OpenLLM-France/wikimedia huggingface dataset:
# University of Florida/Egm4313/s12.team11.gooding/R4
## Problem 4.4 Parts 1,2
### Part 1
#### Problem Statement

Find n sufficiently high so that $y_{n}(x_{1}),y'_{n}(x_{1})$ do not differ from the numerical solution by more than $10^{-5}$ at $x_{1}=0.9$

#### Solution

Using a program in MATLAB that iteratively added terms onto the taylor series of $log(1+x)$, terms were added until the error between the exact answer and the series was less than $10^{-5}$.
It was found after trial and error that $n=39$ for the error to be of a magnitude of $10^{-5}$. This error found was 9.7422e-005
Similarly, for $y'_{n}(x_{1})$.
It was found after trial and error that $n=74$ for the error to be of a magnitude of $10^{-5}$. This error found was 9.3967e-005

### Part 2
#### Problem Statement

Develop $log(1+x)$ in Taylor series about ${\hat {x}}=1$ for $n=4,7,11$ and plot these truncated series vs. the exact function. What is now the domain of convergence by observation?

#### Solution

A MATLAB program was created, which calculated the Taylor series of each n value, along with the exact function, then plotted these together to show the comparison of all the series. Below is the Taylor series for $n=7$ expanded at ${\hat {x}}=1$. ${\frac {x-1}{2\,\ln \!\left(10\right)}}-{\frac {{\left(x-1\right)}^{2}}{8\,\ln \!\left(10\right)}}+{\frac {{\left(x-1\right)}^{3}}{24\,\ln \!\left(10\right)}}-{\frac {{\left(x-1\right)}^{4}}{64\,\ln \!\left(10\right)}}+{\frac {{\left(x-1\right)}^{5}}{160\,\ln \!\left(10\right)}}-{\frac {{\left(x-1\right)}^{6}}{384\,\ln \!\left(10\right)}}+{\frac {\ln \!\left(2\right)}{\ln \!\left(10\right)}}$
It can be seen by observation that the domain of convergence has shifted to the right one unit.
--egm4313.s12.team11.gooding (talk) 03:48, 14 March 2012 (UTC)
# University of Florida/Egm4313/s12.team11.gooding/R1
## Report 1
### R1.2
#### Problem Statement

Derive the equation of motion of the spring-mass-dashpot, with an applied force $r(t)\!$ on the ball.

#### Derivation
##### Kinematics

$y=y_{k}+y_{c}+y_{m}+r(t)\!$

##### Kinetics

Spring $F_{k}=-k*y\!$
Dashpot $F_{c}=-c*y'\!$ Mass $F_{m}=m*y''\!$ Forcing Function $F_{applied}=r(t)\!$
Sum of Forces $\sum F_{applied}+F_{m}+F_{c}+F_{k}=0\!$
Substitution
$0=r(t)-m*y''-c*y'-k*y\!$

### Final Answer

$r(t)=m*y''+c*y'+k*y\!$
Created By:Kyle Gooding 01:46, 29 January 2012 (UTC)
# University of Florida/Egm4313/s12.team11.gooding/R2

R2 2.1 R2 2.8
# University of Florida/Egm4313/s12.team11.gooding/R5
## Problem 5.5
### Part 1
#### Problem Statement

Show that $cos(7x)$ and $sin(7x)$ are linearly independant using the Wronskian and the Gramain (integrate over 1 period)

#### Solution

$f=cos(7x),g=sin(7x)$ One period of $7x=\pi /7$ Wronskian of f and g $W(f,g)=det{\begin{bmatrix}f&g\\f'&g'\end{bmatrix}}$
Plugging in values for $f,f',g,g';$ $W(f,g)=det{\begin{bmatrix}cos(7x)&sin(7x)\\-sin(7x)&cos(7x)\end{bmatrix}}$ $=7cos^{2}(7x)+7sin^{2}(7x)$ $=7[cos^{2}(7x)+sin^{2}(7x)]$ $=7[1]$
$<f,g>=\int _{a}^{b}f(x)g(x)dx$ $\Gamma (f,g)=det{\begin{bmatrix}<f,f>&<f,g>\\<g,f>&<g,g>\end{bmatrix}}$ $\int _{0}^{\pi /7}cos^{2}(7x)dx=\pi /14$ $\int _{0}^{\pi /7}sin^{2}(7x)dx=\pi /14$ $\int _{0}^{\pi /7}cos(7x)*sin(7x)dx=0$ $\Gamma (f,g)=det{\begin{bmatrix}\pi /14&0\\0&\pi /14\end{bmatrix}}$ $\Gamma (f,g)=\pi ^{2}/49$

#### Problem Statement

Find 2 equations for the 2 unknowns M,N and solve for M,N.

