from the main beat. The fill is easily recognisable, and for practice on defining what a fill is, when you're listening to music, point out to yourself when a fill occurs. This will help you develop your understanding of fills.
The fill in the above tab is very simple. I don't suggest you try this next one, but it is an example of a complicated fill which you will be able to, later on, perform with ease.
Back to Starting Out
# Learn to Play Drums/Other topics

This section contains information on topics that, while not the bread and butter of successful drum playing, are useful ancillary topics that will make you a better drummer in different ways. Here you'll learn to tune your drums properly and read sheet music. As a result, your playing should sound a bit better and you should be better able to collaborate with other musicians.
# Learn to Play Drums/Hardware

Drum hardware is a broad term, and could mean anything from...

## Bass Pedals

The bass pedal is what you use to hit the bass drum. It is operated using one foot. Bass pedals come in two varieties - single and double. Some drummers use two bass pedals (on either one or two bass drums) for increased speed. Pedals come with drum kits, but on budget kits the hardware is not going to be sturdy.

## Cymbal stands

These come in many varieties. You can get boom cymbal stands and straight stands, the boom having more angle possibilities. These hold the cymbals usually (not directly) over the drummer. The Cymbal is held in place with usually screw-on plastic ends and felt pads. To prevent the cymbal from brushing against the rod which goes up through the centre hole of the cymbal and causing 'key-holing' cymbal sleeves are put in place. Key-holing wears away at the centre of the cymbal through metal-on-metal contact between the stand and the cymbal, slowly making the centre hole bigger. This is NOT good at all and you may end up having to pay up for new cymbals (if you want to play with cymbals, that is).

## Cymbal sleeves

The least known but one of the most important things on a drum kit. Cymbal sleeves are there to prevent the cymbal from brushing against the cymbal stand's rod which goes up through the centre hole of the cymbal and causing 'key-holing'. Key-holing wears away at the centre of the cymbal through metal-on-metal contact between the stand and the cymbal, slowly making the centre hole bigger. This is NOT good at all and you may end up having to pay up for new cymbals (if you want to play with cymbals, that is).

## Hi-hat stands

Now these are what hold your hi-hats up and hold a pedal which you press down on to open and close the hi-hats.

## Help

Feel free to add to this list - this is wikibooks, after all!
# Learn to Play Drums/Lessons/Single strokes and double strokes

Learn how to perform and practice (properly) single and double strokes.

## Single strokes and double strokes
### Single Strokes

A technique mainly used in fills, this comprises of you hitting drums with your alternate hands. Oh, I'll just put tab...
This is a simple fill, using single strokes. If you remember, in our description of tab L means hit it with your left stick and R means hit it with your right stick.

### Double strokes

The same, but two hits with each hand! Ok then, more tab...
I use this technique for convienience and if I find it impractical in one instance to hit a certain drum. You'll see what we mean...

## Practicing strokes

When you first start drumming, your strokes might be fast, but they are nothing compared to your potential maximum. To achieve your potential maximum all you need to do is practice the stroke techniques once a day for a long as you want (longer = faster strokes!). You'll need to practice properly, too.
Step-by-step guide to practicing strokes:
* Starting with the single stroke, start very slow and build up speed.
* When you begin to feel tension in your arms, slow down back to your original speed.
* Repeat with double stroke.
If you continue playing either of the strokes after beginning to feel tension, you could cause some serious damage - repetitive strain injury could force you to abandon your drumming career, besides being a nuisance, sometimes making everyday tasks unbearably painful.
Want to see the coolness of playing with single and double strokes? Then play this...
(Ok, that doesn't really prove my point so anyone who can think up a better fill as this example, feel free to put it in).
Back to Starting Out
# Learn to Play Drums/Lessons/Lots of 8\8 Beats

Time to get some variation in beats. Here are some to do:
The first one - you'll have to do 2 bass drum hits in a row, and one of them will be in-between 2 hi-hat hits!
This next one has only 1 bass drum hit in a row, but one is between 2 hi-hat hits and straight before a snare drum!
This one is going to be the hardest beats from this wikibook so far! It is longer than any so far, too. Don't get frustrated if you don't get it quickly, take your time - start slow then gradually speed up.
Back to Starting Out
# Learn to Play Drums/Lessons/More advanced beats

