يEيCfأçü       Initializing Media      USE"240? " BEFORE RUNNING THIS PROGRAM":?250? " RUN 'DATASHEET' FIRST, IT IS"260? " A LISTING OF ALL THE"270? " INFORMATION YOU'LL NEED":?280? " PRESS 1 TO CONTINUE":?290? "       2 TO STOP":?300? "       3 to RUN 'DATASHEET'":?310? " NOTE: 'DATASHEET' MUST BE ON"320? "        THIS MEDIA":?330GET x:HOME340ON x GOTO 500, 350, 400350HOME:END400HOME:?:?:? " PLEASE STAND BY"408REM runs DATASHEET410? CHR$(4); "run DATASHEET"500HOME:?:?:? " TYPE IN THE INFORMATION"510? " THEN PRESS <RETURN>":?:?FIRST DIR  پUھے BOOT       گDIRECTORY  طHEATorCOOLAذ-WDATASHEETAذھWBABBLEH   €ERRORSH   HEATCOOLTXH3€MIDITERMSH6##PCUPDATEH YRSVPH     `SFAUGARTH hSFAUGMEMH t

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IF a$="L" OR a$="l" THEN GOSUB 5000710IF ss2=2 GOTO 6000720? " WHAT IS THE INSIDE"728REM use decimal form                 730INPUT " WALL HEIGTH "; wh:?735IF a$="L" OR a$="l" GOTO 770738REM use decimal form  45.5 for 45 ft 6 in, etc.740? " WHAT IS THE HOUSE OUTSIDE"748REM use decimal form  25.5 for 25 ft 6 in, etc. 750INPUT " LENGTH "; hl:?758REM use decimal form                                760INPUT " WHAT IS ITS WIDTH "; hw:?770? " WINDOW & DOOR AREA FACING"780? " SOUTH & WEST IN SQ. FT."710REM HEATORCOOL by G.L. Vrancks 1990  12REM Calculates the heating and/or cooling14REM Requirement of a house16REM Will also figure BTU's saved by 18REM By adding more insulation20REM Run DATASHEET first for a print-out22REM Of information needed to run24REM This program26REM Read docHC via WP186REM sets screen color to blue190POKE 17115, 244:POKE 17059, 5:TEXT198?:?200? " HOUSE HEATING AND COOLING"210? "         CALCULATION":?:?220? " YOU NEED TO KNOW CERTAIN"230? " INFORMATION ABOUT THE HO520? " IS THE HOUSE  L SHAPED = 'L'>"530? " OR SQUARE/RECTANGLE ='S'>":?540INPUT a$:?550INPUT " IS IT 1 OR 2 STORIES "; ss2:?570? " WHAT TYPE OF FLOOR":?:?580? "  B = FLOOR OVER BASEMENT"590? "  C = FLOOR OVER CRAWL SPACE"600? "  S = SLAB FLOOR"610INPUT bb$:HOME:?:?620IF bb$="S" OR bb$="s" OR bb$="C" OR bb$="c" GOTO 650630INPUT " IS BASEMENT HEATED y/n "; bh$640INPUT " and/or COOLED  y/n "; bc$:?650? " ARE WINDOWS & DOORS (L)OOSE"660? " (A)VERAGE OR (T)IGHT"670INPUT " CONSTRUCTION "; zz$:?700o90INPUT gs:?800? " WINDOW & DOOR AREA FACING"810? " NORTH & EAST IN SQ. FT."820INPUT gn:?848REM use decimal form  8.5 for 8 1/2 in.; etc.850? " CEILING INSULATION"860INPUT " IN INCHES "; ci:?868REM use decimal form 870? " WALL INSULATION"880INPUT " IN INCHES "; wi:?890? " CRAWL SPACE - SLAB or"900? " BASEMENT INSULATION "910INPUT " in inches "; fi:?1000? " DO YOU WANT THIS CALCULATION"1010? " FOR 'C' = COOLING ONLY"1020? "     'H' = HEATING ONLY"1030? "     'B' = BOTH HEAT & COOL":?1040INPU660IF ch$="H" OR ch$="h" GOTO 28102665HOME:?:?2670? " THE TOTAL COOLING LOAD FOR"2680? " THIS HOUSE TO MAINTAIN A"2690? " INSIDE TEMPERATURE OF "; sh2700? " WHEN THE OUTSIDE TEMPERATURE"2710? " IS "; sd; " WOULD BE ":INVERSE:?2720? "   "; INT(tc):NORMAL:?:? "     BTU's PER HOUR":?:?2740? "      PRESS ANY KEY":?:?2750GET p$2755IF ch$="B" OR ch$="b" GOTO 28102760? " DO YOU WANT A PRINT OUT OF"2770? " THIS CALCULATION"2780INPUT "   Y/N "; q$2790IF q$="Y" OR q$="y" GOTO 90002800HOME:GOTO 9600280cf=sf*wh2250IF ss2=2 THEN  cf=wh*sf2260 gd=gs+gn2270 wa=wh*os-gd2280IF ss2=2 THEN  wa=wh*os-gd2288REM temperature differance between inside & outside2290 hz=ht-wd: cz=sd-sh2318REM air infiltration2320IF zz$="T" OR zz$="t" THEN  hi=cf*.016*hz2330IF zz$="A" OR zz$="a" THEN  hi=cf*.021*hz2340IF zz$="L" OR zz$="l" THEN  hi=cf*.026*hz2350IF zz$="T" OR zz$="t" THEN  ai=cf*.021*cz2360IF zz$="A" OR zz$="a" THEN  ai=cf*.029*cz2370IF zz$="L" OR zz$="l" THEN  ai=cf*.037*cz2378REM roof sun load2380IF r$=*wa*hz2918REM glass load (heat)2920 gh=gd*hz*.62928REM total heating load2930 th=hi+gh+wx+ch+fh2940HOME:?:?2950? " THE TOTAL HEATING LOAD"2960? " FOR THIS HOUSE TO MAINTAIN"2970? " A TEMPERATURE OF "; ht2980? " WHEN ITS "; wd; " OUTSIDE"2990? " WILL REQUIRE ":INVERSE:?3000? "   "; INT(th):NORMAL:?:? " (output) BTU's FROM THE HEATING SYSTEM":?:?3020? " DO YOU WANT A PRINT OUT OF"3030? " THIS CALCULATION  Y/N "3040INPUT t$3050IF t$="Y" OR t$="y" GOTO 90003060HOME:GOTO 96005000? " USE THE FOLLos*cz*.32*22520IF bb$="B" OR bb$="b" THEN  fu=(1/(fi*x+2.51))*cz*os*5.5+vv2530IF bc$="N" OR bc$="n" THEN  fu=fu*.12538REM window sun load2540 pp=gs*402550IF v$="Y" OR v$="y" THEN  pp=pp*.32560 gu=gd*.56*cz+pp2568REM wall load2570 wr=wi*x+4.072580 sl=(sd+wl)-sh: wq=1/wr2590 ws=(ta*.5-gs)*wq*sl2600 wn=(ta*.5-gn)*wq*cz2610 wu=ws+wn2618REM people & electrical load2620 ol=oo*400: el=eu*3.42628REM total cooling load2630 ca=ol+ai+wu+gu+fu+cu2640 lh=ca*.122650 tc=ca+el+lh2658REM goes to heating2T ch$:HOME1098REM figures heat load1100IF ch$="H" OR ch$="h" THEN GOSUB 70001108REM figures cooling load1110IF ch$="C" OR ch$="c" THEN GOSUB 80001118REM figures both heat & cooling1120IF ch$="B" OR ch$="b" THEN GOSUB 70001130IF ch$="B" OR ch$="b" THEN GOSUB 80002186REM figures cubic ft., sq. ft., glass & door area & wall area2190IF ss2=2 THEN  wh=f1+f2+.82200 x=3.14: sf=hl*hw2210IF a$="L" OR a$="l" THEN  sf=(s1*s6)+(s3*s4)2220 os=(hl+hw)*22230IF a$="L" OR a$="l" THEN  os=s1+s2+s3+s4+s5+s62240 8REM ceiling load (heating)2810 ch=(1/(ci*x+1.09))*sf*hz2818REM floor, basement, slab load (heat)2820 td=ht-(wd+15)2825IF wd>30 THEN  td=ht-wd2830IF bb$="C" OR bb$="c" THEN  fh=(1/(fi*x+2.83))*sf*td2840IF bb$="S" OR bb$="s" THEN  fh=(1/(fi*x+.45))*sf*hz*.062850 ba=(1/(fi*x+3.19))*os*2*hz2860 bx=hz*.4: bz=hz*.52870 bb=(1/(fi*x+9.88))*os*5.5*bx2880 bf=bz*.313*sf2889IF bb$="B" OR bb$="b" THEN  fh=ba+bb+bf2900IF bh$="N" OR bh$="n" THEN  fh=(1/(fi*x+4.2))*sf*td2908REM wall load (heat)2910 wx=(1/wr)"D" OR r$="d" THEN  rl=502390IF r$="M" OR r$="m" THEN  rl=402400IF r$="L" OR r$="l" THEN  rl=302408REM wall sun load2410IF s$="D" OR r$="d" THEN  wl=202420IF s$="M" OR r$="m" THEN  wl=152430IF s$="L" OR r$="l" THEN  wl=102440 ta=wa+gd2450 ct=sd+rl-sh2468REM ceiling load (cooling)2470 cu=(1/(ci*x+1.09))*sf*ct2478REM floor, basement, slab load (cooling)2480 ft=sd-10-sh2490 vv=(os*14)-(fi*150)2500IF bb$="C" OR bb$="c" THEN  fu=(1/(fi*x+2.83))*sf*ft2510IF bb$="S" OR bb$="s" THEN  fu=(1/(fi*x+1))*OWING LAYOUT"5005? " WHEN GIVING WALL LENGTHS":?5010? " IT DOESN'T MATTER WHAT THE"5015? " LENGTHS ARE AS LONG AS THE"5020? " LAYOUT IS USED PROPERLY":?5025? " SIDE 1 CAN BE FACEING ANY      DIRECTION, BUT THEY MUST BE    NUMBERED GOING CLOCKWISE"5027?:?:? "   PRESS ANY KEY"5028REM HGR screen to blue (I LIKE BLUE)5030POKE 25471, 20:GET w$5038REM leyout for  L  shaped house5040TEXT:HGR:HCOLOR =35042HPLOT 50, 40 TO 180, 40 TO 180, 120 TO 110, 120 TO 110, 80 TO 50, 80 TO 50, 405044HPLOT 110, 20 TO USE HEATING and/or COOLING REQUIREMENTS":?9008REM goto for heat only9010IF ch$="H" OR ch$="h" GOTO 92009018REM PRINTS cooling calculation9020? " THE COOLING LOAD IS"9028REM goto HEATING print-out9030? "    "; INT(tc); " BTU's PER HOUR":?9040? " THE BREAKDOWN IS AS FOLLOWS":?9050? " OCCUPANT LOAD    ", ol9060? " AIR INFILTRATION    ", INT(ai)9070? " WALLS           ", INT(wu)9080? " WINDOWS & DOORS ", INT(gu)9090? " FLOOR or BASEMENT ", INT(fu)9100? " CEILING         ", INT(cu)9110? " LATENT HE25471, 17:TEXT5170INPUT " LENGTH OF SIDE #1 "; s1:?5180INPUT " LENGTH OF SIDE #2 "; s2:?5190INPUT " LENGTH OF SIDE #3 "; s3:?5200INPUT " LENGTH OF SIDE #4 "; s4:?5210INPUT " LENGTH OF SIDE #5 "; s5:?5220INPUT " LENGTH OF SIDE #6 "; s6:?5240IF s3+s5=s1 AND s4+s6=s2 GOTO 53005250HOME:?:?:?5260? " YOU DID NOT USE THE LAYOUT":?5270? " PROPERLY    ' PRESS ANY KEY'":?5280? " TO REDO THE WALL LENGTHS"5288REM reruns wall lengths5290GET y$:HOME:GOTO 50005300RETURN5998REM 2 story house wall heigths        ", INT(ch)9270? " FLOOR or BASEMENT ", INT(fh):?9280? " THIS CALCULATION IS BASED ON YOUR INPUT DATA":?9290? " HEATING and/or COOLING SYSTEMS SHOULD BE DESIGNED BY SPICIALEST":?9300?:PR #0:HOME:?:?9600? " DO YOU WANT TO SEE WHAT"9610? " SAVINGS COULD BE ACHIEVED"9620? " BY ADDING MORE , WALL "9630? " CEILING or FLOOR INSULATION"9640INPUT "  Y/N  "; mi$9650IF mi$="Y" OR mi$="y" GOTO 100009660GOTO 1100010000HOME:?:?10008REM added insulation10010? " THE CEILING HAS "; ci; " INCHES"10020? " O KEEP THE HOUSE IN THE"8048REM cooling inputs8050INPUT " SUMMER "; sh:?8060? " HOW MANY PEOPLE OCCUPY THE "8070INPUT " HOUSE "; oo:?8080? " WHAT IS THE AVERAGE"8090? " ELECTRICAL USAGE IN WATTS"8100INPUT " PER HOUR "; eu:?8110? " ARE THE SOUTH & WEST WINDOWS"8120INPUT " COVERED BY AWNINGS Y/N "; v$:?8130? " IS THE ROOF (D)ARK - (M)EDIUM"8140INPUT " OR (L)IGHT IN COLOR "; r$:?8150? " IS THE HOUSE SIDING (D)ARK "8160? "(M)EDIUM OR (L)IGHT IN COLOR"8170INPUT s$:?8180RETURN9000PR #1:?9005? " HO110, 305046HPLOT 150, 20 TO 200, 20 TO 200, 50 TO 205, 40 TO 195, 40 TO 200, 505048HPLOT 190, 70 TO 190, 805050HPLOT 195, 70 TO 195, 805052HPLOT 130, 130 TO 130, 1405054HPLOT 135, 130 TO 135, 1405056HPLOT 140, 130 TO 140, 1405058HPLOT 115, 90 TO 115, 1005060HPLOT 120, 90 TO 123, 100 TO 126, 905062HPLOT 70, 90 TO 73, 100 TO 76, 905064HPLOT 30, 60 TO 33, 70 TO 36, 605066HPLOT 41, 60 TO 41, 705150? " PRESS ANY KEY TO GIVE OUTSIDE"5152? " WALL LENGTHS"5158REM HGR screen to default5160GET z$:POKE AT     ", INT(lh)9120? " ELECTRICAL LOAD ", INT(el):?9130IF ch$="B" OR ch$="b" GOTO 92009140? " THIS CALCULATION IS BASED ON YOUR INPUT DATA":?9150? " COOLING SYSTEMS SHOULD BE DESIGNED BY SPECIALEST":?9160PR #0:HOME:GOTO 96009198REM PRINTS heaing calculation9200? " THE HEATING LOAD IS "9210? "    "; INT(th); " (output) BTU's PER HOUR":?9220? " THE BREAKDOWN IS AS FOLLOWS":?9230? " AIR INFILTRATION ", INT(hi)9240? " WINDOWS & DOORS ", INT(gh)9250? " WALLS          ", INT(wx)9260? " CEILING           6000? " WHAT IS THE FIRST FLOOR"6010INPUT " INSIDE WALL HEIGTH "; f1:?6020INPUT " SECOND FLOOR WALL HEIGTH "; f2:?6040GOTO 7356998REM house & outside temperatures7000HOME:? " WHAT IS YOUR LOCAL WINTER"7010INPUT " OUTSIDE DESIGN TEMPERATURE "; wd:?7020? " AT WHAT TEMPERATURE DO YOU     WANT"7030? " TO KEEP THE HOUSE IN THE"7040INPUT " WINTER "; ht:?7050RETURN8000? " WHAT IS YOUR LOCAL SUMMER"8010? " OUTSIDE DESIGN TEMPERATURE"8020INPUT sd8030? " WHAT TEMPERATURE DO YOU WANT   TO"8040? "F INSULATION,HOW MANY INCHES"10030INPUT " WOULD YOU LIKE TO ADD "; zc:?10040? " THE WALLS HAVE "; wi; " INCHES"10050? " OF INSULATION,HOW MANY INSHES"10060INPUT " WOULD YOU ADD "; ww:?10070? " THE FLOOR or BASEMENT HAS "; fi10080? " INCHES OF INSULATION HOW"10090? " MANY INCHES WOULD ADD"10100INPUT ff:?:?10110? " DO YOU WANT A PRINT-OUT Y/N"10120INPUT xz$10130IF xz$="Y" OR xz$="y" THEN PR #110140HOME10150? " IF YOU ADD "; zc; " INCHES TO"10160? " THE CEILING AND "; ww; " IN"10170? " THE WALLS600IF ss2=1 THEN ? " SINGLE STORY HOUSE"; 10605IF ss2=2 THEN ? " TWO STORY HOUSE"; 10610IF bh$="Y" OR bh$="y" THEN ? " with HEATED"; 10615IF bh$="N" OR bh$="n" THEN ? " with UNHEATED"; 10620IF bc$="Y" OR bc$="y" THEN ? " and/or COOLED BASEMENT"; 10625IF bc$="N" OR bc$="n" THEN ? " and/or UNCOOLED BASEMENT"; 10630IF bb$="C" OR bb$="c" THEN ? " with a CRAWL SPACE"10635IF bb$="S" OR bb$="s" THEN ? " with a SLAB FLOOR"10700PR #0:HOME:?:?10710? "     PRESS ANY KEY"10730GET q$10998REM screen to defaultf4=(1/f3)*ft*sf: f5=(1/f3)*sf*td10310 fv=fu-f4: fo=fh-f510320 fq=fu-f9: fz=fh-fc10330 f10=(1/f8)*os*cz*.32*2: fb=(1/f8)*os*hz*.32+100010340 fp=fu-f10: fa=fh-fb10350IF bb$="C" OR bb$="c" THEN  xx=tc-(cp+wb+fv)10360IF bb$="B" OR bb$="b" THEN  xx=tc-(cp+wb+fq)10370IF bb$="S" OR bb$="s" THEN  xx=tc-(cp+wb+fp)10380IF bb$="C" OR bb$="c" THEN  zz=th-(co+wo+fo)10390IF bb$="B" OR bb$="b" THEN  zz=th-(co+wo+fz)10400IF bb$="S" OR bb$="s" THEN  zz=th-(co+wo+fa)10410 x1=th-zz: x2=tc-xx10420IF ch$="C" OR ch$=600IF ss2=1 THEN ? " SINGLE STORY HOUSE"; 10605IF ss2=2 THEN ? " TWO STORY HOUSE"; 10610IF bh$="Y" OR bh$="y" THEN ? " with HEATED"; 10615IF bh$="N" OR bh$="n" THEN ? " with UNHEATED"; 10620IF bc$="Y" OR bc$="y" THEN ? " and/or COOLED BASEMENT"; 10625IF bc$="N" OR bc$="n" THEN ? " and/or UNCOOLED BASEMENT"; 10630IF bb$="C" OR bb$="c" THEN ? " with a CRAWL SPACE"10635IF bb$="S" OR bb$="s" THEN ? " with a SLAB FLOOR"10700PR #0:HOME:?:?10710? "     PRESS ANY KEY"10730GET q$10998REM screen to default$="h" GOTO 1054010500 c2=x2/tc: c4=c2*10010510 c6=c4*10010520IF ch$="C" OR ch$="c" GOTO 1056010540? " * A SAVINGS OF $ "; INT(h6+.5)/10010550? " FOR EVERY $ 100.00 YOU NOW SPEND ON HEATING":?10555IF ch$="H" OR ch$="h" GOTO 1058010560? " * A SAVINGS OF $ "; INT(c6+.5)/10010570? " FOR EVERY $ 100.00 YOU NOW SPEND ON COOLING":?10580IF xz$="N" OR xz$="n" GOTO 1071010585? " THIS CALCULATION IS FOR A"10590IF a$="S" OR a$="s" THEN ? "SQUARE/RECTANGLE "; 10595IF a$="L" OR a$="l" THEN ? "'L' SHAPED"; 10 AND "; ff; " TO THE"10180? " FLOOR or BASEMENT":?10200 z1=ci+zc: z2=wi+ww: z3=fi+ff10210 c1=z1*x+1.09: w1=z2*x+4.07: f3=z3*x+2.83: f8=z3*x+1: b1=z3*x+2.5110216REM new wall, basement or floor10218REM and ceiling load10220 c2=(1/c1)*sf*ct: c3=(1/c1)*sf*hz10230 cp=cu-c2: co=ch-c310240 w5=1/w1: w4=(ta*.5-gs)*w5*sl10250 w3=(ta*.5-gn)*w5*cz: w2=w4+w310260 wb=wu-w2: w6=w5*wa*hz: wo=wx-w610270 ee=oa*14-(z3*150): f9=(1/b1)*os*cz*5.5+ee10280 b2=(1/b1)*os*2*hz: b3=(1/b1)*os*5.5*bx10290 fc=b2+b3+bf10300 11000POKE 17115, 240:POKE 17059, 0:TEXT:END510 c6=c4*10010520IF ch$="C" OR ch$="c" GOTO 1056010540? " * A SAVINGS OF $ "; INT(h6+.5)/10010550? " FOR EVERY $ 100.00 YOU NOW SPEND ON HEATING":?10555IF ch$="H" OR ch$="h" GOTO 1058010560? " * A SAVINGS OF $ "; INT(c6+.5)/10010570? " FOR EVERY $ 100.00 YOU NOW SPEND ON COOLING":?10580IF xz$="N" OR xz$="n" GOTO 1071010585? " THIS CALCULATION IS FOR A"10590IF a$="S" OR a$="s" THEN ? "SQUARE/RECTANGLE "; 10595IF a$="L" OR a$="l" THEN ? "'L' SHAPED"; 10"c" GOTO 1045010438REM PRINTS new BTU required10440? "  *  THE HEATING BTU's WOULD BE ", INT(zz):?10445IF ch$="H" OR ch$="h" GOTO 1047010450? "  *  THE COOLING BTU's WOULD BE ", INT(xx):?10460IF ch$="C" OR ch$="c" GOTO 1047510470? " THE BTU SAVINGS FOR HEATING WOULD BE   "; INT(x1):?10472IF ch$="H" OR ch$="h" GOTO 1048010475? " THE BTU SAVINGS FOR COOLING WOULD BE   "; INT(x2):?10476IF ch$="C" OR ch$="c" GOTO 1050010478REM money saved10480 h2=x1/th: h4=h2*10010490 h6=h4*10010495IF ch$="H" OR ch4999HOME:?:?5000? " PUT PAPER IN THE PRINTER":?5010? "PRESS ANY KEY TO GET A "5015? "PRINT-OUT OF 'DATASHEET'"5030GET q$:HOME8999HOME:PR #19000? " HOUSE HEATING & COOLING ANALYSIS INPUT FORM"9005? " USE WITH HEATCOOL - COOLONLY - HEATONLY - HEATORCOOL"9010?:?:?9030? "  NAME:____________________________ DATE:_____________":?:?9040? "***":?9050? "Type of House: SQ./Rectangle or  L  Shaped:____ (B)"9060? "Type of floor:Slab,Crawl space,Basement (B)"9070? "Is basement heated __: cooled:__"9080? "S s3+s5 = s1 and s4+s6 = s2; number clockwise":?9240?9250? "         --------->               Additional INFO "9260? "   ___SIDE_1_____ "9270? " S|              |"9280? " I|      L       |"9290? " D|    SHAPED    |S"9300? " E|    HOUSE     |I"9310? "  |              |D"9320? " 6|              |E"9330? "  |              |"9340? "  |______        |2"9350? " SIDE 5  |       |"9360? "         |       |"9370? "    SIDE |4      |"9380? "         |       |"9390? "         |_______|"9400? "          (B)"9170? "Window & door area,North & East ______sq. ft. (B)"9171? "Do the south & west windows have awnings or shaded all day ___ (C)"9175? "Are doors & windows Tight - Average or Loose construction ____ (B)"9180? "No. of occupants:___ (C)"9190? "Ave. electrical usage (Watts per hr.)______ (C)"9200? "Outside design temperature:Winter______Summer______ (B)"9203? " Desired inside house temp:Winter_____Summer_____ (B)"9210?9220? "***"9230? "Layout for L shaped house; sides can be any length as long half from the Sarasota Airport, yet it is        located on a tributary to Sarasota Bay with a deep-water marina,   well populated with cruisers and yachts from near and far.   THE THEME of this Convention will be "Hands-On" opportunities to   learn about ADAM software and hardware.  This means that many      ADAM computers will be in conference sessions for your use in      "learning by doing." All ADAM owners on our mailing lists will     get advance information about the Convention as planning         SIDE 3":?9410? "(B) = NEEDED FOR HEATING and/or COOLING"9420? "(C) = NEEDED FOR COOLING ONLY"9490PR #09500HOME:?:?9530? "   PRESS ANY KEY"9540GET b$10000HOME:ENDt - Average or Loose construction ____ (B)"9180? "No. of occupants:___ (C)"9190? "Ave. electrical usage (Watts per hr.)______ (C)"9200? "Outside design temperature:Winter______Summer______ (B)"9203? " Desired inside house temp:Winter_____Summer_____ (B)"9210?9220? "***"9230? "Layout for L shaped house; sides can be any length as longq. or Rectangle:Width_____Length______ (B)"9090? "L shaped(use layout below) (B)"9100? "Side 1___Side 2___Side 3___Side 4___Side 5___Side 6___"9110? "No. of stories:1__or 2__"9112? "Is roof Light,Medium or Dark in color______ (C)"9115? "Is house color Light - Medium or Dark___ (C)"9120? "Inside wall heigth: 1st. floor___,2nd. floor___ (B)"9130? "Wall insulation_____in. (B)"9140? "Ceiling insulation_____in. (B)"9150? "Floor insulation_____in. (B)"9160? "Window & door area,South & West ______sq. ft.