Chinese surname Wu

Wu means : name of a State in ancient China (province of Jiangsu); a Chinese surname.(Ancient time Wu meant big or great in Wu dialect). e.g. Wu is written as "Kou (mouth) sitting on top of Tian (sky)". Surname Wu is about 3100 years old.

Surname Wu was originated in an area called Yan Ling Prefecture during the Qin Dynasty (221BC to 207BC).

Yan means : extend; lengthen; prolong; postponed; defer; delay; put off; invites; employ. Yang means : the sun; bright; clear; masculine; positive.

The present day location of Yan Ling Prefecture is in Wu Jin Xian in Jiangsu province China.

SAE stuff I studied back in Oct 1992 in Malaysia

Course syllabus
Sound theory
Introduction
Sound: what is it?
Sound propagation through the air
Properties of sound
Frequency
Period
Wavelength
Amplitude
Phase
Speed
Combination of pure sinusoids
1.6. Time-Frequency representation
1.7. Harmonic content of a waveform
1.8. Waveforms
1.8.1. Pure sinusoid
1.8.2. Square wave
1.8.3. Sawtooth wave
1.8.4. Triangular wave
1.8.5. Hypertones
1.9. Sound envelope
1.10. Reflection, diffraction, refraction, absorption
1.10.1. Reflection
1.10.2. Reflections inside a room
1.10.3. Refraction
1.10.4. Diffraction
1.10.5. Absorption
2. Perception of sound
2.1. Introduction
2.2. Human ear
2.2.1. Outer ear
2.2.2. Middle ear
2.2.3. Inner ear
2.3. Perception of sound by the brain
2.4. Beatings
2.5. Volume and perception of frequency, distortion, masking
2.5.1. Volume and perception of frequency
2.5.2. Distorsion
2.5.3. Masking
2.6. Doppler effect
2.7. Haas effect
2.8. Isophonic curves - Equal loudness contours
2.8.1. Description of isophonic curves
2.8.1.1. Threshold of hearing (0 phons)
2.8.1.2. Threshold of pain (140 phons)
2.9. Psychoacoustics
2.9.1. Environment
2.9.2. Suppression of coloration
2.9.3. Octave illusion
2.9.4. Cocktail party effect
2.10. Localization of sound sources
2.10.1. Time differences (phase)
2.10.2. Amplitude differences
2.10.3. Harmonic content differences
2.11. Binaural fusion
2.12. Audible frequency spectrum
3. Decibels and dynamics
3.1. Introduction
3.2. The logarithmic scale
3.3. Decibels in the audio field
3.4. Inverse distance law
3.5. Combination of sound sources
3.6. Electrical quantities expressed in decibels
3.7. Standard Operating Level
3.8. Dynamic range
3.9. Phonometers
3.9.1. dBspl measurers
3.9.2. Vu meters
3.9.3. PPM meters
4. Fundamentals of electronics
4.1. Introduction
4.2. Electricity
4.3. Electronic components
4.3.1. Resistance
4.3.2. Capacitor
4.3.3. Inductor
4.3.4. Impedance
4.3.5. Diode
4.3.6. Transistor
4.3.7. Operational amplifier
4.3.8. Transformer
4.4. Ohm's law, power, electromotive force
4.4.1. Ohm's Law
4.4.2. Power
4.4.3. Electromotive force
4.5. Electric circuits
4.6. Impedance of a circuit
5. Equalizers and filters
5.1. Introduction
5.2. Equalizers
5.2.1. Bell equalizer - Peak Bell EQ
5.2.2. Shelf equalizers - Shelving EQ
5.2.3. Parametric equalizers
5.2.4. Graphic equalizer
5.2.5. Active and passive equalizers
5.3. Filters
5.3.1. Low-pass filters and high-pass filters
5.3.1.1. Slope rate
5.3.2. Band-pass filters
6. Analogue recorders
6.1. Introduction
6.2. Functioning of analogue recorders
6.2.1. Functioning principle
6.3. Design criteria
6.4. Functioning modes
6.5. Magnetic particles
6.6. Characteristic quantities of magnetism
6.7. Transfer characteristic of a magnetic ribbon
6.8. Hysteresis cycle
6.9. Hysteresis of a moving magnetic ribbon
6.10. Bias current
6.11. Set up of an analogue recorder
6.12. Final considerations
7. Effects and signal processors
7.1. Introduction
7.2. Reverb
7.3. Delay
7.4. Phaser
7.5. Flanger
7.6. Chorus
7.7. Pitch shifter
7.8. Tremolo
7.9. Vibrato
7.10. Distorter