These beats are more advanced than the ones shown in 'A 4/4 Beat' chapter. Once you've mastered those and have practiced a little on your drum set (you do have a drum set by now, don't you?), you can try these ones.
Most of these will involve syncopation (playing between the 'expected' beats).
If that looks hard, don't despair! Just slow it down in your head and play it in slow motion. Keep trying!
Here's another one.
If you want to spice things up a little, try opening the high hat for some beats.
Back to Starting Out
# Learn to Play Drums/Lessons/Beats

Beats are what you hear in most music. They are something steady that the drummer plays to give the rest of the music a steady base.

## 4/4 time

4/4 time means 4 beats per measure, counted as quarter notes. If it was 8/8 it would mean that you should count it as eight notes. It is used for most western music and we shall go over it first because it is one of the simplest time signatures to understand.
[Note that the above beat is a half-time version of the second beat in this section.]
The bass and snare are just like 'we will rock you' by Queen.
Here we bring the speed up to that of the second beat and create some variation by coupling beats 3 and 4.
This is the basic beat used for a lot of rap music. It is harder than the preceding beats because the second bass is now half a beat later than usual. By using the Hi-Hat as written and counting time you can master this beat.

## Double Bass

Mostly used in heavy metal drumming, the double bass technique includes the use of a second pedal and possibly a second bass drum to allow rapid bursts or a continuous pattern of bass.
This is a slow beat, where the bass goes on constantly. This can be tough to do, but with practice, it gets easier.
# Learn to Play Drums/Lessons/Exploring the Hi-Hats

This next beat is in 8/7 time (you can tell what tempo it is by the amount of hi-hat hits in one bar).
Notice the 'o' on the hi-hat's line. You know what to do... open ('o'pen) the hi-hats with your foot and close it on the next hi-hat hit.
As usual, just practice this until you can repeat it for ever (well, you know).
Try out different places to open the hi-hats, for example, on the bass drum hits.
Back to Starting Out
# Learn to Play Drums/Lessons
## Lessons

This section gives you a few starting lessons to work with. Practice all the beats until you get them down and try to understand the tabs. Ideally, try the beats at different tempos and play around with them, adding your own style to each one. Don't think these lessons are the end of your learning though - the realm of drum technique is vast and these are only a few small steps on the larger road to drum mastery! Now, let's get started.
# Mizar32

The PDF-able and printable collection for this book is at Wikibooks:Collections/Mizar32.

## Mizar32

Congratulations! You have in your hands the manual for the Mizar32, a 32-bit computer based on the AVR32 processor at 66MHz with 32MB of main memory, mass storage on SD card, a USB connector, a light, two buttons, a JTAG port and six bus connectors. The bus connectors let you add other stackable hardware modules such as serial ports, ethernet, a 16x2 character LCD display and a VGA/keyboard/mouse/audio board based on the 8-core Propeller processor and your own custom boards.

### Quick Start Guide

    Introduction
    Quick start
    Models and Specifications

#### Software architecture

    Overview

#### Hardware subsystems and Alcor6L modules

    ADC
    CPU
    Ethernet
    I2C
    LCD
    PIO
    PWM
    RTC
    SPI
    Timers
    UART
    USB

#### Advanced topics

    GPIO pin assignment
    Memory map
    Flash memory
    Programming new firmware to the main board's flash memory
    Compiling eLua/Alcor6L
    The emBLOD second-stage boot loader
If you would like to help complete this book, there is a list of stuff to do.
# Mixing and Mastering/Introduction