‚CےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےقےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےThe Babbling Brook by Bob Blair  ADAMCON 6 is now officially set to take place beginning Thursday   Night, Oct 6 and conclude on Sunday Night, Oct 9, 1994 at the      Sarasota Holiday Inn Airport-Marina.  Yes, this beautiful site is  just a mile and a s3+s5 = s1 and s4+s6 = s2; number clockwise":?9240?9250? "         --------->               Additional INFO "9260? "   ___SIDE_1_____ "9270? " S|              |"9280? " I|      L       |"9290? " D|    SHAPED    |S"9300? " E|    HOUSE     |I"9310? "  |              |D"9320? " 6|              |E"9330? "  |              |"9340? "  |______        |2"9350? " SIDE 5  |       |"9360? "         |       |"9370? "    SIDE |4      |"9380? "         |       |"9390? "         |_______|"9400? "            progresses.   THE SFAUG BBS will serve as an additional means of communication   with prospective Convention attendees.  Special Bulletins will be  available (use the B command on the main menu) to update modem     users on Convention plans and information.  If you have a modem    on your Adam (or any Computer) call 813-473-2905.  You are         welcome to join our growing list of ADAM owners who are enjoying   the era of electronic communications.  Our BBS had a record        number of messages postethe master bedroom and the bathroom with no problems,   but not the kitchen.  That remains Dorothy's territory, for the    time being anyway.   What Bob Dick and I discovered is that his Magnavox TV has         Auxiliary VIDEO and AUDIO input receptors on the back and linking  them to the monitor output on the back of his ADAM converts his    TV into a giant COLOR MONITOR!  He can switch between TV and       monitor with his TV remote.  I too have a Magnavox TV like his.    Boy will Pat be surprised!!!  er Pat's dead body as she had threatened.  Yep, a yard sale did  it!  Bob, who does not share Pat's disdain for his wondrous        musical abilities, has reluctantly agreed to use the earphones     supplied with the instrument.  Ahh, so much better for his         personal enjoyment.  But wait, he also has the MIDI interface for  his ADAM.  His orchestra-like compositions are being recorded      onto ADAM tape/disk and replayed with full and exact reproduction  of all notes and instruments, and at full volINTER, GENE23.COM and other  TDOS PD programs.  And has maintained a high level of interest in  going beyond SmartWriter. I THINK IT IS VITAL THAT ADAM USERS CONTINUOUSLY RECEIVE TRULY    USEFUL SOFTWARE TO MAINTAIN A SENSE OF DISCOVERY AND GROWTH IN     USING THEIR ADAM!! 5) A personal, helping hand, when a new user gets frustrated with  a hardware or software problem; Members know they are not alone,   that solutions are avaiable and that their problems are not        unique to them.6) Keeping costsDAM keyboard extension cables   from his computer room to the large screen TV in their living      room (rumors that I helped him are blatant exaggerations, besides  it was his idea).  When interviewed about her (former) TV viewing  habits, Dorothy looked sad as she told me she watched the same     soap opera for over 20 years.  I said that I hated to see that     end after all those years, how- ever, Radio Shack had those 25ft,  6- line extensions for our ADAM keyboard for only $8.00.  Bob can  also reach d when a total of 54 messages were left    on the BBS from Fri night through Sun night, Dec 13-15, 1993.   Speaking of SFAUG records, the total of 24 people who attended     the Oct, 1993 meeting may well have resulted in the largest        single 1993 ADAM User Group meeting, anywhere.  We will end our    2nd calendar year of operation with 40+ members, and growing.   WHAT'S NEW? Well, I'm glad you asked!  Bob Blair finally got his   "ELECTRONIC" Keyboard, you know - the musical kind and it was not  ovn high levels of attendance, enthusiasm and enjoyment.  Best      sessions have been the round-table group discussions and           presentations that involved hands-on participation by meeting      attendees.4) Free/Cheap distribution of Public Domain software during        meetings; It succeeded in getting wide distribution of programs    like ACHESS, ADDRESS MASTER, SIMPLE PAume.  Pat says that   orchestra musicians use more than one finger, but what does she    know? Besides, she seems to be spending more time riding her bike  and visiting neighbors than ever before.  You be the judge - come  to the SFAUG meeting on January 24, 1994 and witness what your     ADAM can do with music - you will be surprised!!   Speaking of Surprises.  Imagine her surprise when Dorothy Dick     (SFAUG member, Bob Dick's wife) came into her living room to find  that Bob had run sound, video and A‚DےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےقےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےSITUATION DESPERATE, BUT NOT SERIOUS Last month I had two major malfunctions wherein I lost material    which I had spent weeks in preparing.  Two of the articles in  last month's newsletter were among the lost material and both  were in   the final sy.  That  will be Group Two (Track 15).  Groups Zero and One are reserved  for the directory.  As more and more files are stored, they are  located in the next available track.  It is rare that one will fill an entire disc without, at sometime or other, erasing a  file.  If that should happen, then one would have a disc that is  filled  with contiguously stored files.  It is easy to take an  undamaged   disc that is just about filled with scattered files and  create a   new disc wherein all of those scattest month, one error was a  damaged directory and the other was a sector of text.  Which was  the more  difficult to recover from? No question about that, --- the          directory area.  Probably that sounds wrong to some of you,  But I  can tell you that the amount of time it took to repair the  damage  convinced me that the directory damage was the most difficult. Now the reason why some of you might think that the directory  CRC error is not so bad, is that all of the data is still intact        somever, in CP/M that status indicator makes that  directory entry and all the the data of that file fair game for  an           overwrite.  That space is now available for any newly  created      file, as though it hadn't existed.  There are times when  a         directory becomes rather full and the erased files may occur at     many different locations throughout the disc.  In such an event,    when you store a new file, part of it may be stored in a group      near the start of the storage area and another e data that was in that file is there, somewhere    on that disc.  It may be scattered all over the place, but it is    all there if we can just find it and reassemble it.  That is  the   good part!  The really hard part is identifying all of the          scattered sectors.  First let's consider how this data is stored. Data is stored on a CP/M disc according to a well worked out       procedure.  A new disc will have the data stored contiguously       starting with the first sector following the directortages of writing.  The failures were both CRC  errors    but they occurred in different locations of the disk and  the       recovery attempts differed. CRC errors are not only devastating, but mysterious.  Sometimes    they affect a sector in the data section of a disc and at other     times in the directory section.  In either case the damaged  sector itself is usually damaged beyond recognition, and recovery  methods will vary depending upon which section is stricken. In the episodes I encountered lared files are now  arranged     contiguously.  And believe me, if you have all files stored contiguously, the recovery from a directory CRC error is a   snap. But what do I mean when I say "scattered"? In CP/M, when a file    is erased, the directory has a one-byte entry that designates the   erasure.  All of the tracks with the stored data of the file are    still where they were.  Even the directory entry itself is just  as it was, save for that one byte that designates the status of  the   file.  Howewhere on the disc.  All that remains to be done is to           reconstruct the directory and all of the data is available once     again.  To an extent that is true.  This is especially true when    there is only one major file that has to be recovered.  If the      disc has many files and all are important and need to be  salvaged, then the task is virtually insuperable.  But there are  occasions   when just recovering one file is most difficult, as it  was in my   experience last month. True, all of thgroup of the new     file may be stored farther down and yet more of the file might be   stored way down on the disc.  About the only thing you can count    on, is that the sectors of the new file will always be stored in  a sequential manner.  The storage is always done in groups; that  is  in increments of one kilobyte or eight sectors.  The first  data of the new file will always be stored in a group that has a  lower     number than the next track of that file.  In a 160K disk a  Group   and a Track are and ERROR.BAK have overwritten      previous text.  It is apparent that one of the files that was       overwritten was a file named INDEX.LBR and that INDEX.LBR was a     very large file indeed.  We can tell for certain that its           directory consisted of at least three extents (three entries each   comprising 128 sectors) and if I had shown you the rest of the      directory, you could see that INDEX.LBR has four more extents.      How do I know this? Note in the first directory extent of the filspace of the erased files is immediately available for  re-use.  In EOS, the erased file will not appear in a printout of  the          directory, but it remains there until very special procedures  are  used to make that space available.  That's why an EOS disc  may     have very little "active" stored data, and still there will  be "No More Room" for further file storage. While this is very efficient for CP/M users, it often makes a      recovery of an erased file impossible.  Once an erased file has   hese entries identifies the Group      numbers where the file is stored.  So each directory extent         accounts for 16 Kilobytes of storage.  That number 80 in the        sixteenth position of The INDEX.LBR entry is a hexadecimal number   specifying the number of sectors that directory entry is  managing.  80H is 128 Decimal so we see that the first and second  directory  entries of INDEX.LBR each identify the storage location  of 128     sectors or 16 Kilobytes.  Since this one sector of the  directory5252 4F525320 2042414B 00000013 *.ERRORS BAK.....* 10        02030400 00000000 00000000 00000000 *................* 20 00455252  4F525320 20545854 00000018 *.ERR0RS TXT.....*30 05060700 00000000 00000000 00000000 *................* 40        E5494E44 45582020 204C4252 01000080 *eINDEX LBR......* 50 14151617  18191A1B 1C1D1E1F 20212223 *............ !"#*60 E5494E44 45582020 204C4252 02000080 *eINDEX LBR......* 70        24252627 28292A2B 2C2D2E2F 30313232 *$%&'()*+,-./0123* Note that the files ERRORS.TXT the same size, --- eight sectors or 1  kilobyte.    The directory is the key to relocating this newly stored file.  EOS is somewhat similar in action when a file is      erased.  The actual data and directory information is still         intact.  Only a minor change is made in the file directory which    indicates that the file has been erased.  And, as in CP/M, the      erased files may be recovered by changing that notation in the      directory.  The really big difference is that in CP/M, the  storage e INDEX.LBR the       thirteenth byte has a value of 01.  This reveals that this is the   second extent of INDEX.LBR directory.  The first extent would  have had the value 00 in the thirteenth position.  But that was          overwritten and we can't see it.  However, on line 60 above we  see that this extent has the value 02 in the thirteenth position which specifies that this is the third directory extent    of the file INDEX.LBR.  Each extent can hold as much as 16 data     storage addresses.  Each of t  been overwritten, it can't be recovered.  Well, that part which     has been overwritten can't be recovered, but if the degree of the   overwrite is not great, it is possible to retrieve the rest of  the overwritten file, but it takes a fair amount of skill.   Nobody     would consider such a move unless the file was of enormous  value.   Just as an example of what a directory of a disc in which a new    file is stored in an area formerly occupied by an erased file,      consider the following:00 0045   above indicates the storage location of the second and  third part  of INDEX.LBR, we know that there had to be a first part and since we also know that directory entries are always       sequential, then the first directory extent of INDEX.LBR was        overwritten.  And since we can see that there two extents (one  for ERRORS.BAK and one for ERRORS.TXT) there probably was another       directory entry besides INDEX.LBR which had been on this disc.   Of course, at this point, there is no way of knowingthat  is lost by a blown directory.  If it weren't for that, reconstruction would be nigh on to impossible.  Not that            reconstruction is ever easy.  As I pointed out, it is something     that one would do only when the alternative is worse. In the disaster I encountered last month, I had virtually          completed the text of the article titled "POTPOURRI".  I was in  no mood to totally rewrite the article if I could help it.  All  of    the text of that file was there in the mass of data som backup file, the original file that we have been working on, is     designated .BAK when the revised text is stored.  Here the          original text was ERRORS.TXT and, as it was added to and then       stored, the most recent version was stored as ERRORS.TXT and the    original version was stored as ERRORS.BAK.  This makes sense        because ERRORS.TXT is 24 sectors in size (18 Hex) whereas           ERRORS.BAK is smaller, ---19 sectors (13 Hex).  And a bit more  can be deduced from the way these two fcopies of these printouts.     In fact there were quite a number of them.  I would proof read      what I had written and then go back and correct and add to it.      That's one reason why I dreaded starting from scratch.  I had a     lot of time invested in the article at this point.  But the fact    that I did make quite a number of rewrites meant that there were  a lot of sectors that had identical words in them.  Look at the       disassembly of the files ERRORS, above.  There are two such files   and t, named ERRORS.TXT, is now stored as a            completely new entry and it is overwritten on the next available    space, formerly the erased INDEX.LBR file.  Note that it            sequentially follows the still active ERRORS.BAK.  CP/M is          consistent when it stores files in scattered areas; it always       stores the first part of the file before the later parts.  They     may be blocks apart, but they are always in ascending order.   This is one thing that makes it possible to restore a file  what that  file   might have been. But it is worth noting that CP/M has used the erased file space    to store the new files ERRORS.BAK and ERRORS.TXT.  And further,     you will note that the order of these files is sequential.          Although we can't state with absolute certainty that ERRORS.TXT     and ERRORS.BAK are related, it is reasonable to assume so.  I       happen to know that they are, but this can't be deduced from the    information above.  We know that when VDE is set up to create a    eplace,  but without a directory, I had to identify all of the stored  sectors   that made up the file.  The best thing going for me was  the fact   that the file was stored in a sequential manner.  First,  I needed  to locate the start of the file.  That sounds rather easy.  I should know how it starts out.  After all, I did have a    number of "proof" printouts.  I didn't write the article in one     sitting.  I usually made a printout to check it over for grammar    and ease of reading, etc.  And I had iles are stored. ERRORS.BAK was originally named ERRORS.TXT and it was stored on    the disc first.  Later as it was called up by the word processor    (VDE266) and expanded, the expanded file was stored again as        ERRORS.TXT.  However, the original file was renamed from            ERRORS.TXT to ERRORS.BAK.  It still occupies the same locations  as before, both in the directory and in the data storage area.   