7.11. Exciter
7.12. Wah-Wah
7.13. Vocoder
7.14. Compressor
7.14.1. Sidechain input - Key input
7.14.2. Compression curve
7.14.3. Compressor's response to the input signal
7.14.4. Rotation point compressor
7.14.5. Multiband compressor
7.15. Uses of the compressor
7.16. De-esser
7.17. Limiter
7.18. Gate
7.18.1. Gate usages
7.19. Expander
8. Connections, wires and connectors
8.1. Introduction
8.2. Optical connections
8.3. Electric connections
8.3.1. Unbalanced electric connections
8.3.2. Balanced electric connections
8.3.3. Distortion in electric connections
8.4. Connectors
9. Sound diffusion systems
9.1. Introduction
9.2. Electrodynamic loudspeaker
9.3. Resonance frequency of a loudspeaker
9.4. Efficiency of a loudspeaker
9.4.1. Pneumatic suspension Loudspeakers
9.4.2. Acoustic horn loudspeakers
9.5. Loudspeaker sensitivity and maximum applicable power
9.5.1. Loudspeaker sensitivity
9.5.2. Maximum applicable power
9.6. Impedance of a loudspeaker
9.7. Frequency response
9.8. Polar pattern of a loudspeaker
9.9. Types of loudspeakers
9.10. Piezoelectric Loudspeakers
9.11. Diffusers
9.11.1. The crossover
9.12. Types of acoustic boxes
9.12.1. Bass reflex
9.12.2. Passive cone
9.12.3. Retroactive horn
10. Microphones and miking techniques
10.1. Introduction
10.2. Electrodynamic microphone
10.3. Condenser Microphones
10.4. Piezoelectric microphones
10.5. Ribbon Microphones
10.6. Polar pattern of a microphone
10.7. Omnidirectional microphones
10.8. Unidirectional microphones
10.9. Pressure gradient microphones
10.10. Double-diaphragm condenser microphones
10.11. PZM - Pressure Zone Microphones
10.12. Special microphones
10.12.1. Shotgun
10.12.2. Parabolic - Reflector microphone
10.13. Specific electric units of microphones
10.13.1. Self noise
10.13.2. Distortion
10.13.3. Sensitivity
10.14. Stereo miking techniques: Introduction
10.14.1. Stereo miking techniques: Coincident microphones
10.14.2. Blumlein technique
10.14.3. XY technique
10.14.4. MS technique - Mid Side
10.15. Stereo miking techniques: near microphones
10.15.1. ORTF technique - Organization Radio Television Francaise
10.15.2. NOS Technique
10.15.3. OSS Technique - Optimum Stereo Sound
10.16. Stereo miking techniques: distant microphones
10.16.1. AB technique
10.16.2. Decca Tree
10.17. Miking of musical instruments
11. The recording studio
11.1. Introduction
11.2. Outline of a recording studio
11.3. Studio mixer
11.4. Mixer: channel strip
11.5. Mixer: groups
11.6. Mixer: master section
11.7. Effects Rack
11.8. The recorder, the computer, the monitors
11.8.1. The recorder
11.8.2. The computer
11.8.3. Monitors
11.9. PatchBay
11.9.1. Fully normalized patchbays and half-normalized patchbays
12. Working in the recording studio
12.1. Introduction
12.2. Recording
12.3. Using the aux sends during a recording session
12.4. Bouncing
12.5. Mixing
12.6. Using groups during the mixing phase
12.7. Listening to a mix
12.8. Using the aux sends during a mixing session
12.9. Level calibration in a recording studio
12.10. Mastering
13. Live sound
13.1. Introduction
13.2. Description of the equipment
13.3. Stage mixer chain
13.4. FOH mixer chain
13.5. The live mixer
13.6. Delay Towers
13.6.1. Sound reinforcement
13.7. Equipment setup
13.8. The soundcheck
13.9. The concert
13.10. The Larsen effect
14. Amplification
14.1. Introduction
14.2. The amplification chain
14.3. The amplifier
14.4. Supplied power
14.5. Amplification curve
14.6. Distortion by saturation
14.7. Other causes of distortion
14.8. Frequency response of an amplifier
14.9. Input and output impedance of an amplifier
14.10. Input characteristics
14.11. Output characteristics
14.12. Amplification: DI box
15. Environmental acoustics