#### Solution

$y_{p}(x)=Mcos7x+Nsin7x$ $y'_{p}(x)=-M7sin7x+N7cos7x$ $y''_{p}(x)=-M7^{2}cos7x-N7^{2}sin7x$ Plugging these values into the equation given ($y''-3y'-10y=3cos7x$) yields; $-M7^{2}cos7x-N7^{2}sin7x-3(-M7sin7x+N7cos7x)-10(Mcos7x+Nsin7x)=3cos7x$ Simplifying and the equating the coefficients relating sin and cos results in; $-59M-21N=3$ $-59N+21M=0$ Solving for M and N results in;

#### Problem Statement

Find the overall solution $y(x)$ that corresponds to the initial conditions $y(0)=1,y'(0)=0$. Plot over three periods.

#### Solution

From before, one period $=\pi /7$ so therefore, three periods is $3\pi /7.$ Using the roots given in the notes $\lambda _{1}=-2,\lambda _{2}=5$, the homogenous solution becomes; $y_{h}(x)=c_{1}e^{-2x}+c_{2}e^{5x}$ Using initial condtion $y(0)=1$; $1=c_{1}+c_{2}$ $y'_{h}(x)=-2c_{1}e^{-2x}+5c_{2}e^{5x}$
with $y'(0)=0$ $0=-2c_{1}+5c_{2}$ Solving for the constants; $c_{1}=5/7,c_{2}=2/7$ $y_{h}(x)=5/7e^{-2x}+2/7e^{5x}$ Using the $y_{p}(x)$ found in the last part; $y=y_{h}+y_{p}$
# Technical writing/Zdenka