All   that has been changed is the file extension which went from  TXT to BAK.  The new filehe start of each of them is identical.  I don't mean they  are similar, ---they are the same!  Later in the file ERRORS.TXT  there are additions, but the start of ERRORS.TXT and ERRORS.BAK  are the  same. There is another factor that makes for multiple entries of the     same material.  Anyone who has done much writing, knows that it  is an excellent practice to stop every so often and save what you      have written.  That way you won't lose everything if you have an    accident.  In fact, as I am writin*$%&'()*+,-./0123* One can see that a lot of text has been added to both files.   The growth occurred as the file ERRORS.TXT was saved again and  again.  Of course, each time the .TXT file was saved, there was a  somewhat corresponding growth in the backup file.  It is interesting to note where these files were saved.  In the earlier   disassembly, we see that the BAK file was stored in groups 02,  03, and 04.  The TXT file was stored in 05, 06 and 07.  The next  time  ERRORS.TXT was called up and one grwill create an unholy mess. Since the file was scattered all over the disc, there were parts   of another text files lying in the area between the various         segments of the POTPOURRI file.  And a lot of these files  segments looked the same.  As noted above in the ERRORS file, it  is certain that the first occurrence of the POTPOURRI file is not  going to be the latest version.  I forgot to mention that if I had erased POTPOURRI I would be unable to do the reconstruction     because the file itselfout, it called up ERRORS.BAK and added 2K to that file       which was stored in the next available groups, 0C and 0D.           Similarly, The next ERRORS.TXT was stored in groups 0E, 0F, 10  and 11; ERRORS.BAK followed suit by being stored in 12, 13, 14  and 15.  Note that, if the space is available, the storage proceeds in a contiguous fashion.  Thus one may find that a         section of a stored file will be all together for a while, then     jump way down the line to another location.  And here againt        directory looked sometime later:00 00455252 4F525320 2042414B 00000069 *.ERRORS BAK....i* 10        02030408 0C0D1213 14151819 1A1D0000 *................* 20 00455252  4F525320 20545854 00000070 *.ERR0RS TXT....p*30 05060709 0A0B0E0F 10111617 1B1C0000 *................* 40        E5494E44 45582020 204C4252 01000080 *eINDEX LBR......* 50 14151617  18191A1B 1C1D1E1F 20212223 *............ !"#*60 E5494E44 45582020 204C4252 02000080 *eINDEX LBR......* 70        24252627 28292A2B 2C2D2E2F 30313232 g this text right now, I stop     about every two or three paragraphs and save what I have written.   This means that I may have several sectors that look like           contenders for the first sector of the file I hope to recover.   It may very well be that a number of these are actually the same.      But as the file progressed, there were editing changes such as      correcting a misspelled word that causes subsequent sectors of  the file to differ.  If I don't assemble the correct sectors  together, I oup of text was added, it  was   stored in the next available space which was Group number 08.       Then when that file was closed out, what had been ERRORS.TXT was    renamed to ERRORS.BAK.  Thus group 08 was now assigned to           ERRORS.BAK and ERRORS.TXT had the addition stored in Group 09. When ERRORS.TXT was next called up and 2K of additions made and    stored, it was stored in the next available groups which were 0A    and 0B.  That was a "temporary storage, but when the file was       closed  could have been overwritten.  As it is,     the parts of the file that were written always remain where they    were first stored.  Later versions are stored is whatever           available space there may be.  To get a better feel of how this     building up of a file is handled, let's look at the disassembly  of that directory we viewed earlier.  All that has happened is  that   the file ERROR.TXT has been edited over and over and stored  time   and again to avoid losing the interim text.  Here's how tha there   may be another cluster of several groups. But how do we decipher this when the directory is smashed? We      know all of the data is there and it is stored in a very logical    manner.  So all that needs to be done is to proceed in a logical    manner.  In this particular case, there wasn't an enormous amount   of stored data.  A lot, yes!  but fortunately not an overwhelming   amount.  So first I made a hard copy of all of the stored data.     Before printing it out, I checked the data content ohere are se*30 *veral very..inte*40 *resting articles*50 * in this issue..*60 *I have been foll*70 *owing, with grea* The continuity of thought is very easy to follow here.  It is      obvious that Sector 8 matches perfectly with the next Sector one.   You might be puzzled by those two dots on line 50 of Sector 1.      Those are a carriage return and a line feed command which in        digital, are the bytes 0A and 0D.  There is no equivalent ASCII     character so a period is printed.  There are a ceen starts to roll and when it gets to the last sector   of stored data I will begin to see every sector filled with a       bunch of "e"s.  That is the ASCII printout of the digital E5  which is "empty".  In this particular case, the first block of  E5's was  on Track 91, Sector 1. Next I want to get a hard copy so I can study it.  There is no     point in printing out anything beyond Track 91 so I set DU-V87 to   make a hard copy by this command::p <CR>Then I go back to the top of the data sectio *................*30 *................*40 *................*50 *................*60 *................*70 *................*G=22:00; T=47; S=1; PS=000 *r its mutilation*10 * by their.....hi*20 *gh speed automat*30 *ed equipment. Pe*40 *rsonally I prefe*50 *r reliability ov*60 *er speed any old*70 * time!.....k..q.* Sector 8 was the end of a printing session and those dots are      ASCII printout for Control-Z or Digital 1A.  That is of course  the end of text indication.  The k and q of Sectell when the text in one sector matches the      next sector.  As an example let me show you two consecutive         sectors.  I have intentionally set them to be sector 8 of one       group and then sector one of the next group.G=09;07, T=22, S=8, PS=700 *-..letter.  There*10 * is over 300 K o*20 *f information in*30 * that splendid p*40 *ublication. Prin*50 *ting it all out.*60 *.is a really big*70 * operation; it a*G=0A;00, T=23, S=1, PS=000 *mounts to one la*10 *rge stack of pap*20 *er. Tn the screen.   To do this, I used DU-V87. I know that the data starts at the first block after the           directory, which is Block 02 or Track 15.  So I command it bring    up the first sector of track 15 with this command::T15;s1;a <CR>I see the ASCII contents of this first data sector.  Actually I     recognize this from my past experience and I know that this is  the 2K file SD.COM.  But no matter, I then proceed to dump the  rest of the data with this command::+;a;/300 <CR>Now the scrouple more up in    Sector 8 line 00.  That "-" is actually a hyphen from the  previous sector which had read "news-letter".  Following the hyphen were the carriage return and line feed. So one can readily match contiguous sectors.  Now let me           demonstrate two consecutive sectors where the text is not           contiguous.  This one is rather obvious, but it is almost always    possible to tell when they are not contiguous.G=21:07, T=46; S=8, PS=700 *his is a quote f*10 *rom. ...........*20n and stop at TRACK  14 Sector 8.  Then I turn on the printer again and issue this          command::+;a;/262 <CR>That will print out all of the sectors starting with T15, S1        through T91, S4.  It is a fairly substantial printout, but now I    can search for the sectors that comprised PPOUR004.TXT which is     the file I hope to reconstruct. I found what appeared to be the first version of PPOUR004.TXT      starting at Group 04.  This ran contiguously through Group 07.   It is really easy to tor 1 and merely         printer control codes that were imbedded in the text. However, the point is, it is very easy to identify a run of text   and also it is very easy to find the beginning of the next run of   text even though it may be found twenty or forty sectors down in    the data.  Remember that the stored text is always stored in        sequence so you just scan down that printout until the next  sector of text is found.  More often than not you will find a  number of   sectors of contiguous ten byte number one and the "W"    command writes makes it a permanent entry.  Next I suggest we use   the CA command to enter the new text file name and extension.       This is what that might look like:CA01,TEST ONE;W <CR>There are four spaces after TEST, because CP/M allows a total of    eight characters for a file name.  Next I suggest that you finish   out Line 00 with nulls, Later, when we determine the total number   of sectors in this file TEST.ONE we will make one last entry at     0F.  So forat the desired text fills sectors one through four, but      sector five makes no sense whatever.  That you can be sure is an    example of overwriting an erased file.  But the last sector of  the new material will always be finished with those Control-Z's  (1A)   except in the rare situation where the new material completely fills the sector. So, as you proceed, you should jot down each sector where you      find the desired data, it may jump around like 08, 09, 0A, 0B,  1B, 1C, 1E, 1F, 20, 21, etc.  I ine the number of     active sectors in this file.  All of the addresses above are        filled, with the passible exception of Group 21.  That is the  last group and it may have only one sector or two or even all  eight     sectors of Group 21 may be filled.  Once again we need to  look at  Group 21 with our disassembler (DU-V87.COM).  I go through it sector by sector until I find this one: 00 68697320 69732061 2071756F 74652066 *his is a quote f* 10        726F6D0D 0A1B401A 1A1A1A1A 1A1A1A1A *rom...@wish, like TEST.ONE. When we use JKL to copy all of the data blocks from the damaged    disc to this new disk, we will have a lot of unwanted data, but     the good stuff is certainly in there in those blocks noted above.   Now I suggest you use DU-V87 to bring up the new disc.  We are      going to write a directory entry in Group zero, starting at  sector one.  So our first line will be line number 00.  And with  the CH   command of DU-V87 we write:CH00,00;W <CR>This places the value 00 (a null) ixt all in a group.  The one sort of confusing printout is one in which your desired text  was   overwritten on a sector from a previous file which had been         erased.  When CP/M stores data, it always does it in one kilobyte   groups, that is, eight sectors.  All eight sectors may not be       needed and when the end of text is reached there will be those      series of "1A"s.  That is of course, unless the stored data just    happens to fill a sector completely.  And that is rare.  You may    find th now type this command:CH0C-0F,00;W <CR>Now we are going to enter the group numbers where the data of       TEST.ONE is located.  We have those noted above.  So the next       commands are:CH10,08 <CR>CH11,09 <CR>CH12,0A <CR>CH13,0B <CR>CH14,1B <CR>CH15,1C <CR>CH16,1E <CR>CH17,1F <CR>CH18,20 <CR>CH19,21 <CR>< What we have done here is to complete the directory (almost) by    specifying the locations of all of the sectors with data for        TEST.ONE.  The one remaining task is to determrecommend that you use JKL to  copy all of the blocks of data from the damaged disc to another  disc which  has a valid CP/M system tracks, but no directory.  You  are going   to have to create a new directory based on your findings above.  As a simplistic example, let's consider that the   groups listed in this paragraph represent all of the data           pertaining to the file of interest.  We formerly had named this     file PPOUR004.TXT, but in our reconstructed directory we can call   it whatever we .........* 20 1A1A1A1A  1A1A1A1A 1A1A1A1A 1A1A1A1A *................*30 1A1A1A1A 1A1A1A1A 1A1A1A1A 1A1A1A1A *................* 40        1A1A1A1A 1A1A1A1A 1A1A1A1A 1A1A1A1A *................* 50 1A1A1A1A  1A1A1A1A 1A1A1A1A 1A1A1A1A *................*60 1A1A1A1A 1A1A1A1A 1A1A1A1A 1A1A1A1A *................* 70        1A1A1A1A 1A1A1A1A 1A1A1A1A 1A1A1A1A *................*Which track and sector was this? It was Sector 8 of track 46 or     Group 21.  Thus we see that all sectors of the last Group were     that  is lost by a blown directory.  If it weren't for that, reconstruction would be nigh on to impossible.  Not that            reconstruction is ever easy.  As I pointed out, it is something     that one would do only when the alternative is worse. In the disaster I encountered last month, I had virtually          completed the text of the article titled "POTPOURRI".  I was in  no mood to totally rewrite the article if I could help it.  All  of    the text of that file was there in the mass of data some now completed the construction of a new directory for  the file TEST.ONE.  This is how our completed directory entry for       TEST.ONE looks like:  00 00544553 54202020 204F4E45 00000050 *.TEST ONE......P* 01        08090A0B 1B1C1E1F 20210000 00000000 *.........!......*It would be an excellent idea to now PIP this file over to a new    disc and at the same time rename it to its original filename,       PPOUR004.TXT.  If we use a new disc with no files on it, the        groups of PPOUR004.TXT will now to run        HEATorCOOL HEATORCOOL will ask for the LOCAL summer and/or winter design     temperature for your area.  In northern Il. and IN. it is -10      winter and 95 summer.  Contact a local heating or cooling          contractor in your area.You need to know the average watts of electricity used per hour.   A good way to do this is take your April or May electric bill,     see how many KWH of electricity was used.  Take the KWH * 1000 /   it by the days then / 24 hrs.EXAMPLE:  864 KW * 1000 wauld be worth the trouble to salvage a    trashed disc but sometimes it takes far less time to restore a      directory than it would be to re-write the material.Thomas J.  KeeneIEAUGnsistent when it stores files in scattered areas; it always       stores the first part of the file before the later parts.  They     may be blocks apart, but they are always in ascending order.   This is one thing that makes it possible to restore a file  used.  But that could just as easily have been Sector 4.  So now    we can determine the number of total sectors.  The first nine       groups each have 8 sectors for a total of 72 sectors.  The last     group has a sector count of eight which added to 72 makes a total   of 80 sectors.  In Hexadecimal that is 50H.  So now we have the     number to place in position 0F of TEST.ONE directory.  To do  that, once again we call up DU-V87 and enter this command in the          directory:CH0F,50 <CR> We hav‚Cےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےقےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےے HEATorCOOL is designed to give the approximate heating and/or     cooling requirements of a house.  At this time it will not         calculate a TRI or BI level home.  You should run DATASHEET first  to get a printout of all required information needed all be contiguous starting with     02, 03, 04, 05 and so on. At the time of the directory disaster, I also had another, even    larger, file on that ill-fated disc which was also nearly           completed.  It was a large file and was the article titled "IT'S    Dj Vu ALL OVER AGAIN".  While it was much longer, it was no more    difficult to salvage than PPOUR004.TXT.  It just happened that      they were both on the same disc and the same directory affected     both files. Normally, I doubt if it wotts / 30 days / 24 hours = 1200 watts    used per hr.  Use lower or upper case letters when entering input.  Make sure    there is paper in the printer before selecting the print option.   It will printout on a single 8 1/2 X 11 sheet of paper. Use sq.  ft.  for glass and door area.  Use decimal form, 3.5     for 3 1/2 inches, 45.3 for 45 ft. 4 in. HEATorCOOL will also  tell what savings could be achieved by adding more insulation. Basement insulation means wall insulation, slab insulation means  outsctronic devices) to process data.  For example, storing, editing, and retrieving information. MIDI-computing is distinguished by the application of a device known as a MIDI, which stands for: Musical Instrument Digital Interface By means of a MIDI electronic circuit, musical instruments--like keyboard synthesizers--can be connected to computers, or connected to other synthesizers. The result? Messages can be sent back and forth-- messages that produce melodies, harmonies, changes of pitch anen it's load time.I have intentionally set them to be sector 8 of one       group and then sector one of the next group.G=09;07, T=22, S=8, PS=700 *-..letter.  