15.1. Introduction
15.2. Acoustics of small environments
15.3. Resonance modes
15.4. The behaviour of axial modes
15.5. Considerations on resonance modes within an enclosed environment
15.6. Reverberation time of an environment
15.7. Absorption coefficient
15.8. Reflection coefficient
15.9. Sound absorption techniques
15.10. Passive acoustic panels
15.11. Active acoustic panels
15.12. Sound diffusion techniques
15.13. Criteria for designing a recording studio
15.14. LEDE control room
15.15. Measuring criteria for background noise
15.16. Acoustics of large environments
15.17. Acoustics of large environments: reverberation time
15.18. Acoustics of large environments: hall's absorption and reflection
15.18.1. Absorption
15.18.2. Absorption by the air
15.18.3. Undesired effects
16. Noise
16.1. Introduction
16.2. Narrowband noise
16.2.1. HVAC
16.2.2. Electromagnetic emissions
16.2.3. Interferences
16.2.4. Vibrations
16.3. Broadband noise
16.3.1. Thermal noise
16.3.2. White noise
16.3.3. Pink Noise
16.3.4. Brown Noise
16.4. Distortion and Total Harmonic Distortion
16.5. Noise reduction
16.5.1. Reduction of narrowband noise
16.5.2. Reduction of electromagnetic interferences
16.5.3. Broadband noise reduction
16.6. Noise reduction systems
16.7. Noise reduction systems: Dolby A
16.8. Noise reduction systems: other Dolby systems
16.8.1. Dolby B
16.8.2. Dolby C
16.8.3. Dolby SR
16.8.4. Dolby S
16.8.5. Dolby HX
16.8.6. Dolby HX Pro
16.8.7. Other NR systems
17. Synchronization
17.1. Introduction
17.2. What is a time code?
17.3. SMPTE time code
17.4. Recording of the SMPTE
17.5. SMPTE Time code: the frame format
17.6. MTC - MIDI Time Code
18. Digital Audio
18.1. Introduction
18.2. Binary Algebra
18.3. Sampling
18.4. Quantization
18.5. Quantization noise
18.6. Dynamic
18.7. Quantization circuit
18.8. Ideal physics and real physics
18.9. Oversampling
18.10. Digital/Analogue conversion
18.11. Overall outline of the sampling process
18.12. Digital audio signal manipulation
18.13. Analogue effects simulation
18.14. Digital compression
18.15. Audio data compression
18.16. Considerations on audio data compression
18.17. Hard Disc Recording
18.18. Digital recording and mixing
18.19. Audio card characteristics
19. Digital Audio Media
19.1. Introduction
19.2. Magnetic digital media
19.2.1. Rotating head media
19.2.2. Fixed head supports
19.3. Optical Media
19.3.1. Tracking
19.3.2. CD printing
19.3.3. Data format of a CD
19.3.4. Definitions of CD formats: the Grovening Books
19.3.5. DVD (not included as no DVD technology at that time)
19.4. Magneto-optical supports
19.4.1. The MiniDisc (not included due to technology constraints)
20. The Midi Protocol
20.1. Introduction
20.2. MIDI protocol specifications
20.3. MIDI system configurations
20.3.1. Daisy chaining
20.3.2. Daisy chaining with a sequencer
20.3.3. MIDI THRU Splitter Box configuration
20.3.4. Configuration with extended MIDI Interfaces
20.4. MIDI Messages
20.4.1. Channel voice messages
20.4.2. Channel mode messages
20.4.3. System messages
20.4.3.1. System common
20.4.3.2. System real time
20.4.3.3. System Exclusive
20.5. General MIDI
21. 3D Audio (Known as Surround sound)
21.1. Introduction
21.2. The Surround System
21.3. Dolby motion picture matrix encoder
21.3.1. Encoding
21.3.2. Decoding
21.3.3. Dolby Motion Picture Matrix encoding characteristics
21.4. Dolby Pro Logic and Dolby Digital
21.4.1. Mixing in Dolby Pro-Logic with a normal mixer
21.5. Summary of the main surround systems
21.6. Binaural recording and reproduction techniques
21.6.1. Binaural recording techniques
21.6.2. Binaural reproduction techniques
21.7. Q-Sound
21.8. RSS - Roland Sound Space system
21.9. Ambisonics