Back to Technical writing
# University of Florida/Egm6341/s11.team1.Gong/Mtg10

Mtg 10: Sat, 22 Jan 11
    page10-1 HW2.9:Use (1) p.8-1 to generate P$_5$(x), and matlabl command"roots"to comp. the roots of P$_5$(x)to check values in table on p. 7-5. Plot the roots on [-1,+1] using matlab "plot" command (plot dots "." with coordinator (x$_i$,y$_i$), i = 1,...,5 : use "markersinge" 15) x$_i$: roots of P$_5$(x) y$_{i:}$ Plot (x, y, '.' , 'markersige' , 15) Repeat the above for P$_{10}$(x) observe the location of the roots near end points -1 and +1 (prepare for Runge phenomenon) NOTE: Lagrange interp. cont'd p.9-4   page10-2 Simpson's rule (simple) $[a,b]\ x_{0}=a,\ x_{1}={\frac {a+b}{2}},\ x_{2}=b\ \color {red}(1)$ ${\color {blue}{\underline {Method1:}}}\ f_{2}(x)=P_{2}(x){\overset {\color {red}(2)}{=}}c_{2}x^{2}+c_{1}x+c_{0}$ c$_0$, c$_1$, c$_2$ unknowns p$_2$=(x$_i$) = f(x$_i$) i= 0, 1, 2 (3) 3 equations for 3 unknowns {c$_i$} Method 2:Use lagrangeinterp.(2) p.8-3 (1) p.9-2   ${\color {red}{(4)}}=\sum _{i=0}^{\color {blue}{n=2}}{\color {blue}{\underset {l_{i}(x)}{\underbrace {\color {black}l_{i,2}(x)} }}}f(x_{i})$ Equiv. of meth1 and meth 2: (3)   $p_{2}(x_{j})=\sum _{i=0}^{2}\color {blue}{\underset {\delta _{ij}}{\underbrace {\color {black}l_{i}(x_{j})} }}f(x_{i})=f{x_{j}}\ \color {red}(5)$ page10-3 $l_{0{\color {blue},2}}=l_{0{\color {blue},2}}=\prod _{j=0{\color {red}j\neq i}}^{n=2}{\frac {x-x_{j}}{x_{0}-x_{j}}}={\frac {(x-x_{1})(x-x_{2})}{(x_{0}-x_{1})(x_{0}-x_{2})}}\ {\color {blue}\in P_{2}}$ It can be verified that l$_0$(x$_0$)=1 , l$_0$(x$_1$) = l$_0$(x$_2$) = 0 l$_i$(x$_j$) = δ$_{ij}$i,j = 0. 1. 2 ${\color {blue}{\underset {\color {blue}l_{1}(x)}{\underbrace {\color {black}l_{1{\color {blue}(i=1),2(n=2)}}(x)} }}}=\prod _{j=0,{\color {red}{j\neq 1}}}^{2{\color {blue}(n=2)}}{\frac {x-x_{j}}{x_{i{\color {blue}(i=1)}}-x_{j}}}={\frac {(x-x_{0})(x-x_{2})}{{\color {blue}{\underset {>0}{\underbrace {\color {black}(x_{1}-x_{0})} }}}{\color {blue}{\underset {<0}{\underbrace {\color {black}(x_{1}-x_{2})} }}}}}\ {\color {blue}\in P_{2}}$ $l_{1}(x_{1})=1\ ,\ l_{1}(x_{0})=l_{1}(x_{2})=0$ page10-4 ${l}_{1}^{''}(x_{1})<0$ HW$^*$2.10: Use(2) & (3)p.10-2 to find expression for {c$_i$} in terms (x$_i$, f(x$_i$)) i=0,1,2. HW$^*$2.11: Use (4) p.10-2 to derive simple Simpson's rule HW$^*$2.11:f(x)-e$^x$1/x on [o,1] S10and on [-1,1]S11 Consider n=1(Trap), 2(Simp), 4, 8, 16   page10-5 Constrast f$_n$(x) as in (2) p.8-3. Plot f , f$_n$ , n= 1, 2, 4, 8, 16 Compare ${I}_{n}=\int _{a}^{b}f_{n}(x)dx$ n=1, 2, 4, 8 and compare to I (use WA with more digits) For n=5 plot l$_0$, l$_1$, l$_2$ How would l$_3$, l$_4$, l$_5$ look like? HW$^*$2.13:show ${\underset {Simple\ Trap.}{\underbrace {{\color {red}(1)}{\color {blue}p.7-3}} }}\Rightarrow {\underset {Compare\ Trap.}{\underbrace {{\color {red}(1)}{\color {blue}p.7-4}} }}$ ${\underset {Simple\ Trap.}{\underbrace {{\color {red}(2)}{\color {blue}p.7-4}} }}\Rightarrow {\underset {Compare\ Trap.}{\underbrace {{\color {red}(4)}{\color {blue}p.7-4}} }}$
# University of Florida/Egm6341/s11.TEAM1.WILKS/Mtg37
## EGM6321 - Principles of Engineering Analysis 1, Fall 2010

Mtg 37: Wed, 10Nov10
# University of Florida/Egm6341/s11.TEAM1.WILKS/Mtg41
## EGM6321 - Principles of Engineering Analysis 1, Fall 2010

Mtg 41: Tue, 30Nov10
# University of Florida/Egm6341/s11.TEAM1.WILKS/Mtg45
## EGM6321 - Principles of Engineering Analysis 1, Fall 2010