There*10 * is over 300 K o*20 *f information in*30 * that splendid p*40 *ublication. Prin*50 *ting it all out.*60 *.is a really big*70 * operation; it a*G=0A;00, T=23, S=1, PS=000 *mounts to one la*10 *rge stack of pap*20 *er. Tis the wow and flutter often associated with tape recording. This musical arrangement (melody, harmony, tempo, pitch, etc.) can then be edited on the computer screen. Errors can be corrected, specific notes deleted, chord changes introduced. Then, the ultimate product--a performance, a musical score--can be printed by the computer, using standard musical notation. That's what MIDI can do. This document is designed to explain and define many of the terms currently used in MIDI-computing. Ve‚Aےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےقےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےے FOR YOUR INFORMATION (from a BBS) TERMS USED IN MIDI-COMPUTING Introduction This reference provides a listing of terms important to the activity of MIDI-computing. In its simplest usage, computing involves the use of computers (programmable eleide slab perimeter insulation at or below ground level, crawl  space insulation means under the floor insulation inside the       crawl space.   I hope this will help in selecting a heating or cooling unitRemoving the REM statements will shorten the program by two        blocks To put all the heat loses or gains in HEATorCOOL would make it    incredibly long, therefore it has a plus or minus factor of 10%. Jerry Vrancks 1986 The last rev. of HEATorCOOl was made July 1993Bsave this program to shortd volume...  To illustrate:  One musical message, like a piano melody played on a keyboard, can be "recorded," (that is, encoded) on a track in computer memory, then another message can be layered-- superimposed--on the melody line.  The other message might be, for instance, the sounds of an orchestral string ensemble. Captured by this process are the elements of a digital recording, like that of a compact disc.  Gone are the scratches and other noises of the traditional phonograph record.  Gone here are se*30 *veral very..inte*40 *resting articles*50 * in this issue..*60 *I have been foll*70 *owing, with grea* The continuity of thought is very easy to follow here.  It is      obvious that Sector 8 matches perfectly with the next Sector one.   You might be puzzled by those two dots on line 50 of Sector 1.      Those are a carriage return and a line feed command which in        digital, are the bytes 0A and 0D.  There is no equivalent ASCII     character so a period is printed.  There are a crsion 2.0, May 1992 Introduction to Version 2.1 Like the previous version (2.0), this compilation of terms used in MIDI computing is designed for the novice, who is not sure what MIDI is all about. Dan McKee helped immeasurably with Version 2.0, but he is not responsible for my stumbles, like referring to Pitch "Blend" or to Compact "Disks." Frank Marousek recommended an expansion of the Glossary, which has become Version 2.1. As always, suggestions for additions or corrections are welcome. exclusive message (Syex).  Conversely, a keyboard can receive such data as a system exclusive message. C CANCEL:  An often-misunderstood command.  It does not mean delete (e.g., the file) or "send it to the moon." It usually means, simply, turn off the display now on the screen. CHANNEL:  In ordinary language, a channel is a path for passing data.  In MIDI, channels are used to separate different sections of a song that are going to play together.  Each channel is assigned to a single instware. AFTERTOUCH:  The change in pressure on a key after the initial attack.  Determines vibrato and other characteristics. ALGORITHM:  A step-by-step procedure for problem- solving. APPLE MACINTOSH:  Apple computers were among the earliest computers to offer MIDI-computing capacity. Others now in the field include IBM-compatible PC's, Atari, and Amiga. ARTICULATION:  The percentage of a note's duration that actually plays.  This could represent the difference between a staccato and a legatoples: symphony, opera, chamber music.  [See also:  JAZZ, ROCK.] CLEF:  It's that sign at the beginning of a staff- -the one that determines pitch. CLOCK:  A clock is used to synchronize two devices.  In MIDI, the term clock is used to denote a single time source, which everything plays along with. MIDI clocks are actually special messages that are sent 24 times (normally) per beat, and are used to synchronize two sequencers, or a sequencer and a drum machine.  Normally, the sequencer's clock isly, a single stroke or pulsation. Tempo is expressed in beats per minute.  The beat value affects the metronome.  [See also:  TEMPO.] BUFFER:  A temporary storage area in memory. BULK DUMP:  Denotes a series of system-exclusive messages.  Sometimes, this involves transferring a mass of data, like several choruses of a song that have been stored in memory from the keyboard to the sequencer or vice versa.  Settings at both ends must be coordinated. A keyboard "bulk dumps" to a sequencer as a system Version 2.1, September 1992 Eugene A.  Confrey, Ph.D. 70732,301 A ACCENT:  Stress given to a musical tone. ACCIDENTALS:  In music, these are sharps, flats, or naturals that are not indicated in the key signature.  MIDI software programs tend to represent accidentals as sharps (F-sharp, rather than G-flat). ACCESS:  In computing, the verb is more often encountered than the noun.  Synonomous phrase:  To communicate with.  Illustration:  A sequencer that lets one directly access hardrument in any particular instant of time.  One channel is usually reserved for a percussion voice.  To channelize means to move to another channel. CHOKING:  What happens when the sequencer receives too much continuous data.  Result:  Tempos slow down and speed up randomly. CHORD:  Three or more tones sounded simultaneously- -preferably harmonious. CLASSICAL MUSIC:  A broad umbrella term, usually contrasted with jazz, folk music, pop-music.  The "classical" tradition is best illustrated by exam effect. ATTACK:  When the musical note begins.  Antonym: Release. AUDIO:  Sound, or its transmission and reproduction. AUTO ACCOMPANIMENT:  (Sometimes called "Orchestration" or "Auto Chord.") The rhythmic styles that sound when a fingered or one-finger mode is selected.  Auto Accompaniment usually comprises a drum pattern, a bass line, and other enhancing sounds, like a piano arpeggio or a strummed guitar. B BAR:  A synonym for measure--musical time, a grouping of beats. BEAT:  Literal the important one.  Other clock sources are rarely used, and, typically, only when doing a final recording. CODES:  In MIDI, as in general computing, a code refers to program instruction.  One type is a source code (human readable).  Another is a machine code (executable). COMPOSE-ARRANGE:  Two activities that can be facilitated by MIDI-computing.  The composer creates music.  The arranger enhances it--by scoring for other voices or instruments. COMPRESSION:  In MIDI-computing, the process ofng phonograph records are analog recordings.  That is, they capture information in a continuously-variable form.  A fluctuating waveform.  Telephone lines work on the same principle.  Digital, in contrast, involves binary numbers--1's and 0's.  MIDI-computing represents digital encoding. DLL:  A file extension standing for "Dynamic link libraries." A DLL is part of an application's executable files, and is often used to link the application to the hardware. DOWNBEAT:  The maestro's downward strn the Event List editor.  It refers to a change in the synthesizer setting.  There are 128 controllers. Example:  the loudness of notes.  [See also:  PROGRAM CHANGE.] COUNT IN:  A command in a sequencer that plays a metronome for several measures until you are ready to record. CRESCENDO:  A gradual increase in volume. Antonym:  Decrescendo. CUT-AND-PASTE:  In word-processing, this function means moving text from one place in a document to another.  In MIDI, one can copy a section of a musicalording, and are now displayed on the monitor screen.  This display will offer two options:  (1) The notes are listed by track and number, by event (like "Note on"), by the specific note G4, the beat, the channel, etc.  (2) The second option for editing is to use a musical notation display.  Here, the notes are arrayed in clefs, (a) like a piano-roll. or (b) in conventional musical notations.  Editing options include changes in notes, measures, transpose, volume...  (The piano-roll display is sometiG:  In MIDI, as in general computing, this is a choice made by the program (when the user does not specify an alternative). DESIGN, PROGRAM:  Two distinct functions.  The designer of a sequencing piece of software, for example, conceives and plans the product and all its functions.  The programmer addresses the issues of programming languages, data structures, how data is stored and manipulated, etc. DIGITAL:  In MIDI, the phrase digital recording is contrasted with analog recording.  Long-playi compression and expansion refers to changing the range of a song.  Compression makes the loud parts softer, the soft parts louder. CONTINUOUS DATA:  Controllers, pitch bend, aftertouch... CONTROLLER:  (1) Most often, it means the instrument:  keyboard, guitar, drums...  (As in Master Controller.) (2) A second meaning, in sequencing, refers to a setting, a parameter, such as Controller 7 = Volume.  In this sense, a controller is a MIDI event. CONTROLLER CHANGE:  This event will be displayed ioke, indicating the first beat of a measure.  In contrast, the upbeat is unaccented. DUBBING:  Making a new recording of sound already recorded.  Sometimes used to describe the process of mixing sounds from several sources into one recording. DURATION:  The length of time (number of beats) of a note or chord. DYNAMICS:  Variation in the intensity of musical notes. E EDIT:  Editing, in MIDI, involves altering, deleting, revising the musical passages that have been captured in a digital rec passage and paste it elsewhere. D DAMPER:  Traditionally, the damper pedal of an acoustical piano functioned to stop vibration of a piano string.  (In contrast, the SUSTAIN pedal held or prolonged the note.) Unfortunately, sustain pedals on electronic pianos are often called "damper" pedals-- thus blurring the distinction.  [See also:  SUSTAIN.] DATA BYTES:  These follow the status byte in a MIDI message, e.g., what note has been struck, how hard...  [See also:  STATUS BYTE.] DEFAULT SETTINmes referred to as "graphic notation.") ENABLE-DISABLE:  Antonyms, meaning to turn on or turn off.  Synthesizers and sequencers have many controls requiring such action (like MIDI THRU). ENGRAVER-QUALITY:  A complimentary descriptive term, meaning a professional-looking job of printing music. ENTRY-LEVEL:  Beginners (trying to learn MIDI, for instance).  They may be devoid of experience in computer engineering or in electronic music. ENVELOPE:  The changes of a tone, e.g., attack, sustain, d the sound of a semitone below the pitch, then slides up to normal pitch. GLOBAL EDITING:  Affecting an entire file or program.  Transpose is illustrative.  The contrasting function is local editing, like changing one event. GUI:  Graphical user interface.  A display that permits a user to select commands, menu items--by pointing at an icon (with a mouse) and clicking. H HARDWARE SEQUENCER:  Sequencing can be performed by software programs or by hardware.  Hardware sequencers also work withpoint of the recording.  Looks for patch changes, for example. EVENT LIST:  An alphanumeric display of all MIDI events on a single track.  Examples:  notes, time signature, tempo, program changes, control changes... F FADERS:  Controls for changing effects gradually, like decreasing loudness. FIELD:  Traditional computing defines this as a location in a record.  Examples:  name, address, zip code, etc.  Illustrative fields in MIDI:  Song title, Track name, Instrument, Channel... FILE TYPESController (e.g., the keyboard).  This will tell you what is transmitted (or recognized) for the various functions, like note number, the velocity (pressure on a key), aftertouch (change in pressure), pitch bender, control change, program change, system exclusive message, etc. IMPORT:  To bring data from one program into another.  Antonym:  Export, meaning to transfer to another program.  (Some sequencer manuals use the term "Export" to mean:  Convert and save--as a MIDI file-- preparatory to traf the left hand.  [See also:  AUTO ACCOMPANIMENT.] FSK:  Frequency-shift keying.  Modulation involving two different frequencies. G GANGED:  When tracks are "ganged," they will move simultaneously.  (Analogy:  A variable capacitor in an early radio receiver.) GATE TIME:  The length of a produced sound (e.g., legato, staccato). GENERAL MIDI MODE:  A convention specifying how a sequence (a song) should be constructed, so that it will play on a variety of hardware. GLIDE:  This effect playsecay, release. ERROR MESSAGES:  The message says "Something's wrong!" In MIDI, you might be told that "Memory is full." Or you've committed a "Track Error." Or you have made a "Protect Error" (attempted to write to a protected disk). EVENT:  In ordinary language, an occurrence, a happening.  In MIDI, the signal that is transmittted-- like note on, note off, program change, control change...  [See also:  PROGRAM CHANGE, CONTROL CHANGE.] EVENT-CHASING:  Scans data in a sequence before the start- synthesizers, controllers, sound modules--creating and editing songs.  A hardware sequencer is--as the name implies--hardware, containing a single-purpose program, one designed to provide sequencing. HUMANIZE:  A term that is used in the sense of introducing random irregularities in note-timing and velocities, in order to reduce the mechanical character of a performance.  [See also:  QUANTIZATION.] I IMPLEMENTATION CHART:  Look for the MIDI Implementation Chart in the manual of your Master :  A MIDI File Type 0 is a single (multiple-channel) track.  A MIDI File Type 1 contains one or more simultaneous tracks. FILTER:  The noun and the verb, in MIDI, are used primarily in connection with events (note on, program change, tempo change...) and with channel changes. Each event is either filtered (deleted), transformed, or passed through. FINGERED MODE:  Provides automatic rhythm, bass, and orchestral accompaniment.  The bass and orchestral accompaniment reflect the notes in the chord onsferring elsewhere.) INITIALIZATION:  Initial means the beginning.  To initialize is to set a program to a starting position-- to prepare the program for use. INSTRUMENTATION:  The selection of instruments in a MIDI arrangement. INTROS AND FILLS:  The Jazz Man's vamp--a couple of measures repeated before a solo. INVERSE VIDEO:  The reversal of light and dark on a screen character.  Example:  An indication of whether Automatic Rewind is on (enabled) or off (disabled). J JAZZ:  Another umbIn ordinary language, the prefix META often means above or beyond.  In computing, a METAcharacter conveys information about other characters.  In MIDI, a meta event would be illustrated by such things as track name, patch name, tempo, time signature, etc.  Meta events are contrasted with data streams. METER:  The basic pattern of note values, e.g., beats per measure.  [See also:  TIME SIGNATURE.] METRONOME:  A device to mark time by producing a repeated tick.  The older type--a triangular box winor," and indicate the number of sharps or flats.  B- flat Major/G Minor has two flats, for example.  [See also:  ACCIDENTALS.] L LOOPING:  Used to repeat a section of a recording. M MARKER:  Something used to record a position. MIDI markers indentify, for example, musical cues. They work like tab stops in a word-processor. MAPPING:  The process of identifying patches and keys, so that sound files can be played properly.  A key map will translate values for MIDI messages, so that the corrng the current contents of the buffer.  MIDIEX is a standard format containing raw MIDI data without a header (a line identifying the program). MIDI MAPPER:  Microsoft's utility program, which can help in remapping patch, channel, etc.  during playback. MIDI PITCH WHEEL SWITCH:  Determines whether continuous controller information (e.g., note on, key pressure, control change, program change...) will be recorded. MIDI SOUND GENERATOR:  For authentic reproduction of acoustical instruments.  It ves, and videodisc players.  It will also play MIDI sequencer files. MELODY:  One of the elements of music (the others being harmony and rhythm).  Melody is a succession of tones--hopefully pleasing. MERGE:  To combine or blend into one.  Example: Merging two tracks. MESSAGES:  The net effect of MIDI-computing is sound:  melodies, harmonies, rhythms...  