Audio mixing, in the broadest sense, is the craft of taking various audio streams and balancing them to produce a cohesive whole. This can apply to many different media, including music, movies, television, video games, audio books, and anything else which has an audio component. In each of these different art forms, you can have anything from individual instrument tracks, sound effects, spoken word, etcetera. A well mixed audio track will emphasize the element of itself that is most important to hear when it is played. For instance, in a movie, while the musical score is important, the most important track will usually be the dialogue. If the score is making it difficult to hear what the characters are saying, it has been poorly mixed.
By contrast, mastering is the process of taking already mixed audio streams and preparing them for publication. The goals of mastering can change drastically depending on which kind of media you are publishing and on what format it is stored. One common application of a mastering process is to take several songs which are to be compiled into an album and ensure that each track is perceived as the same volume and that all tracks have similar sound profiles; that is to say, to ensure they sound like a unified product rather than a random collage. Remasters often are commissioned when an older work is being published again on a new medium, for example, an old vinyl album being released in a digital format. The sonic capabilities of different media are quickly becoming historicized, as everything today is being published in digital format. But interesting changes to digital mastering are happening as streaming services being doing their own automated processes to any files uploaded on their services.
Both mixing and mastering use similar techniques and tools (equalization, compression, saturation, etcetera), but they are different skill sets. Learning one will teach you important things about the other, but like any other art form, the only thing that will improve your skills is practice in a specific domain.
# Mixing and Mastering/Requirements

To start a mix, it's more important to have a system that you know well than it is to have the world's most expensive speakers. Many hits have been mixed on classic Yamaha NS-10's which retailed at well under US $500 for a pair. The general consensus being that if you can get a mix to sound good on NS-10's, it will sound good anywhere. The first step is to listen to as many professionally done recordings on your speakers as you can so that you can hear how things should sound on your speakers and in your listening environment.
# Mixing and Mastering

This book discusses the art of mixing and mastering sound recordings. Currently, there are a vast number of articles about this subject, but there is no unified source for all of these, and it is difficult to find every single piece of information. Fairly regularly, articles pop up on forums or forum users lift the veil on what is usually seen as an arcane art. Forums get pruned and websites may lose their content, and therefore having a single editable persistent resource would be ideal to refer people to.

## The basics

* Introduction
* Requirements

## Equalizing

* Introduction
* Understanding EQ

## Compression

* Introduction
* Singleband compression
* Multiband compression
* Sidechaining

## Reverb & Spatial Placement

* Introduction
* Simple Delay

## Complete tutorials

* Bass mixdown
# Mixing and Mastering/Sidechaining

Sidechaining is an often misunderstood tool in the mixers bag that can be used to fix a variety of sonic challenges in a mix, and to shape sounds creatively as well. Technically, sidechaining is simply using a compressor on a track, but instead of the compressor listening to the input, the compressor is 'listening' to a different audio source altogether. There are many situations where it can be useful to control the volume of one track by responding to the volume changes of another.
Ducking - Ducking is often used in producing commercial spots. The compressor listens to the announcers track and 'ducks' the background music underneath the announcer so that the volume of the music bed is raised when there is silent pauses in the announcers performance. If set properly, the effect is that the music is loud but is pushed under the voice keeping the words out in front.
Ducking can also be used to keep the low end from 'piling up' in heavy dance music. The bass track 'listens' to the kick track so that the volume of the bass is lowered momentarily to allow the kick to dominate the bottom on the kick drum's attack.
Another popular trick is to put several rhythm guitar tracks on a bus, then set that bus compressor to 'listen' to another rhythm guitar track. This will subtly 'tighten' all the rhythm guitars together.
Sidechaining can also be used to tame a problem frequency that only occasionally pops out of a track without gutting that frequency from the entire track. A more advanced trick is to add an eq in before the sidechained compressor and exaggerate a problem frequency. A copy of the track with the problem is made and given a separate track. When the two are sidechained together the track will play normally until the 'problem' pops up in the drum or vocal part. When the annoying frequency happens, the track is lowered momentarily without having to pull that frequency out of the entire track. This is often used on vocal tracks to tame the sibilance (high frequency content in 's'es and 't's). This is also called 'de-essing'.
# Lua in SpringRTS/Callins/TeamDied
## TeamDied
### Description

Runs when a team gets eliminated

### Return values

teamID
# Lua in SpringRTS/Callins/MouseRelease
## MouseRelease
### Description

You need to return true on MousePress to get MouseMove/MouseRelease directed to your widget.