Mtg 45: Fri, 3Dec10
# University of Florida/Egm6341/s11.team1.Gong/Mtg22

Mtg 30: Mon, 14 Mar 11
    page22-1 Comp. Trap. rule error: $h={\color {red}{\frac {\color {black}(b-a)}{n}}}{\color {blue}\leftarrow }{\color {red}(3)}{\color {blue}p.7-4}$ ${E}_{n}^{\color {blue}T(Trap.)}{\underset {{\color {red}(1)}{\color {blue}p.7-4}}{:=}}\ I-{I}_{n}^{T}=\int _{a}^{b}f(x)dx-h[{\color {red}{\frac {1}{2}}}f(x_{\color {red}0})+f(x_{1})+\cdots +f(x_{n-1}){\color {red}{\frac {1}{2}}}f(x_{\color {red}n})]\ {\color {red}(1)}$ $=\sum _{i=1}^{n}{\color {blue}\left\{{\color {black}\int _{x_{i-1}}^{x_{i}}f(x)dx-{\frac {h}{2}}[f(x_{i-1})+f(x_{i})]}\right\}}$ (1)p.17-2: $\left|{E}_{n}^{T}\right|\leqslant {\frac {h^{3}}{12}}{\underset {\color {blue}{\underset {\overset {\color {red}(3)}{=:{\overline {M_{2}}}}}{\color {blue}\underbrace {\color {black}\xi \in ]x_{i-1},x_{i} }}}{\sum _{i=1}^{n}(max{\color {red}\left|{\color {black}f^{\color {blue}(2)}(\xi )}\right|})}}{\color {red}\ (2)}$ (4)p.17-1: ${\overline {M_{2}}}\leqslant M_{2}\ {\color {red}(4)}$ $\left|{\color {blue}{\color {black}E}_{n}^{T}}\right|\leqslant {\frac {(b-a)^{3}}{12n^{3}}}nM_{2}={\frac {(b-a)^{3}}{12{\color {blue}n^{2}}}}M_{2}={\frac {(b-a)h^{\color {red}2}}{12}}M_{2}$ ${\color {blue}A.P.253}$ ${\color {red}(5)}$ page22-2 HW$^*$4.8: Comp. Simpson error $\left|{E}_{\color {blue}n}^{\color {blue}S}\right|\leqslant {\frac {(b-a)^{5}}{2880n^{4}}}{\color {blue}{\underset {{\color {red}(4)}p.17-1}{\underbrace {\color {black}M_{4}} }}}={\frac {(b-a)h^{\color {red}(4)}}{2880}}M_{4}\ \color {red}(1)$ HW$^*$4.8: See HW$^*$2.4 p.7-3 1) Use error estimate for Taylor Series, Compare Trap., Compare Simpson, to findn Q(10$^{-6}$), and compare to number results. 2)Numerically find the power ofhin error : Plot logerror vslogh , and meas. slop with least square (lin. regression).   $E=ah^{\color {red}k}+Q(h^{k+1}),\$ $\ logE=loga+{\color {red}k}logh$ page22-3 HW$^*$4.9: pf. of SSET, G(.) in (1) p.19-1A)Redo the pf for 2 cases ${\color {blue}1)}\ G(t):=\ e(t)-t^{\color {red}4}e(1)\ {\color {red}(1)}$ ${\color {blue}2)}\ G(t):=\ e(t)-t^{\color {red}6}e(1)\ {\color {red}(2)}$ Print out where pf breaks down. B)For G(t) as in(1)p.19-1(w/t$^5$), find G$^{(3)}$(0) and follow same steps in pf to see what happen.   HW$^*$4.10:1)Don'tUse matlabtrapz forcompare Trap.in your code to produce Table 5.1 n A.p.255(p.22-4)   ${\color {red}(3)}I=\int _{0}^{\pi }e^{x}{\color {blue}sinx}dx$(use WAto find I)
# University of Florida/Egm6341/s11.TEAM1.WILKS/Mtg39
## EGM6321 - Principles of Engineering Analysis 1, Fall 2010

Mtg 39: Thur, 11Nov10
# University of Florida/Egm6341/s11.TEAM1.WILKS/Mtg35
## EGM6321 - Principles of Engineering Analysis 1, Fall 2010