But the MIDI message (the MIDI event) itself is not a sound. Transmitted are digital commands--about 1,000 events per second. META EVENTS:  rella term, often (erroneously) defined in terms of volume and tempo.  Its basic ingredient is improvisation--accomplished melodically, harmonically, or with rhythm changes.  [See also: ROCK.] K KEYBOARD:  Reminder:  In MIDI-computing, one has to remember which one is involved in a documentation reference--the computer's or the controller's. KEY SIGNATURE:  Musical notation shows this in terms of sharps and flats after the clef.  Software sequencers sometimes show a song key as "F Major/D mith a vibrating arm--was succeeded by an electrical unit.  In MIDI, the ticks are computer-generated. MIDI:  A protocol.  The musical instrument digital interface comprises a MIDI card and cables connecting the computer to an electronic instrument, such as a keyboard.  The MIDI card (a printed circuit board) is normally mounted in an expandable slot inside the computer.  Keyboard synthesizers can also communicate with other synthesizers by means of a MIDI connection. MIDIEX FILE:  Created by saviect keys will be played.  A patch map functions to identify the correct patches (sounds, instruments). MCI:  Media Control Interface MEASURE DELETE:  This command removes specified measures (like measures 4, 5, and 6).  [See also: MEASURE ERASE.] MEASURE ERASE:  The contents of specified measures are erased, but the length of the song is unchanged. [See also:  MEASURE DELETE.] MEDIA PLAYER:  Microsoft's term for the Windows application that will control the playing of sound cards, CD-ROM driuses samples--instrument sounds stored as digitized audio.  This is actually another term for synthesizer--converting MIDI events into real audio sound. MIDI THRU:  One of three ports (connections): MIDI In, MIDI Out, and MIDI Thru.  MIDI In receives information from other equipment.  MIDI Out sends information to other equipment.  MIDI Thru duplicates the information, and sends it to other equipment.  By means of the latter, a synthesizer can echo messages to other synthesizers. MODULATION:  Ien full left and full right in a stereo sound field.  It resembles the "balance" function of a stereo receiver- amplifier. PARAMETER:  A tough word to define.  In mathematics, it's a variable or an arbitrary constant. In MIDI, it's a value assigned at the beginning of an operation.  Examples:  pitch bend, sustain, voice number, volume, reverb... PATCH:  In some early keyboard synthesizers, one selected "instruments" to play (e.g., vibraphone, clarinet...) Later, the term "voice" emerged, in parti-timbral device is one that is prepared to sound like more than one instrument at a time. MULTI-TRACK RECORDING:  Normally, one records on a single track ("Normal Mode" recording).  Multi-track recording is feasible, however.  Example:  From a guitar, with each string on a different channel. MULTI-VOICE MODE:  A setting on a multi-timbral tone generator (such as a keyboard) for receiving multiple MIDI channels, each channel having a different voice (instrument). MUSICAL SCORE:  Most often, tes and numbers.  On a Roland keyboard, the celesta patch number might be 24; on a Yamaha 09.  Microsoft's MIDI Mapper is designed to help rectify this.  [See also: MIDI MAPPER.] PATTERN-RECORDING:  Establishing a pattern, e.g., a bass drum beat, then embellishing it. PCM:  Pulse code modulation--a process of digital recording. PERCUSSION:  A percussive instrument is sounded by striking or shaking.  Examples:  Bass drum, snare, bongo, cymbal, high-hat...  By extension, the term also encompassel of one voice--from the lowest note to the highest.  In this mode, the resemblance is to an acoustical instrument.  [See also: SPLIT MODE, FINGERED MODE.] O OCTAVE NOTATION:  MIDI software and electronic keyboards use notations like F4 to represent the specific note (F) located in the 4th octave of an acoustical piano. OPEN COMMAND:  Loads an existing disk file. P PADS:  (Sometimes "Multi-pads").  On keyboards-- where you store percussive sounds. PAN:  To pan is to move the sound betwen music, one usually thinks of modulating as passing from one key to another--by means of intermediate chords.  In MIDI, modulation usually means applying a vibrato effect to a sound. MPU-401 COMPATIBLE:  The reference is to a standard interface.  (It derives from Roland's initial design.) Importance:  MS DOS MIDI software often supports this user base, but not always. MULTI-TIMBRAL:  In sequencing, a multi- timbral sound module can play several parts on different channels simultaneously.  A mult, because some of the sounds went beyond instruments (police whistles, human voices, etc.).  In contemporary MIDI-computing, the word "patch" is prominent--one reason being that a single keyboard setting, like 99, may encompass a large range of percussive sounds.  In any event, to a sequencer, the patch setting will determine the nature of the sounds. PATCH LAYOUT:  A potential source of trouble for MIDI users.  Manufacturers of synthesizers have not standardized the correspondence between patchhe written copy of a musical composition.  Compose in MIDI, print the notation, and (voila!) there it is. MUTE:  A sequencer command to turn off specified tracks.  Reason:  So you can listen exclusively to one track.  [See also:  SOLO.] N NOISE:  That disturbance of a signal that might occur if your MIDI cables are too long--exceeding 15 meters in length, for example. NORMAL MODE:  When a (controller) keyboard has this setting (as contrasted with split, or fingered modes), the sounds are als so-called "background sounds," like wind chimes, thunder, voices... PIANO ROLL EDITOR:  A common notation used for editing by many sequencers.  The notes of each track are shown as horizontal bars--the vertical position representing pitch; the horizontal length representing duration of the note (or chord).  [See also:  EDIT; EVENT LIST EDITOR.] PITCH:  The property of a musical tone--determined by frequency. PITCH BEND WHEEL:  A wheel on the keyboard that allows notes to be bent up or down. two types of recording procedures:  (1) real-time; (2) step-time. The former resembles traditional recording--as with a tape recorder.  Step-time recording is really sequential:  note-by-note, chord-by-chord. RECORD:  In the world of sound, to register something reproducible on a disk, like a phonograph record, or on magnetic tape.  Traditional recording captures the amplitude (height) and frequency (number) of wave forms.  MIDI-computing does not really "record." It encodes messages, digitally---programmed. POLYPHONY:  From the Greek, meaning variety of tones.  In MIDI, the question is:  "How many notes can be played simultaneously?" Maximum polyphony cannot be exceeded. PORT:  It's a location in hardware where data is passed in and out.  In setting up MIDI, one must make port assignments, so that channels can be correctly addressed. PORT ADDRESS AND INTERRUPT SETTINGS:  Addresses are locations within the computer.  These addresses are used by devices (such as a MIDI keyboard) to cot means to return to the first measure. REST:  In music, a rhythmic silence.  Examples:  a 2-beat rest, a quarter-note rest. RITARD:  To gradually slacken tempo.  Sometimes used at the ending of a song.  (Antonym of the noun: accelerando.) ROCK:  Like "jazz," a broad umbrella term.  Rock is a form of popular music, usually played on electronically-amplified instruments, with a heavily accented beat. S SAMPLING:  Emulating the sound of an acoustical instrument by digitizing (converting to ds referred to as a "pulse." Example:  One clock pulse might be defined as 1/240th of a quarter-note. PUNCH-RECORDING:  A feature that allows automatic on-off recording at specified points. Q QUANTIZATION:  To quantize is to force all notes played to fall on the nearest beat specified.  It shifts events (like note-on) to an exact rhythmic position. R RADIO BUTTON:  A small circle in a menu display. When it is pressed (clicked), it will activate an option. REAL-TIME:  In MIDI, there are  (Example:  a sliding trombone sound.) "Pitch bend" is a MIDI message. PLATFORMS:  Computer hardware.  Some MIDI software will run on one platform (e.g., IBM PC's) but not on another (e.g., Macintosh). PLAYER:  In the realm of MIDI-computing, the sequencer is still the Virtuoso.  But MIDI players are prominent too.  They play the sound files.  They compile Play Lists of songs, and sometimes group them into albums. PLAY LIST:  A list of tunes to be performed in succession.  The sequence is preby means of numbers.  Because of established usage, however, the words "record" and "recording" often appear in MIDI- computing, along with "play," "rewind," "fast forward," etc.  In MIDI-computing, these words are really metaphors.  A typical sequencer will "record" all of the MIDI events received, along with the time they were received. RESET:  Keyboards, like computers, sometimes "lock up." To restore normal operation, the System Reset is used.  There is another meaning in MIDI software: Resemmunicate with the software.  An interrupt setting signals when the device is ready to send or receive data.  Addresses and interrupts must be unique for each device. PPQN:  Pulses per quarter-note.  A measurement of time resolution. PROGRAM CHANGE:  Like controller change, this event will be displayed in the Event List Editor.  An illustrative program change would be the introduction of a new voice (instrument).  [See also:  CONTROLLER CHANGE.] PULSE:  The tick of a computer clock is sometimeigital sound) the waveforms produced by the instrument. SAVE AS...  If no filename has yet been assigned, this is the command to use.  If your MIDI file has already been christened, and you have edited it, the appropriate command is Save. SELECT:  Do you want to edit (insert, delete, copy, cut...)? You must first "select," i.e., highlight, block... SERIAL:  Appearing in succession--one at a time. MIDI messages, for instance, as displayed in an Event List. SEQUENCER:  So called because such ah.  Thus, a difficult passage can be recorded slowly, then played at a faster tempo--with no change in pitch. SPLIT MODE:  Divides a keyboard into two sections, each of which can play a different instrument. Example:  From the split-point (like C#3), the left hand can be producing the sounds of an organ, while the right hand plays a flute melody line.  [See also: NORMAL MODE.] SPLIT-POINT:  In a split mode, the location on a keyboard where one voice (instrument) is diffferentiated from another.grid consists of two sets of lines that crisscross.  A snap-to-grid feature facilitates step-entry of notes. SMPTE:  Usually indicates a standardized time code developed by the Society of Motion Picture and Television Engineers.  The time code is used in the MIDI world as a way of synchronizing MIDI to external events. SOLO:  If you want to listen exclusively to one track, you can mute all other tracks.  Alternative: Select a track to "solo" (a feature that some sequencing programs offer).  [Seage of a MIDI file:  It uses comparitively little disk space, but, more importantly, it is a standard across platforms and sequencers. STATUS BYTE:  In a MIDI message, this announces what kind of message is being sent, e.g., "note-on." [See also:  DATA BYTES.] STAVES:  Plural of staff--those horizontal lines and spaces. STOMP BOXES:  Floor pedals for enhancing tones, used principally by guitarists. SUSTAIN:  To sustain is to hold a note (or a chord).  The musical tones fade out gradually.  [-compatible synthesizer.  The sound driver must be correctly configured for your computer. SOUND MODULE:  The component in a device (such as a keyboard) that produces the sound (e.g., a violin melody, a drum rhythm).  This is another term for MIDI sound generator. SOUND RECORDER:  Microsoft's Windows accessory that can play, record, and edit sound files in the WAVE (non-MIDI) format. SPEED; PITCH:  Perhaps the most important capacity of a sequencer.  Tempo can be changed without affecting pitc program arranges melodic and harmonic patterns in successive positions.  Strictly speaking, one should define a sequencer has something that stores note-on and note- off events in memory, then plays them back. SEQUENCER MEMORY:  It is in RAM (Random Access Memory).  It is measured in the number of events that can be accommodated. SLIDER:  An input-device to increase or decrease volume.  Also refers to an on-screen image (like a button control) that one can move with a mouse. SNAP-TO-GRID:  A   G2, for example, might be set to allow one voice (say, choir) in the left hand, another voice (say, violin) in the right hand. [See also:  NORMAL MODE.] STANDARD MIDI FILE:  Identified by its extension (.MID, sometimes .MFF or .SMF), this is a file that can store MIDI messages, such as songs.  The data in a MIDI file can be played, manipulated, edited... A MIDI file comprises actions performed on an instrument (keys pressed, how hard...) There is a standard MIDI file format.  A principal advante also:  MUTE.] SONG CLEAR:  To erase the contents of all tracks. [See also:  TRACK CLEAR.] SOUND DEVICE:  Any device is part of the system's hardware.  Examples:  a printer, mouse, modem, etc.  A sound device might be, for instance, a MIDI synthesizer, a CD-ROM drive, a videodisc player. SOUND DRIVER:  Device drivers are software that control communication between devices (a mouse, printer, modem...) and the computer.  A sound-driver controls the sound card or the sound device, such as a MIDISee also:  DAMPER.] SYNCHRONIZE:  To make synchronous or simultaneous. Example:  to synchronize a drum pattern to play with melodies and chords on a synthesizer.  MIDI synchronization is a coordinating function--involving a sync signal. SYNCOPATION:  Changing a regular metrical accent, e.g., by coming in early or late on a beat.  It is a form of rhythmic improvisation.  [See also:  JAZZ.] SYNTHESIZER:  (Often shortened to synth.) A device driven by a microprocessor, which contains a programmacontents of a specific track.  [See also:  SONG CLEAR.] TRACK MERGE:  To merge the contents of two tracks and store in a third track. TRACK NAMES:  Names like "melody line," "bass line," "left hand," etc.  are assigned to tracks to help determine the instrumentation of a sequence. TRANSCRIPTION:  The word has been used extensively in music.  Example:  arranging for some instrument or voice other than the original.  In MIDI, a common usage refers to converting a MIDI file into musical notation ata:  voices, drum patterns... T TEMPO:  In music, the rate of speed (like allegretto).  Electronic keyboards provide controls to set or change tempo.  A quarter-note setting may range from 40 to 240 beats per minute.  Software sequencers also set and change tempo.  Examples of tempo settings: Viennese waltz 190 bpm; disco-rock 104 bpm; swing 166 bpm.  Sequencers display the exact beat (e.g., beat number 29) of the music being recorded or played.  [See also:  BEAT.] TIME BASE:  The number of ntegral duration values." Think of quintuplets (5) or sextuplets (6).  (Notes, not offspring from a single birth.) U UNDO:  This command could be a life-saver.  It reverses your last mistake, such as inadvertently recording or inserting MIDI data.  "REDO" undoes an "UNDO." USER-FRIENDLY:  A popular "buzzword" in computing. Synonym:  Intuitive.  It means directly comprehended. For many users, a method of pointing at icons and clicking is more "user-friendly" than entering many keystrokes to sterm "track" designates a location where one records or plays back a musical message---usually a portion of the total arrangement. To illustrate, one might record an oboe melody line on Track Two, then record a bowed bass line on Track Three.  When played, the sounds can be simultaneous. Most MIDI software now accommodates 64 tracks of music, enough for a rich orchestral sound.  Important:  Tracks are purely for convenience; channels are required. [See also:  CHANNEL.] TRACK CLEAR:  To erase the ble chip.  Examples of instruments that can contol synthesizers:  Guitar, keyboard, wind, string, drum controllers.  The keyboard itself does not produce musical sound.  A synthesizer circuit, built into the keyboard, accomplishes this function.  Originally, a synthesizer was so called because it synthesized acoustic instruments.  Nowdays, the term refers to the sound-generating circuitry of any MIDI gear.  Another term is sound module. SYSEX:  Short for a System Exclusive Message. Illustrative dfor printing.  This is accomplished by notation software. TRANSPOSE:  To perform a musical composition in a different key.  Both synthesizers and sequencers can carry out this function. TUNING:  440 Hertz is the normal tuning value. However, the pitch of a synthesizer can be altered-- raised or lowered.  Changes in the tune value are expressed as plus or minus cents. TUPLET:  A triplet always designated three notes over two beats.  