food additive info

Sodium nitrite, with chemical formula NaNO2, is used as a color fixative and preservative in meats and fish. When pure, it is a white to slight yellowish crystalline powder. It is very soluble in water and is hygroscopic. It is also slowly oxidized by oxygen in the air to sodium nitrate, NaNO3. The compound is a strong oxidizing agent.

It is also used in manufacturing diazo dyes, nitroso compounds, and other organic compounds; in dyeing and printing textile fabrics and bleaching fibers; in photography; as a laboratory reagent and a corrosion inhibitor; in metal coatings for phosphatizing and detinning; and in the manufacture of rubber chemicals. It may also be used as an electrolyte in electrochemicl grinding manufacturing processes, typically diluted to about 10% concentration in water. Sodium nitrite also has been used in human and veterinary medicine as a vasodilator, a bronchodilator, and an antidote for cyanide poisoning.

Sodium nitrite is commonly added to bacon, ham, hot dogs, luncheon meats, smoked fish, and corned beef to stabilize the red color and add flavor. It gives the meat a pinkish colour. The preservative prevents growth of bacteria, but studies have linked eating it to various types of cancer.

ICONS of my past

During the 1970's through my teens in the 1980's and now in my thirty's in the 21st century I would like to share things that have been iconic with me be they toys, books, movies or people. They are based on stages of my life, unfortunately I do not remember anything before age 4 or 5 so this list is missing parts of my life from those early years. I shall not be talking about my family here as that will be in another post.

Age 6 to 10

- Kindergarden (Remember looking out and saw a long lorry climbing a hill outside the kindergarden)

- Kulai Estate in Kulai Johore ( I walk home with my sis on my first day of primary school, which incidentally was also the first time taking a school bus for my sis and I. We were not informed by the bus driver that it would be a different bus picking us up after school and we were frantically looking for the same bus that sent us in the morning. In the end we decide to walk home, both crying while walking.)

- Gua Kong (mum's side) tortoise soup while staying at 3storey shophouse (Something that was bitter and black and smelled funny with all the herbs. Me and my cousin Gary stole some to drink and found it to be yucky.)

Install screen and projector

First things first, we shall assume that it will be a fixed lens projector on a manual pull down screen. The screen should be your anchor, not the projector. Think of it this way, the screen is what you’ll actually be looking at, so it’s important to have it where you want it in the room and then worry about how to get the projector where it belongs. I know that there are other schools of thought on which comes first (the projector or the screen) but after having installed more than 250 front projection systems over the years, I have come to choose the screen first theory.

Second is to establish the proper height to mount the screen. Even though we’re installing the screen first, take a quick look over your shoulder at the area where you’ll mount the projector and look for any obstructions on or above the ceiling. If you see a heating and air vent, smoke detector, ceiling fan, fire sprinkler or anything else that might be in the path of the projector or mount, you’ll need to factor that in. i.e. if the true center of your room is offset by 2 feet to the right due to an obstruction, you’ll want to shift your screen over to the right by 2 feet. Also try not to mount lower than 3.5 feet as it is the average height of a person sitting down. You would not want it to be too low as it may not be that comfortable to view. The best general rule of thumb I can give is to more or less try to aim for the bottom three-fourths of the screen at eye level. Let your sore neck (hopefully lack of) be your guide.