Mtg 35: Fri, 5Nov10
# University of Florida/Egm6341/s11.team1.Gong/Mtg20

Mtg 20: Wed, 16 Feb 11
    page20-1 Pf of SSET p.19-3 cont'd ${\color {red}(1)}{\color {blue}p.19-3\ Rolle's\ thm}\ \Rightarrow \ \exists \ \varsigma _{1}\in \ ]\ 0,1\ [\ st\ G^{\color {blue}(1)(\varsigma _{1})}{\overset {\color {red}(1)}{=}}0$ $Now\ G^{(1)}(0)\ {\overset {\color {red}(2)}{=}}0\ {\color {red}why?}$ ${\color {red}(1)}\ {\color {blue}p.19-1:}\ G^{(1)}(t){\overset {\color {red}(3)}{=}}e^{(1)}(t)-5t^{4}e(1)$ ${\color {red}(5)}{\color {blue}p.18-3:}\ e(t)=A(t)-{A}_{2}^{L}(t)\ {\color {red}(4)}$ $\ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ e^{(1)}(t)=A^{(1)}-{A}_{2}^{L{\color {red}(1)}}(t)\ {\color {red}(5)}$ page20-2 $A(t)=\int _{+t}^{-t}-=\int _{k}^{-t}-+\int _{t}^{k}-$ $A^{(1)}{\overset {\color {red}(1)}{=}}F(-t)+F(t)$ $k\in {\color {red}]}-t,t{\color {red}\ ({\color {red}kisconstant})$ (4)p.20-1& (5)p.18-3: $A_{2}^{L{\color {red}(1)}}(t){\overset {\color {red}(2)}{=}}{\frac {1}{3}}[F(-t)+4F(0)+F(t)]+{\frac {t}{3}}[F^{(1)}(-t)+F^{(1)}(t)$ (5) p.20-1: $e^{(1)}(0)=A^{(1)}(0)-A_{2}^{L(1)}(0)=2F(0)-[2F(0)+0]=0\ {\color {red}(3)}$ ${\color {red}(3)\ and\ (3)}{\color {blue}p.20-1}\Rightarrow {\color {red}(2)}{\color {blue}p.20-1}$ Recall: $G^{(1)}(\xi _{1})=0\ {\color {red}(1)}{\color {blue}p.20-1}$ $G^{(1)}(0)=0\ {\color {red}(2)}{\color {blue}p.20-1}$ page20-3 $Rolle'stheorem\Rightarrow \ \forall \xi _{2}\in ]0,\xi _{1}[st\ \ G^{(2)}(\xi _{2})=0\ {\color {red}(1)}$ $Again,\ G^{(2)}(0){\overset {\color {red}(2)}{=}}0\ {\color {blue}HW^{*}4.3}$ ${\color {red}(1)\ and\ (2)}\ Rolle'stheorem\ \Rightarrow \ \forall \xi _{3}\in ]0,\xi _{2}[\ G^{(2)}(\xi _{2})=0\ st\ \ G^{(3)}(\xi _{3}){\overset {\color {red}(2)}{=}}0$ ${\color {red}(1)}{\color {blue}p.19-1:}\ G^{(3)}(t){\overset {\color {red}(4)}{e}}^{(3)}(t)-{\color {red}{\underset {(\xi )(4)(3)}{\underbrace {\color {black}t^{2}} }}}e(1)$ $e^{(3)}(t){\underset {\color {blue}HW^{*}4.4}{=}}-{\frac {t}{3}}[F^{(3)}(t)-F^{(3)}(-t)]\ {\color {red}(5)}$ $G^{(3)}(\xi _{3})=-{\frac {\xi _{3}}{3}}{\color {green}{\overset {Apply\ DMVT}{\overbrace {\color {black}[F^{(3)}(\xi _{3})-F^{(3)}(-\xi _{3})]} }}}-60(\xi _{3})^{2}e(1){\underset {{\color {blue}from}{\color {red}(3)}}{\overset {\color {red}(6)}{=}}}0$ ${\underset {\color {red}(f)}{\overset {\color {blue}DMVT}{=}}}-{\frac {\xi _{3}}{3}}[{\color {blue}{\underset {\xi _{3}-(-\xi _{3})}{\underbrace {\color {black}2\xi _{3}} }}}F^{(4)}(\xi _{4})]-60(\xi _{3})^{2}e(1)\ \xi _{4}\in \ ]-\xi _{3},\xi _{3}[$
# Vocal pedagogy
## Pronuniciation and Diction in Singing (Music)

When singing it is important to realize you must have unified vowels and precise diction to maximize comprehension and also create a nice tone. As singers we must think of individual syllables in addition to the entire word. This guide will start off discussing the small syllable and eventually move to the whole.
Pure Vowels
When singing you should strive for a nice open tone. A way to achieve this, is to focus on the pure vowels which are: [a], [ε], [i], [o], and [u]. They are taken from the italian vowels which are a universal pronunciation tool used in singing.
Pronuciation of each vowel: the vowels must be arranged from light to dark i,e,a,o,u
[a] as in the English pronunciation of father
[ε] as in the English pronunciation of met, or bet, or set
[i] as in the English pronuciation of me, we, or see (when making this sound round your lips a little so the sound is not spread)
[o] this is a little harder in English so like to compare it to the Spanish pronuciation of no. Try to make it a short sound without adding any [u] to it.
[u] as in the English pronunciation of you or tool
Worksheets
# Voice/Overtone Singing