### Return values

x, y, button where x is the cursor's position in the x axis and y the cursor position in the y axis. Position is relative to the screen, not the 3d world
# Lua in SpringRTS/Callins/UnitCloaked
## UnitCloaked
### Description

Runs when a unit is being cloaked

### Return values

integer unitID, integer unitDefID, integer teamID

### Related

UnitDecloaked
# Lua in SpringRTS/Callins/MousePress
## MousePress
### Return values

x, y, button
# Lua in SpringRTS/Callins/ProjectileCreated
## ProjectileCreated
### Return values

proID, proOwnerID
# Lua in SpringRTS/Callins/Shutdown
## Shutdown
### Return values

none
# Lua in SpringRTS/Callins/StockpileChanged
## StockpileChanged
### Return values

unitID, unitDefID, unitTeam, weaponNum, oldCount, newCount
# Lua in SpringRTS/Callins/TerraformComplete
## TerraformComplete
### Return values

unitID, unitDefID, unitTeam, buildUnitID, buildUnitDefID, buildUnitTeam
# Lua in SpringRTS/Callins/ProjectileDestroyed
## ProjectileDestroyed
### Return values

proID
# Lua in SpringRTS/Callins/ShockFront
## ShockFront
### Return values

power, dx, dy, dz
# Nanotechnology/Metallic Nanostructures

* Navigate
* << Prev: Semiconducting Nanostructures
* >< Main: Nanotechnology
* >> Next: Organic Nanomaterials

# Gold

The red color in some stained glasses has through centuries been made from gold nanoparticles, and its also gold particles that make the red color in many pregnancy tests. Gold nanoparticles are used on many technoogies: they have a red color because of a plasmon resonance and the noble metal makes them good for specific binding of molecules with thiol groups.

## Copper

When copper is viewed on the nano level, several changes occur. the temperature of the metal decreases, as well as the fatigue limit decreases. Also, the tensile stress and elongation rate of the copper decreases.
this info is from: http://cat.inist.fr/?aModele=afficheN&cpsidt=14408198

# References

See also notes on editing this book Nanotechnology/About#How_to_contribute.
# Nanotechnology/Nano-bio Introduction

* Navigate
* << Prev: Nanomanipulation
* >< Main: Nanotechnology
* >> Next: Nano-bio Primer
* <<< Prev Part: Nanoengineering
* >>> Next Part: Environmental Nanotechnology
# Nanotechnology/Lithography

* Navigate
* << Prev: Self assembly
* >< Main: Nanotechnology
* >> Next: Nanomanipulation
* Down: Module on EBID

# Lithography

* Nanolithography

# Electron beam lithography

Electron beam lithography (EBL)

# Nano imprint lithography (NIL)

Nanoimprint lithography (NIL)

# Focused Ion Beam Techniques

Focused Ion Beam Techniques

# Electron Beam Induced Deposition (EBID or EBD)

The highly focused electron beam in a SEM is used for imaging nanostructures, but it can also be used to make nanoscale deposits. In the presence of carbonaceous or organometallic gasses in the SEM chamber, electron beam induced deposition (EBID or electron beam deposition (EBD)) can be used to construct three-dimensional nanostructures or solder/glue nanostructures.
There is module in this handbook dedicated to EBID

# References

See also notes on editing this book about how to add references Nanotechnology/About#How_to_contribute.
# Nanotechnology/Nano and Society/Correspondence