Recommended Tools and Materials
Basic Hand Tools like hammer
Electric drill, cordless drill and screw driver
Long string and pencil
Carpenters water level
Screws or anchor bolts
'A' frame step ladder (minimum 1 unit but recommend 2 unit)

Mark the walk where you want to install the brackets and use the anchor bolt to lock them into position, once that’s finished you and your helper will place the screen into position and then secure the screen to the brackets. Determine the screen center line, centering a projector is critical for proper optical alignment.

I’ve seen several of methods for determining true center in relation to a fixed object but none of them seem as easy or ultimately accurate (no, using a tape measure isn’t accurate, that assumes your room is perfectly symmetrical, it’s not) as the one I use.

For this part you’ll need an assistant, a ladder, a long string and pencil mentioned previously. Pull off a long piece of the string and tie a knot at one end, have your assistant hold that knot in their hand and hold it up to one end of the screen frame where the screen canvas edge is. Now, pull off enough string to make it back far enough so that you’re into the projector manufacturers recommended throw distance for your particular screen size. (Note: the throw distance can either be found in the owner’s manual or online by searching for brand and model + throw distance).

Once you’re certain you’re back far enough into the recommended throw distance (preferably ¾ into it), tie the string around the pencil and pull the string tight. Once you’ve done so point the pencil toward the ceiling and make a light mark in a circular arc motion. Have your assistant move to the other side of the screen with the string and then make a second, complimentary mark from the other side. As long as all the variables were minimized, i.e. the assistant held the string at the same position on each side of the screen and you pulled the string tight, you’ll have a perfect center mark.

Again, I’m working on the assumption that your projector doesn’t have vertical or horizontal lens-shift, (if it does skip down to the next passage) we need to factor in the projectors vertical off-set, or in other less technical terms where the lens needs to sit in relation to the top of the screen. This is an important measurement (again often found in the owner’s manual) because if it’s off even just a little, it will cause the image to keystone and trust me that’s not something you want to happen.

If the top of your lens is 12” above the top of the screen and your specification calls for a flat or zero off-set, you’ll want to drop the mount/projector down roughly 12” (add or subtract to that number for the actual drop of the lens to the top of the projector case). Basically you just want to add or subtract any extension until you’re within the recommended vertical off-set.

luncheon meat

Info taken from Hong Kong Centre for Food Safety

Nitrofuran, Malachite Green and Canned Pork Products

In early December 2007, the Centre for Food Safety sampled a number of canned pork products to examine for veterinary drug residues. Out of 19 samples taken, two were found to contain trace amount of a nitrofuran metabolite and one was found to contain malachite green. Based on the levels detected, usual consumption of the affected products is unlikely to pose significant health risk. The distributors concerned had initiated recalls of the affected products.
Nitrofurans are a group of antimicrobial agents which can be used as veterinary drugs. The main concern of nitrofurans in food is that a type of nitrofurans may cause cancer in experimental animals.
Malachite green (MG) is a synthetic dye that can be used as antifungal agent to treat diseases in fish. Certain metabolites of MG may persist in tissues for a long period of time. As MG is able to cause cancer in experimental animals, food should not contain MG.
Food manufacturers and importers should source food ingredients from reliable sources and should ensure that the food complies with local regulations.

WHY GREEN BUILDINGS?

Taken from http://www.greenbuildingindex.org/what_why_green_buildings.htm

In today’s context where the preservation of our environment has become a global issue, it makes sense to build ‘green’. Significant efforts are being made in all sectors of the construction industry to create products and buildings that are environment-friendly; more and more industry players including architects, engineers and developers are recognizing the long-term benefits of this approach.
1.
Green buildings are designed to save energy and resources, recycle materials and minimise the emission of toxic substances throughout its life cycle
2.
Green buildings harmonise with the local climate, traditions, culture and the surrounding environment
3.
Green buildings are able to sustain and improve the quality of human life whilst maintaining the capacity of the ecosystem at local and global levels
4.
Green buildings make efficient use of resources, have significant operational savings and increases workplace productivity
5.
Building green sends the right message about a company or organization – that it is well run, responsible, and committed to the future