The word "tuplet" is a generic term-- in fancy language "non-iclock ticks per beat. Illustrative range:  120-768. TIME SIGNATURE:  In traditional musical notations, this is expressed as a fractional sign, like 3/4.  The denominator indicates the unit for the beat; the numerator shows the number of notes per measure.  [See also:  METER.] TONE GENERATOR:  Essentially, a synthesizer without a keyboard. TOUCH RESPONSE:  A feature of some electronic keyboards, enabling one to control loudness according to how hard the keys are pressed. TRACK:  In MIDI, the elect menu-items, like commands. Intuitive programs are more quickly grasped by the "computer-naive" (another buzzword). V VELOCITY:  Velocity is the MIDI way of determining how hard a note is pressed on the keyboard controller. W WAVEFORM:  A representation of a wave's amplitude over time. Z ZOOM:  To magnify the image on a monitor screen-- especially useful when editing notes in Standard MIDI files. MIDI REFERENCES Books Eiche, Jon F.  What's MIDI? Hal Leonard Pub ertihat block and two         subsequent blocks.  (That is, blocks 57, 58, and 59.) You can use   ANY .sz5 file to replace them, simply by copying the three blocks   of the replacement file right over those blocks on the boot disk.   (Be sure it's the BOOT disk, NOT the SYSTEM disk!) Well, you can STILL only have one choice per disk; but if you  want to, you could make multiple working disks, each with a  different   large size font which loads on bootup.  It's nice to have the OPTION, anyway...  and I think‚DےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےقےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےPCU UPDATE BY PATRICIA HERRINGTONNot long ago, I received a letter from a gentleman in Ohio who      wanted to know if it was possible to change the default large  size fonts in Personal Cale ndar Utility.  Because no other such  fonts  were availablefore, and find the idea a bit scary, this is for YOU.   First of all, RELAX.  Even if you make a mistake, you CAN'T hurt    anything, so long as you follow these simple rules:  use a BACKUP   copy of the disk you want to change and use write-protect tabs on   disks you DON'T want to change by accident. All you want to do here is figure out which blocks to transfer,     and then copy them over to your backup PCU boot disk.  To figure    out which blocks you want to copy, you need to take a peek at the   o be able to      change the PCU font.  I knew it must be possible to find out  where the font information appeared on the medium, and then to  overwrite it with a different file, much as PaintAide allows for  different   default fonts in PowerPAINT.  I posed the question to  Bob          Sebelist, and he came up with the answer. Bob said that the large calendar font appears on the boot disk,     beginning with block 57.  In order to change this to a different    large font, it is necessary to overwrite tn music, one usually thinks of modulating as passing from one key to another--by means of intermediate chords.  In MIDI, modulation usually means applying a vibrato effect to a sound. MPU-401 COMPATIBLE:  The reference is to a standard interface.  (It derives from Roland's initial design.) Importance:  MS DOS MIDI software often supports this user base, but not always. MULTI-TIMBRAL:  In sequencing, a multi- timbral sound module can play several parts on different channels simultaneously.  A mul you'll agree it's nice to   have Bob Sebelist to help find ways of expanding our options!       Thanks, Bob.  (Bob has a few more surprises up his sleeve; keep  an eye on him.) If you are accustomed to manipulating blocks, that's all you need   to know, and you can stop reading now.  The rest of this article    is for people who haven't done this before. ********** OKAY...  presumably the hackers have left the room, and there's     nobody here but us fishes.  If you have never moved blocks around   be at the time PCU was developed, no option was         provided for loading new large fonts.   That was THEN, this is NOW.  There are now a number of .sz5 fonts   available (most of them on FONTASY!  2B, though there are a  couple of them on FONTASY!  2A.) Those fonts were designed specifically for use with Swift's Label Printshop (which itself     contains 2 such fonts, though one of them is exactly the same as    the one on Personal Calendar Utility.) I had been thinking myself that it would be nice tdirectory information for the desired file.    YOU WILL NEED:  1.  A BACKUP copy of your PCU boot disk. 2.  A program to edit/copy blocks. There are quite a few programs which allow you to edit and copy     blocks.  But since more people seem to own Filemanager than any     other such utility, it's Filemanager that we'll be using as an      example.   3.  A medium containing the new .sz5 file you wish to use.   For the sake of this discussion, let's use an example.  Let's say   that you are usingto       check that your media are in place, and then hit RETURN again.)     You're finished now, and can remove both media and shut ADAM  down.   It probably took you awhile to read this, but when you actually  DO it, the whole process takes just a couple of minutes!!!  And        remember, there's just ONE variable in the PCU font-switch job.     You will always use "3" for the number of blocks, and the target    start block will always be "57"...  but the SOURCE start block      will vary, depending who choose FILE FUNCTIONS.  A directory of your     disk will appear. Now, use your arrow keys to place the pointer beside the filename   "Searcy.sz5".  Press SmartKey I again for EDIT CATALOG. The screen will change to display all the directory information     for "Searcy.sz5".  You need only one bit of information here,       which is the start block.  In this case, if you haven't changed     anything around on your FONTASY medium, you'll find that the file   STARTS AT:  49 BLK.  (You'll also find that  (Example:  a sliding trombone sound.) "Pitch bend" is a MIDI message. PLATFORMS:  Computer hardware.  Some MIDI software will run on one platform (e.g., IBM PC's) but not on another (e.g., Macintosh). PLAYER:  In the realm of MIDI-computing, the sequencer is still the Virtuoso.  But MIDI players are prominent too.  They play the sound files.  They compile Play Lists of songs, and sometimes group them into albums. PLAY LIST:  A list of tunes to be performed in succession.  The sequence is prem to your setup.  (Your      SOURCE drive should contain FONTASY, and you should put PCU in      your target drive.) Now press II and enter the number you have jotted down for the      start block.   Press III and enter the number of blocks to copy.  This will        always be "3" so long as we are using .sz5 files. Press V to enter the start block on the target drive.  This will    always be "57" so long as we are overwriting the PCU font. Then press RETURN to copy the blocks.  (You'll be prompted  a copy of FONTASY!  2A, and that you want to     copy the blocks containing the file called "Searcy.sz5". First, be sure you have write-protect tabs on your FONTASY!  and    FILEMANAGER disks...  just for your own peace of mind. Then load Filemanager.  When it's loaded, remove the Filemanager    disk and insert the FONTASY disk.   Make sure that "Source" lists the drive containing the new disk     (if not, use SmartKey V to toggle options until the correct drive   is displayed.)  Press SmartKey I tich .sz5 file you have chosen and what  disk or datapack it's on.  If you have moved "Searcy.sz5" to a           different disk, it will probably have an entirely different start   block.PJH 12/93zontal length representing duration of the note (or chord).  [See also:  EDIT; EVENT LIST EDITOR.] PITCH:  The property of a musical tone--determined by frequency. PITCH BEND WHEEL:  A wheel on the keyboard that allows notes to be bent up or down. the LENGTH is 3         blocks, but you knew that already.  We've already noted that ANY    .sz5 file is 3 blocks long.) So, scribble down the number 49 so you don't forget where to        start. Now, hit the ESCAPE key TWO TIMES.  That returns you to the main    menu. From the main menu, select Smartkey II- MEDIA FUNCTIONS.   From the MEDIA FUNCTIONS menu, choose III- COPY BLOCK(S).  Make     sure your source and target drives are set the way you want them.   If not, use the smartkeys to toggle the‚CےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےقےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےThe following article by Patricia Herrington was written for the   November, 1993 issue of 463 ADAM newsletter.  It was originally    entitled "RSVP". ========================================================== RSVP by Patricia Herrington=============ADAM is waning?  Personally, I don't think so...  we have lost some good people,    but those who have stuck it out and those who have recently        joined the team are willing and able to provide more than we       could even have DREAMED ten years ago. Yes, TEN YEARS ago!  This is the tenth birthday of ADAM...  and,   much to the delight of conventioneers, ADAM had its own birthday   cake at the ADAMCON 05 reception festivities. We've had doomsayers with us since the beginning.  I can remember  whn choose to contribute whatever amount of help they   can...  which so often means nothing more than giving George a     bit of encouragement. This is an issue we face every day, and it is the root of the      continuing success of ADAM support. No, the most important factor is NOT new software or hardware      development, better communications, or even more users.  Over the  years, we have pretty much proven that we can have just about      whatever we want, provided we really want it enough. But thendors? The developers? The editors and sysops? Or does it occur  to you that YOU have the power to help keep the ball rolling, by   providing your own feedback?  Sure, the other guys in the club or the folks in the next state    (or country) share that power.  But maybe they are waiting for     George...  that is, YOU!...  to speak up and provide the           necessary feedback, in some form:  whether it's questions,         meaningful comments, or just simple encouragement. Even negative feedback DOE", the Gallery of Honour,          specialty publications, or the availability of so many people who  are just a letter or a phone call away.   Who else has all these options at their disposal?  NOBODY.  And if you ever listen to those owners of other orphaned  computers, you know they are green with envy. But all of those resources depend on one crucial factor:  INPUT. Or, as you have heard in other contexts, "USE IT OR LOSE IT". Let me ask you something.  Does it seem to you that support for    ==============================================="Ask not what your country can do for you," said President John    Kennedy in a stirring speech, "but what you can do for your        country." It may seem a bit dramatic to compare the ADAM community to a      great nation.   Well, OKAY, it IS dramatic.  But the principle is the same.   People can sit back and "let George do it"....  in which case      George will, eventually, get TIRED of doing it...  and it may      NEVER get done.   OR, people caen it was announced that ADAM was doomed because Loran was no    longer making datapacks!  That was something like seven or eight   years ago.  You will notice there is NO shortage of datapacks...   and they're one whole heckuva lot cheaper than those originals,    too.  There was a demand, and nobody was shy about voicing it!     So, various people tackled the problem and solved it.  But only    because they KNEW we needed a solution.   But if YOU think support is waning...  whom do you blame? The      vat's only HALF the solution.   Wanting it isn't enough...  we have to let others KNOW how         interested we ARE.   To my knowledge, no other "orphaned" computer holds annual         conventions, fields numerous newsletters and bulletin board        systems, puts out a monthly disk (or TWO) of information gleaned   from all these sources, or develops new software and hardware on   an ongoing basis.   And that's not to mention active message bases on both CompuServe  and FidoNet, the "Experts' PanelS help decide future directions. I am lucky.  I hit early upon the idea of sending a Customer       Response Survey with any new graphics software that I develop.   Now, THAT'S not a new idea; many people do that.  But they         usually don't get the surveys back.  Most people just don't        bother to fill them out.   The difference is that I decided to offer Bonus volumes at a       nominal cost to anyone who returned the survey.  I get a pretty    fair percentage of surveys back; and believe msm inherent in our   group after I had stressed how important it was for ADAM owners    to take the helm of the development ship and express their         wishes.  I could only assume the newsletter was not being read     and that all my efforts were wasted so I was about to notify       everyone that I was giving up with the group and membership fees   will be refunded for any time left when I sat down, composed       myself and read those 3 surveys.  I was so moved and motivated by  the comments of just t It takes only a few minutes to write a note, and it makes all the  difference in the world.   And because so few people DO bother, your own comments have more   weight than you probably suppose.  You might feel that you are     powerless to affect the outcome of an election...  that your lone  vote is insignificant at the polls.  But believe me, that's not    the case in our tiny community.  Your voice is HEARD...  LOUD AND  CLEAR! Now, nobody is going to go to the expense and trouble of           dev Observe:  three...  count 'em, THREE...  surveys (and one of them  from a foreign country!) were enough to make Keith reverse his     decision to chuck it all. Now, what if those three people had NOT taken the few minutes      required to fill out the survey? And in the future, when Keith is faced with choosing newsletter    articles, whose wants, needs, and overall preferances do you       suppose he will take into account? RIIIIIIIGGGGGGHHHHHHT!!!!!the best paths to take in the future to best    satisfy his membership.   Keith wrote a poignant article which appeared in the June/July     '93 issue of his newsletter.  But let Keith tell it:  "We have around 45 members in our group and so, 45 surveys were   sent out in April.  Within 3 days of them being sent out, the      completed surveys came flooding in.  ALL 2 of them, and 2 days     after that I received one more and this was from a member in the   USA.  I could not believe the lack of enthusiae...  they DO make   a HUGE difference in what kind of software I decide to develop in  the future.  All my recent work has been in direct response to     the people who returned those surveys and told me what they did    or didn't like, and what they wanted next. Let me repeat that.   ALL my recent work is DIRECTLY related to customer feedback!!!!   Without that input, I would NOT be working on this stuff; in       fact, I doubt I'd be working on anything at ALL.  Why would I      bother? Would YOU?hose 3 members that I felt I could not let   them down by pulling out.  I would still be using my ADAM whether  or not I run a users group so I decided that I would continue      sharing the information I receive with those who want it.  (My     apologies to those who have just recently joined us).  I have      sent out another survey to those who have yet to submit one just   in case you have mislaid them.  Get them to us as soon as you      can.  There are vendors and developers waiting to hear from us." eloping a scanner if only six people express an interest.       That's the kind of thing that won't happen unless a couple of      DOZEN people ask for it.  But it only takes two or three people    to affect the direction of other projects...  for example, the     content of a newsletter. Keith Marner, founder of the UKAS (United Kingdom ADAM             Subscribers) has been publishing the UKAS Journal for all of       seven years.  Every year, Keith polls the members of his group to  help him decide on ‚CےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےقےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےI guess we have all felt proud and wanted to brag a bit about our  ADAM User's Group at some point in time.  Especially when things   were going well and our expectations have been met or exceeded.    And when things are not going well it would be too ll equipment, plus a buy-back offer of $70.00    within the first year of ownership.  Only one person exercised     the buy-back offer, however, many replacements (tape drives,       printers and ribbons mostly) have been made without charge.All members are mailed a meeting announcement containing the       meeting agenda in advance of each meeting.  