Here are some first videos for this topic Overtone singing

## Videos

* Overtone singing tutorial
* How to sing OVERTONES: Part 1
* Overtone singing - basic techniques
# VoIP (complements)

Voice over Internet Protocol (VoIP) is a methodology and group of technologies for the delivery of voice communications and multimedia sessions over Internet Protocol (IP) networks, such as the Internet. Other terms commonly associated with VoIP are IP telephony, Internet telephony, voice over broadband (VoBB), broadband telephony, IP communications, and broadband phone service.
The term Internet telephony specifically refers to the provisioning of communications services (voice, fax, SMS, voice-messaging) over the public Internet, rather than via the public switched telephone network (PSTN). The steps and principles involved in originating VoIP telephone calls are similar to traditional digital telephony and involve signaling, channel setup, digitization of the analog voice signals, and encoding. Instead of being transmitted over a circuit-switched network, however, the digital information is packetized, and transmission occurs as Internet Protocol (IP) packets over a packet-switched network. Such transmission entails careful considerations about resource management different from time-division multiplexing (TDM) networks.
Early providers of voice over IP services offered business models and technical solutions that mirrored the architecture of the legacy telephone network. Second-generation providers, such as Skype, have built closed networks for private user bases, offering the benefit of free calls and convenience while potentially charging for access to other communication networks, such as the PSTN. This has limited the freedom of users to mix-and-match third-party hardware and software. Third-generation providers, such as Google Talk, have adopted[1] the concept of federated VoIP—which is a departure from the architecture of the legacy networks. These solutions typically allow dynamic interconnection between users on any two domains on the Internet when a user wishes to place a call.
VoIP systems employ session control and signaling protocols to control the signaling, set-up, and tear-down of calls. They transport audio streams over IP networks using special media delivery protocols that encode voice, audio, video with audio codecs, and video codecs as Digital audio by streaming media. Various codecs exist that optimize the media stream based on application requirements and network bandwidth; some implementations rely on narrowband and compressed speech, while others support high fidelity stereo codecs. Some popular codecs include μ-law and a-law versions of G.711, G.722, which is a high-fidelity codec marketed as HD Voice by Polycom, a popular open source voice codec known as iLBC, a codec that only uses 8 kbit/s each way called G.729, and many others.
# Voice Acting

—Vocal Expression
Voice acting is the art of performing voice-overs, providing voices to represent a character, or to provide information to an audience or user. Examples include animated, off-stage, off-screen or non-visible characters in various works, including feature films, dubbed foreign language films, animated short films, television programs, commercials, radio or audio dramas, comedy, video games, puppet shows, amusement rides, audiobooks and documentaries. Voice acting is also done for small handheld audio games.
Performers are called voice actors or actresses, voice artists or voice talent.
Because voice acting is a broad and complex topic, this series of courses includes several individual courses each addressing some aspect of voice acting.
Learning basic voice acting skills can improve your verbal communications and increase your confidence in everyday conversations, during routine business meetings, and when leading or addressing groups.

## Existing Courses

* Basic Voice Acting Skills—Improve your speaking voice
** Relaxation Exercises
** Practice Copy
** Marked Copy
** Tongue Twisters
** Enunciation Exercises
** Great Speeches

## Courses to be Created

Subject matter experts, authors, and editors are encouraged to create courses on the following topics and link them here.
* Working with a voice acting coach
* Accents, dialects, and drama
** Incorporate the International Dialects of English Archive
* Cold reading
* Roles and Characters
* Story telling
* Pronunciation using the International Phonetic Alphabet
* Editing Voice Audio Files
* Building a Studio
* Auditioning
* Building a Business
* Overcoming speech impediments

## Recommended Reading

Students wanting to learn more about voice acting may be interested in reading the following books:
* Alburger, James (July 19, 2014). The Art of Voice Acting: The Craft and Business of Performing for Voiceover. Routledge. pp. 492. ISBN 978-0415736978.
* Ciccarelli, David; Ciccarelli, Stephanie (January 29, 2013). Voice Acting For Dummies. For Dummies. pp. 384. ISBN 978-1118399583.
* Announcing

## Additional learning resources
### Videos

* How to Make an Audiobook for Audible and iTunes (ACX)
# VoIP

This learning project explores real-time VoIP systems for peer-to-peer communication. It is part of the School of Media Studies and its Internet Audio and Video division.