from Rich Doyle <mobius@psu.edu> to krm@mic.dtu.dk date Sun, Dec 14, 2008 at 2:48 AM subject Nanotechnology Wikibook mailed-by gmail.com
hide details 12/14/08
Reply
Kristian,
I am professor at Penn State, where along with Profs Mark Horn and Richard Devon, I will be teaching an undergraduate engineering course on nanotechnology design in the context of the ethical implications of nanotechnology. I was delighted to find your open source nanotechnology handbook on wikibooks. Together with our students, we will work to add content where appropriate, especially in the nanotech and society pages.
Our course description is wiki'd here:
http://biotelemetrica.pbwiki.com/NanoNano
Thanks again for an excellent start to the wikibook!
Sincerely,
Richard Doyle (US)
-- "...everything fits into the moist, pulsating pattern...." Timothy Leary Om gate gate paragate parasamgate bodhi svaha! The Heart Sutra
Richard Doyle US Delegate, IEC TC 25/WG 5 - Expert, Wetwares and Human/Machine Interaction Professor English/Science Technology & Society/Information Science and Technology Penn State University http://biotelemetrica.pbwiki.com/DoyleBio
from Kristian Mølhave <Kristian.Molhave@nanotech.dtu.dk> to Rich Doyle <mobius@psu.edu> date Sun, Dec 14, 2008 at 6:26 AM subject RE: Nanotechnology Wikibook
hide details 12/14/08
Reply
Dear Rich
That sounds wonderful - exactly the kind of activity I was hoping it would generate!
Good luck and let me know if I can help (though my time is somewhat limited).
Any comments and ideas for the overall structure of the book are also very welcome!
With best regards Kristian ___________________________ Kristian Mølhave Associate Professor, Ph.D. Dept. of Micro and Nanotechnology 345e-154 - www.nanotech.dtu.dk <http://www.nanotech.dtu.dk/> Technical University of Denmark - DTU Mobile Phone (0045) 2512 6672 Email: kristian@molhave.dk <mailto:kristian@molhave.dk> / kristian.molhave@nanotech.dtu.dk <mailto:kristian.molhave@nanotech.dtu.dk> http://kristian.molhave.dk <http://kristian.molhave.dk/>
Hi again Rich
Attached are some notes for an update of the nano and society chapter that I once began doing but never found time to finish working on (partly because I missed someone to write it with - so you come in very handy!). It contains ideas and resources you might find useful - feel free to use it!
With best regards Kristian
# Nanotechnology/Introduction

* Navigate
* << Prev: Introduction
* >< Main: Nanotechnology
* >> Next: Perspective
* <<< Prev Part: Main Page
* >>> Next Part: Seeing Nano

# Introduction to Nanotechnology

Nanotechnology, often shortened to "nanotech," is the study of the control of matter on an atomic and molecular scale. Generally, nanotechnology deals with structures of the size 100 nanometers or smaller in at least one dimension, and involves developing materials or devices within that size. Nanotechnology is very diverse, encompassing numerous fields in the natural sciences.
There has been much debate on the future implications of nanotechnology. Nanotechnology has the potential to create many new materials and devices with a vast range of applications, such as in medicine, electronics and energy production. On the other hand, nanotechnology raises many of the same issues as with any introduction of new technology, including concerns about the toxicity and environmental impact of nanomaterials, and their potential effects on global economics, as well as speculation about various doomsday scenarios. These concerns have led to a debate among advocacy groups and governments on whether special regulation of nanotechnology is warranted.
This open source handbook on nanoscience and nanotechnology is divided into the following chapters, each dealing with a particular facet of nanotechnology:
* Chapter 1: INTRODUCTION - A general overview.
* Chapter 2: SEEING 'NANO' - How to observe what is going on on the nanoscale.
* Chapter 3: PHYSICS -ON THE NANOSCALE - How do things move and what are the important forces on the nanoscale.
* Chapter 4: NANOMATERIALS - The typical nanostructures and their functionality
* Chapter 5: NANOSYSTEMS - Fundamental electronic, optical, mechanical, and fluidic systems that can be made with nanostructures.
* Chapter 6: NANOENGINEERING - How to make nanostructures integrated into useful devices.
* Chapter 7: NANO-BIO PRIMER - An important part of nanotechnology is to interface with living organisms.
* Chapter 8: ENVIRONMENTAL NANOTECHNOLOGY - The environmental issues regarding this emerging technology.
* Chapter 9: NANO AND SOCIETY - Should we worry about nanotechnology?

# References

See also notes on editing this book Nanotechnology/About#How_to_contribute.
* ↑ Cristina Buzea, Ivan Pacheco, and Kevin Robbie (2007). "Nanomaterials and Nanoparticles: Sources and Toxicity". Biointerphases. 2: MR17.{{cite journal}}: CS1 maint: multiple names: authors list (link)
# MATLAB Programming/Psychtoolbox/Screen Commands/WindowKind

Usage:
Returns the type of windowPtr: 0 if it's invalid, -1 for offscreen, 1 for onscreen, 2 MATLAB's onscreen.