Meetings take place    every other month on a Monday night from 7:00 pm to 9:00 pm at     the Blair's house.  The meetings include a very brief statement    o be called SFAUG would grow in less than two years to an   organization with over 40 dues-paying members.  What is it that    worked to make the group a success and what did not work? First, some more info about SFAUG:  SFAUG dues are $10.00 per year.  The club has averaged 4           newsletters and 5 meetings per year on a schedule which works out  to quarterly newsletters and bi-monthly meetings with delayed      meetings during the summer months and at Christmas time.  All      copying is done in-ftware being            demonstrated are often provided free on tape or disk to all        attendees.  Demonstrations are primarily targeted to the           interests and capabilities of the members.  Often meetings will    include a review of other types of computers and new hardware for  comparative and educational purposes.  A door prize is awarded in  each meeting (most recent was a 1200 Baud modem) and, without      exception, the meeting is concluded by 9:00 pm followed by coffee  and cake and a lot  within "meeting attendance          distance" and acquired their ADAM computers within the last two    years.  Almost all have attended at least one meeting, with and    average of 20 attending our two most recent meetings.Most of the local members obtained their ADAM through an SFAUG     volunteer who provides used ADAMS and starter-software for         $95.00, a price calculated to break-even in buying and selling.    This price includes SFAUG membership dues for one year, a one-     year warranty on alate.  So I'm   writing this at a point that may be ideal, besides, it's fun to    write about:THE SOUTHWEST FLORIDA ADAM USER'S GROUP - by Bob Blair, January,   1994This month marks the second anniversary of the meeting between     four ADAM owners who got together to discuss the formation of an   ADAM users support group here in Southwest Florida.  Nobody could  be more pleasantly surprised than Dottie Millen, Margaret Miller,  Audrey Parfitt and Bob Blair that their ideas for a new ADAM       group tof what's new followed by presentations and demonstrations of      hardware and software by different members.  Every meeting         includes a round-table disucssion of problems and questions with   hands-on solutions offered via a keyboard on a 20 foot extension   with the ADAM connected to a large-screen TV.  Smartwriter and     Filing questions are most frequently raised.  The use of dot       matrix printers and telephone modems are qrowing as frequent       questions also.  Copies of public domain sohouse on a yard-sale copy machine to keep       costs down.The age of SFAUG members ranges from 12 to over 80 years old.      However, the average age is over 50 (a mirror image of our         retirement-oriented community statistics).  We have about an even  split between men and women members.  Writing letters to friends   and relatives and handling records and correspondence for social   organizations constitutes most of the uses of the ADAM computers   by SFAUG members.Three out of four members liveof informal discussions.The club Text and Tape Library is located on a table for           attendees to borrow.  A simple sign-out sheet is completed by the  borrower.  The SFAUG Newsletter is passed out and/or mailed to     members homes.  Copies of tapes and disks from the Club public     domain library are provided for the cost of the media ($1.00 for   tape and currently 10 cents per disk because of a recent discount  buy).  Programs are free on members tapes/disks.Tape formatting is offered free.         assistance; AWAUG's Jim Howard provided tapes and ADAM equipment;  Jay Bolton (formerly of AWAUG) donated a complete hard drive       system for the SFAUG BBS; Mel Ostler donated copies of all his     books for the SFAUG Text library.  Pat Herrington and Lani Brito   drove all the way from Orlando to attend the first SFAUG meeting,  and Pat donated many programs and articles thereafter.  And Guy    Cousineau continues to write and send us copies of his excellent   programs.  In fact all whose works for Ad's in  our newsletter and offered special prices during SFAUG's first     year of operation.  Eyezod Graphics and Walter's Software          purchases have also been the source of new software.Used hardware is very popular because of availability and price.   Used computer collectors and sellers were asked to be on the       look-out for ADAM equipment for SFAUG members.  The use of ADAM    vendors, however, is encouraged.  Micro-Innovations, ADAM's        House, HLM/GMK and the ADAM Connection have worked and what  did not work!WHAT WORKED WELL?1) Seeking and accepting assistance from other User Groups/individuals; There are a lot of generous and talented       ADAMITES ready to help.2) Providing ADAMs at a low price including membership dues; In a  nutshell, this provided us with our members.  We've advertised     our ADAM's each year in the paper but most new members came to us  through recommendations from other members.  And we're recycling   Old ADAMS and generating new users and customersbers.    Especially deserving of recognition for their fine work are        Dottie Millen, Margaret Miller, Bob Brink, Ron Harder and Ken      Smith.  I've worked hard for SFAUG too.But that's not the full story:  Other User Groups and individuals  outside the club have helped us too, and in a significant way:     MOAUG provided us with a starter library of many fine PD           programs; Barry Wilson provided disks, books and articles for our  newsletter and made important contacts with others for      Blank disks, labels and printer  ribbons are purchased by members at bulk discounts and shared      with others at cost.SFAUG members are assisted in purchasing new/used equipment to     add to their ADAM setup.  Disk drives, dot matrix printers and     modems are the most often added equipment, however most members    use their ADAM for wordprocessing only and remain with their       original ADAM as purchased.  Most new software and printer         ribbons have come from the ADAM Connection which paid find their way into the ANN     publications have helped us.With all this assistance it is no wonder that we were able to      build a user group and keep the dues at $10.00.  The current club  treasury stands at $310.00 with no outstanding debts; not a        fortune, but enough..Many "family" friendships have resulted from meeting attendance,   with several families going together on cruises and as well as     local biking and dining/dancing outtings.So much for bragging and commending, now for what been the source of     new equipment purchased by SFAUG members.The club also operates a 24-hour BBS (PBBS software run on TDOS)   at 300 to 2400 baud rates.  However only about 10 local users      have modems and use the BBS.So far only three members have not yet renewed their membership    at the end of their first year.  They are being contacted by a     membership volunteer.The SFAUG officers are positive and enthusiastic people who        actively promote the ADAM in their contacts with other mem for ADAM          vendors.  Too, we're bringing many people into the computer        generation who may not have been here otherwise.  3) Bi-monthly meetings as described above; The relaxed schedule    (verses Monthly meetings) kept us from burining out yet resulted   in high levels of attendance, enthusiasm and enjoyment.  Best      sessions have been the round-table group discussions and           presentations that involved hands-on participation by meeting      attendees.4) Free/Cheap distribution roach to the         computer.  Maybe time will change this, and maybe it's not a bad   sign at all.  After all, it is not a bad thing to use the ADAM     for wordprocessing only.  However my prior experience in AWAUG     was that the club helped generate hardware and software            innovations among its members.  SFAUG is a long way from that      level of success, but who knows what time will bring??.In Conclusion:  In writing this I probably got carried away a      tad.  But in a selfish way my sh problem; Members know they are not alone,   that solutions are avaiable and that their problems are not        unique to them.6) Keeping costs as low as possible; Most retirees are on fixed    incomes but more generally, we are living in a time when a used    IBM system, hard drive and software etc., is often available for   less than $400.00 often even cheaper.  7) SFAUG HAS BEEN FUN TO BE ASSOCIATED WITH!  This is the most     important thing of all.  WHAT HAS NOT WORKED SO WELL, YET?1) Failure e also:  MUTE.] SONG CLEAR:  To erase the contents of all tracks. [See also:  TRACK CLEAR.] SOUND DEVICE:  Any device is part of the system's hardware.  Examples:  a printer, mouse, modem, etc.  A sound device might be, for instance, a MIDI synthesizer, a CD-ROM drive, a videodisc player. SOUND DRIVER:  Device drivers are software that control communication between devices (a mouse, printer, modem...) and the computer.  A sound-driver controls the sound card or the sound device, such as a MIDIly (and delegate).  Well, we started with a bi-       monthly and its slipped to a quarterly.  That is too infrequent I  suspect.3) Few new members are getting into programming.  In the early     days of the ADAM a fairly high percentage of users at least        experimented with SmartBasic, maybe out of necessity.  That lead   them to CPM/TDOS, downloading, uploading and hard drives etc.      SFAUG users are at very early stages of use of existing sofware    and few are dabbling into a more technical appof Public Domain software during        meetings; It succeeded in getting wide distribution of programs    like ACHESS, ADDRESS MASTER, SIMPLE PAINTER, GENE23.COM and other  TDOS PD programs.  And has maintained a high level of interest in  going beyond SmartWriter. I THINK IT IS VITAL THAT ADAM USERS CONTINUOUSLY RECEIVE TRULY    USEFUL SOFTWARE TO MAINTAIN A SENSE OF DISCOVERY AND GROWTH IN     USING THEIR ADAM!! 5) A personal, helping hand, when a new user gets frustrated with  a hardware or softwarearing this has helped me focus on  the needs of SFAUG members and my need to delegate and make        deadlines.  Maybe it will help some other person interested in     achieving things for their ADAM user group too.   aybe it willd in the MIDI world as a way of synchronizing MIDI to external events. SOLO:  If you want to listen exclusively to one track, you can mute all other tracks.  Alternative: Select a track to "solo" (a feature that some sequencing programs offer).  [Seto fully delegate.  I took on too much myself and did   not recognize the talent and wilingness of others to help.  It's   both selfish and punishing at the same time.  Maybe this public    confession will help to change my ways.2) The Newsletter is not regulary and timely issued.  And the      fault is with me - not other SFAUG volunteers.  Meetings are       vital and so is meeting the deadlines in Newsletter publishing.    If a monthly newsletter will result in missed publications, make   it a bi-month‚KےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےقےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےThe following three articles appeared in the January, 1994 SFAUG           Newsletter as a part of a continuing series of articles about  SFAUG       members.  COME TO ADAMCON 6 AND MEET KEN, BILL & DOTTIE!!  ###########################################ves up the beach to dig and lay their 100 or so  eggs in  holes in the sand.  The leathery eggs are ping-pong ball sized.  After 55-60 days, 2-inch long turtles hatch (July to  November),   dig out of the sand and head for the water at their top speed.  If they hatch during the daylight many are eaten by  Gulls,    Herons and other birds.  Hatching and running for the water during darkness, however, can increase their odds of survival by several times in their long-shot quest for reaching            adu   SFAUG MEMBERS HELP TO SAVE SEA TURTLESOne day Ken Smith mentioned to me that he and Shirley would be on  "TURTLE PATROL" the next morning as we were planning a get-together to collate the SFAUG newsletter.  What on earth is that?  was my  first reaction.  Well, he invited me along to learn about it, first hand.  A couple of days later, at dawn on a September  morning,  I found myself walking down the Gulf of Mexico beach in Englewood with Ken and Shirley.  They explained that they were  among     y find a nest that already hatched during the night, they  dig up  all of the opened shells and count them plus the spoiled eggs that did not produce hatchlings.  The records are reported  to a      central source for accumulated data on all turtle activities  in Florida.  Ken says that 1993 was an outstanding year for turtle hatching in their assigned section of beach.  My congratulations and thanks to Ken and Shirley Smith for making  a       difference for this world of ours!  And thanks for invitingbeach patrol (meaning much digging and burying by both the turtles and  Shirley  and Ken).  Also they patrol to assure that existing nesting sites are undisturbed.  Nesting & Hatching:  Loggerheads can lay one to eight nests during a season and may renest within 12-15 days.  They nest on  average   every two to three years.  They reach maturity between 15-35 years and have a reproductive life span of about 30 years.   These   turtles weigh 200 to 350 pounds and leave heavy tracks as they drag themsel######################Ken and Shirley Smith owned their ADAM computer well before Ken  retired   to Florida in 1991.  Ken worked for the U.S.  Department of Agriculture in Washington DC and he and Shirley lived in Woodbridge, Virginia.  Now they are residents of Englewood, Florida and members of SFAUG (Ken saw our ad for ADAMs in the  local paper and contacted us).  In addition to bringing their ADAM computer to Florida, Ken and Shirley brought their love for  animals  and put it to a very unique use.lthood.  And this is where Ken and Shirley really make a difference for these turtles!Patrolling at dawn allows Ken and Shirley to spot hatchings still          underway, that would result in the tiny animal's scramble to  water during daylight.  When this is found, they place the turtles gently in buckets and carry them home to spend the day at  their   house.  That night, they return to the original nesting site and release the turtles for their instinctive run to the the  sea     (Gulf).  When the hundreds of volunteers who daily patrol assigned sections of beaches to help with the hatching of Loggerhead Turtles.  Earlier in the hatching season (April to August) Ken and Shirley  had      spotted signs of turtle nests, dug up each nest by hand, counted the eggs, reburied them.  They then marked the spot with  a yellow stake, assigning the site a number and noting the date of the nesting and projected date of the hatching on the stake.   There    were dozens of nesting sites in their 1/2 mile of  me  along!     ###############################################################: MORE ABOUT SFAUG MEMBERS!Bill Furfari is a charter pilot who flies out of the Venice, Fl  airport.  He is one of our newest SFAUG members having purchased his ADAM computer during 1993 from another SFAUG member who is  also a     pilot.  Bill's purpose in obtaining the ADAM was to write a book.  What follows is a transcript of a letter he sent to us  in early  December, 1993:  Hi Bob...Thought I'd just send along a coupent from Sea level to 10,000 ft.  We spent weeks and weeks at over 5,000  ft,       mostly 7,000 ft over mountains & parks and National Parks.  It was a wonderful way to explore and believe me, we did a lot of  that.   We rode our Honda motorcycle in places and mountains that our RV wouldn't get to.  It was so convenient in crowded places.This country is absolutely awesome.  It's size, beauty, National  and      State parks, museums and friendly people.  And full of surprises.  didn't expect each Statw, thanks to ADAM, and should be in print before the end of the year.  So if you want to know why  they're     called "journals", or why it's "grey-headed" instead of grey-haired...  well, I guess you'll just have to keep an eye out  for it  at your favorite bookstand, because I'm sure you don't want me to go into it now.  Again...many thanks !!  Bill FurfariEarlier, Bill had mentioned some of the things that happened  during his   charter pilot career to bring him to write his book.  Believe me, he hks clubs.  It was a surprise to us that some elks clubs have parking          designated for RVs, mostly out west.  We bought a book that lists  them    with details as to price, etc.  $4 to $6 per night.  