## About us

We are a new group formed to study, evaluate and experience various VoIP systems and protocols.

## What is VoIP?

VoIP stands for Voice Over Internet Protocol. VoIP is the technology that enables voice communication over an IP network. The traditional telephony system referred to as Land Line Phone or PSTN: Public Switched Telephone Network uses Circuit Switching while VoIP uses packet switching to communicate the voice.

## Learn by doing

Interactive learning resources at Wikiversity will require real-time communication. VoIP is a fun way to interact with others one-on-one or in groups. The VoIP activity group plans to pave the way for bringing Wikiversity into the world of live sound and teleconferencing.

### Initial proof of concept

2007-01-22 - HistoryBuff and CQ were able to start a conference. CQ had no microphone, so he had to listen to tests from HistoryBuff. After some technical glitches, JWSchmidt joined, and two way audio was heard.
This was considered a success in the initial experiment.
See Wiki Campus Radio#Test sessions.

### Further successes as of March 15 2007

We have now run 5 or 6 sessions, with 3 having been recorded.
We have had participants in England, Australia and throughout the US and Canada. The maximum number of participants has been 6, and all had 2 way audio.

### Further activities

We are searching for some real world applications for Wikiversity, so we can promote and have solid ground for some proposals that are currently forming.
The Sandbox Server is getting closer to becoming a reality. There is a general consensus that it shall host an Asterisk network.
We should see if we can help with the WMF Asterisk server. We should also start to schedule and have regular sessions, so we can cover some of the wikio topics.

## Wikiversity VoIP Networks

* Skype - Wikiversity Skype Network
* MozIAX - An Asterisk network is forming. Stay tuned to #wikiversity-en for sporadic real-time tests
* Teamspeak

## See Also

http://commons.wikimedia.org/wiki/User:Gmaxwell/voip WM developer who is doing things with asterisk/voip in the WMF
# Voice/Operatic

Lesson 1:
Operatic singing begins with making the right sound through your nose. Think for instance that behind your nose is an entire room. In this room, air must vibrate to make a sound. This may be practiced by forming the letter ´oo´ (like in ´good´ or ´shoes´). Exaggerate this letter with your whole face. Then, you can breath in through nose and mouth at the same time. Your breathing is now used like when you smell something. By doing this, the larynx in your throat will go down and you can make an opera voice sound. Just keep thinking about the large room behind the nose and the air in there that must make the sound. Do not push your throat muscles! You must be relaxed.
Actually, it is right to focus in the nose for the middle register. The focus is very compact, and not like "an entire room." It is right to think of breathing in as in smelling a rose, while singing. Lehmann's book, "How to Sing." has wonderful pictures of what singers feel, when they sing. The focus is a very narrow line centered. When going up into the upper notes, the focus needs to be higher than just in the nose. Submitted by Winnie Goree founder of Atlanta Voice Lessons. –Winniegoree 05:42, 25 June 2009 (UTC)Winnie Goree
# Wikiversity shorts

Participants in this project create short (15 to 60 seconds) promotional videos for Wikiversity.

## Styles

Suggest types of promotional videos for Wikiversity.

### Like Apple computer ads

* See: "Get a Mac" ads

### Like Firefox Ads

firefoxflicks

### Wikiversity Reports

Watch a podcast version of the video fown in the figure on this page. See the description of how the podcast version was created.
According to information at the Wikimedia meta-wiki and at Wikipedia, the only approved method for directly posting video to Wikimedia websites is to use Ogg Theora video.
There is some information about Ogg Theora at www.theora.org and www.v2v.cc. May be useful: How to convert QuickTime movie to Ogg Theora and this list of Theora resources and a possible GUI converter called Super (for Windows. There might be a problem downloading with Firefox; try Explorer. See this review).
Testing output from Super.....Media:Short.ogg. The file plays using VLC media player for Mac OS X, but the file play terminates early. Super seems to work for more standard .mov and .mpg file conversions to Ogg video. VLC can also convert file formats and produce Ogg files, but it is slower than Super and its own documentation says, "Please note that VLC is not very suited for file to file transcoding. Its transcoding features are however useful to save network streams, for example."