If we liked an area, we stayed as long as we wanted.We love the RV life.  the ease of travel.  It was our home.  No  packing   and unpacking suitcases every night.  Not looking for motels.  We had a special RV Campground book that lists all the  RV parks, State and National, too.  Price, instructionscations during the trip and, having returned, provided us with a delightful summary of their experiences.  Did you ever want to make that grand trip out west  but      never got around to it? Well here are two people that did it:   The TRIP, by Dottie MillenWe left in March and returned home in September after 15,000  miles (2,000 of them exploring on the Honda), 21 States, Mexico and Canada.  Our comfy RV and trailer holding the Honda and our  bicycles  performed A-1 with not even a flat tire.  We wle of "moving window"           paragraphs to extend my thanks to you (and the other SFAUG'ers,  of        course) for introducing me to ADAM earlier this year.  It has  exceeded my best expectations!  As you may recall, I needed to "process" the words for a book I was writing about my experiences  in      seven years of part-time work as a charter airplane pilot since coming to Florida in so-called retirement.My "works" (titled Journals of a Grey-Headed Charter Pilot) are  about 98  percent complete noe to have such diverse terrain.  Arizona for instance.  I imagined it to be mostly desert.  What a shock to see the beautiful, rugged, enchanting  Sedona.    Just south of flagstaff.  OH MY!  Such deep red canyons and peaks all around the city.  No wonder everyone said to be  sure to go  there and smiled so brightly.  We left home with the idea we would see what we wanted, stay as  long as   we wanted.  We did just that.  We stayed in State and National parks when we could & RV parks and many, many Elas some truly worthwhile things for his publication and I look forward to buying a copy.########################################################################## It escaped nobody in SFAUG that Dot Millen was not around here  from March to September 1993.  Dot is a regular participator in SFAUG meetings, Club Treasurer and a former Newsletter Editor.   When her  husband, Bob retired, they carried out their long planned trip around the US.  She reported her progress for two  SFAUG      Newsletter publi to get there and their services.  We drove maybe 50, 100, 150 or 200  miles per   day at 50 MPH.  Stayed days or weeks.  Took both Super Highways or mostly side reads.  Left around 9-10 AM & quit at 4,  cooked   meals in or ate out - whatever we wanted or what was the most convenient.  We slept in our RV all but two nights.  Found  out it    was too inconvenient bringing things in and out, always forgetting something.  We slept under covers until August in  Ohio.  Used  our gas furnace about two times    your electronics by ARRESTING the lightning.  (Fat chance static   breath).  We should use the word divert...read on to see what I    mean.  I have seen thousands of dollars spent on sophisticated           electronics diversion devices, only to have massive damage occur   to the supposedly protected equipment.  Why?...because the         installers (or salespeople) lacked a fundamental technical grasp   of what they were trying to accomplish.  You cannot stop a         lightning strike.  Your job is tr their friendly hospitality.  Dottie MillenXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX 6) Keeping costs as low as possible; Most retirees are on fixed    incomes but more generally, we are living in a time when a used    IBM system, hard drive and software etc., is often available for   less than $400.00 often even cheaper.  7) SFAUG HAS BEEN FUN TO BE ASSOCIATED WITH!  This is the most     important thing of all.  WHAT HAS NOT WORKED SO WELL, YET?1) Failure ill enter your computer system by one of two ways.  1.  The electrical wall outlet. 2.  The telephone modular jack.Protect your computer from impulses coming in on the power and     phone lines, and you have effectively built a sandbag dike around  your computer system.  There is no way to reinforce the roof over  your system (diverting a direct lightning strike.  Don't bother    trying.  If lightning blows a hole in your roof, I doubt if        you're going to be too concerned about your computer.Da‚Cےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےقےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےے Downloaded from a BBS by Barry Wilson for your information.  A LAYMAN'S GUIDE TO SURGE "PROTECTORS" by Todd Preston  Ooooh I hate that "P" word.  The use of the word PROTECTORS is    silly, as is the word ARRESTOR.  They imply that you can PROTECTand electric space heater about ten times.  Had no insects, bugs, reptiles bother  us.  Just  a few mosquitos and flies in August.  We also had air conditioning.The cities, museums, dams and points of interest we saw all around the country are too numerous to mention, but are planted  in our    minds forever.  This trip tops all of our travels.  time spent, miles travelled, heights reached and sights seen.Our visits with family and friends along the way were especially  nice.    We thank them all foo divert the energy safely away    from your computer equipment.  The purpose of this document is to  give you the knowledge required to do so.  Maybe we can take some  mysteries out of the topic, and debunk some myths as we go.  Reinforcing your computer and its associated hardware against     damaging impulses is an effort well worth undertaking.  While      equipment replacement is inconvenient and costs dollars, lost      data is lost data.  The damaging impulses can come from many       places, but wto fully delegate.  I took on too much myself and did   not recognize the talent and wilingness of others to help.  It's   both selfish and punishing at the same time.  Maybe this public    confession will help to change my ways.2) The Newsletter is not regulary and timely issued.  And the      fault is with me - not other SFAUG volunteers.  Meetings are       vital and so is meeting the deadlines in Newsletter publishing.    If a monthly newsletter will result in missed publications, make   it a bi-monthmaging impulses can be broken down into two categories: Spikes Spikes are short lived, high level "blips" that ride into your    computer on top of the 117 volt level of the power line, or on     top of the signal level on the telephone line connected to your    modem.  If they are large enough, they will usually blow out some  components.  Spikes have rise times in the nanosecond range, and   pulse lengths up to 100 microseconds.  They are hard to remove,    because they happen so fast.  Spikes are usu + 1.  Ideally fast response time.  (in picoseconds) + 2.  Low level voltage threshold available. + 3 Moderate cost.  ( $1.40 ea.  @ 100+ quantity) - 1.  Catastrophic failure at high current loads (above 500       amps)B.  The Metal Oxide Varistor (MOV) offers:------------------- + 1.  Very high load current capability.  (up to about 5000       amps) + 2.  Dirt cheap - 1.  Markedly slower reaction speeds.  (in nanoseconds) - 2.  Effectiveness decays to nearly zero after heavy repetitive activiard to       remove.  (Since they last longer, they contain much more power     than spikes).  Surges are usually attributed to motors:  such as   air conditioning and refrigeration compressors, drill presses,     air compressors, pool pumps, etc.  Normally these types of motors  pose few transient problems to computers.  But when they come on   line in a locked rotor state (unable to start to move), or when    they blow up, they draw huge amounts of current.  This lowers the  line voltage.  When the fault ing the spike at the     peak voltage level.  Before the Transorb blows up from passing to  much current, the MOV "kicks in" and relieves the Transorb.  If    there's enough sustained power in the spike to fire the gas tube   (crowbar) then the MOV gets cut some slack.The majority of the manufacturers have gone away from using the    gas tube hybrids, and use hybrids that contain Transorbs and       MOV's.  Some have internal auto reset circuit breakers, RF chokes  (10 turns of # 14AWG enameled wire), andvoltage pulse at tolerable levels.  So let's talk about how we     can keep those killer pulses out of your electronics.  There are   products on the market that are sucker buys, and many products     that are not.  You can pay 40$ for a line cord, outlet, and a 25   cent MOV.  You think you're protected, but woe unto you.Diverters come in four generic types.  Each type has its           strengths and its weaknesses, which are outlined below.A.  The special silicon avalanche diode (Transorb) offers:---ally attributed to     lightning strikes, whether local or distant.  Their amplitude      ranges from hundreds to thousands of volts.  Spikes can cause      unexplained computer rebooting, system lockup, corrupted data,     equipment failure, etc. Surges Surges are longer lived, lower level "waves" that ride atop the   110 volt level of the power line.  They have rise times in the     microsecond range, and pulse lengths of up to a second.  Surges    are easy to "catch" because they are slower, but are hty.C.  The lone gas discharge tube offers:--------------------- + 1.  Extremely high load current capability.  (10,000+ amps) - 1.  Even slower response time.  (in microseconds) - 2.  Crowbar action blows circuit breaker. - 3.  High cost.D.  The hybrid designs offer:-------------------------- + 1.  The best of two or three products, by complementing characteristics. - 1.  Highest cost.I use all three components in my hybrid designs.  Here's why: The Transorb is the first to react, clampgoes away the line voltage surges    big time.  During an electrical storm, entire city blocks of       "motors" surge after a temporary blackout.With todays electronic switching type of power supply, electronic  equipment is less susceptible to surge damage than equipment was   say 10 years ago.  That's all fine and dandy for manufacturers     literature, but I don't want my electronics stuff seeing 375       volts for 250 milliseconds!The answer is the spike/surge diverter, which clamps the high-      other features included   in them.Cheaper diverters may offer only one MOV, protecting only one of   the three possible power line entry points for a voltage spike     ("one-way diversion").  These cheap diverters are out there in     mass.  Buyer beware.  Read the packaging!  If you buy in an over-  the-counter store, ask the salesperson about the device (if you    really are interested in a laugh).  As usual, the people at Radio  Shack are quite helpful, and frequently quite knowledgeable; so    they p4        3   HMMMMMM<    3      HMMMMMM<    3     HMMMMMM< 3        3               3                  3 3        3             IMOM;              IMOM; 3                      : L :              : L :                      : 1 :              : 2 :                      HMMM<              HMMM< For ease of illustration, two grounds are shown. VR1-VR3 are transorbs.  (avalanche diodes) L1-L2 are home-made chokes made of 10 turns of #12AWG insulated wireThis is the type of device that you would io:response time:  time it takes to suppress the spike in             nanosecondsclamping level:  (the peak voltage ((at a specified amperage)) remaining after the device has sustained a 6000-volt spike)power rating:  (the maximum transient energy which can repeatedly be absorbed without failure, measured in joules).Since there are three power "legs" to protect in any circuit,      true diversion boils down to meaning a three-way line network. Line (hot)-to-neutral -- (called differential or nFOR ANY 3 PHASE OR 440 VOLT PLUS CIRCUITS, YOU'RE STUPID IF YOU DO NOT CONTACT A LICENSED ELECTRICIAN FOR ASSISTANCE WARNING WARNING WARNING WARNING WARNINGSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSomebody smack me If I digress a few hundred more times...but      here's an important clarification of terms, their use, and the     criticalness of you understanding them.  We are bridging two       totally different technical fields here, one being Electricity and the other beinBE GDDDDDDDDDDDD4        3           HMMMQMMMMMMMMMMMMMMMMMMQMMM< 3        3               3                  3 3        3               3                  3 3        3   IMMMMMM;    3      IMMMMMM;    3     IMMMMMM; 3        CDDD6 VR 1 GDDDDEDDDDDD6 VR 2 GDDDDEDDDDD6 VR 3 GDDD4        3   HMMMMMM<    3      HMMMMMM<    3     HMMMMMM< 3        3               3                  3 3        3   IMMMMMM;    3      IMMMMMM;    3     IMMMMMM; 3        CDDD6 MOV 1GDDDDEDDDDDD6 MOV 2GDDDDEDDDDD6 MOV 3GDDDrove the exception to the rule.  The 'Shack offers quality   products but does not currently offer anything other than good     quality 3-way MOV based diverters.They do offer an excellent line of UPS oriented equipment.It is a tragedy to pay 20$ and up for something that comes in      decorator colors and contains a single high voltage value MOV.     These "gimmick" products are normally sold in "department/hardware/lumber" type stores.  Once again, beware!Non-crowbar diverters are rated according tnstall as your #2       defense.  (At the output of the sub-panel 117v breaker that feeds  your computer)SSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS WARNING WARNING WARNING WARNING WARNING ALL OF THE TECHNIQUES, PROCEDURES, AND IDEAS CONTAINED HERE- IN DEAL WITH DANGEROUS 117/240 VOLT AC CURRENT.  DO NOT ATTEMPT ANY INSTALLATION OR MODIFICATION YOURSELF.  CONTACT A QUALIFIED ELECTRICIAN FOR ASSISTANCE.  ALL THE FOLLOWING STATEMENTS APPLY TO STANDARD 117/240 VOLT SERVICE ONLY.  ormal mode) Ground-to-line --------- (called common mode) Ground-to-neutral ------ (also called common mode)Most manufacturers describe this as:     Line to Line -- (differential mode)     Line to ground -- (common modes)                       HOT             NEUTRAL                      LINE 1            LINE 2      GROUND            3                  3 GROUND        3               3                  3 3        3           IMMMOMMMMMMMMMMMMMMMMMMOMMM; 3        CDDDDDDDDDDD6      GAS      TUg Electronics.  Terminology between the two is just  close enough to be dangerous.MAIN DISTRIBUTION PANEL:  There is a "Main Main" circuit breaker   that is after the meter, which feeds all the breakers in the Main  Distribution Panel.  This Main Breaker will feed such circuit      breakers as:  House Main, Outbuilding Main, Garage Main, Air       Conditioner, Pool Pump, Arc Welder, Outdoor Lites, etc.  You can   think of this Main Breaker as your property's Main Disconnect. If  you kill this breaker your   :                    3 : SMITHS: :    SMITHS    :  :  SMITHS :                    3 :       : :              :  :   :                    @D6       GD6     MAIN GDD6SUBPANEL"A":                      :       : : DISTRIBUTION :  :   :                      : METER : :              :  :  IN THE :                      :       : :     PANEL    :  :   HOUSE :                      :       : :              :  :   :                      HMMMMMMM< HMMMMMMMMMMMMMM<HMMMMMMMMMMM<The wire going to the screw ofsub panel would  normally have its own sub main breaker, feedingmultiple different breakers.Rephrased, Each meter on your property should feed only one Main   Distribution Panel, which should feed one or more independent Sub  Panels.A pictorial...............IMMMMMMMK IMMMMMMM;   IMMMMMMM; IMMMMMMMMMMMMM;   IMMMMMMMMMMM; :       : :       :   :       : :             :   :   JONES : : HIGH  : :       :   : JONES : :   JONES     :   :   ::VOLTAGE: :       :   :       : :             :   :SUBPANEL"A": anel.  One will be the connect point for a     bunch of white (neutral) wires, and the other will be the connect  point for a bunch of green or bare copper (ground)wires.Depending on the physical characteristics of the gas tubes and     hybrid diverters, and whether the main distribution and subpanel   are surface or flush mounted, you may end up having the            electrician install them 3-4 feet from the panels.  They will      have to be connected using code approved methods.  Two lengths of  1/2" 3          :JONES: :JONES : 3 :   :                    3          :POOL : :STREET:D6SUBPANEL"B":                    3          :PUMP : :LIGHT :   :   :                    3          HMMMMM< HMMMMMM<   : INSIDE  :                    3                             :     THE :                    3                             : GARAGE  :                    3 HMMMMMMMMMMM<                    3                    3 IMMMMMMM; IMMMMMMMMMMMMMM;IMMMMMMMMMMM;                    3 :       : :              :  : shop loses power, along with your       toaster, your sprinklers, and your porch light.  REMEMBER, THE HOT SIDE OF A BREAKER IS HOT, WHETHER THE BREAKER IS ON OR             OFF!!!!!!!!...When you trip your "Main Main", the PANEL IS STILL   HOT AND CAN KILL!SUB PANEL:  Your Property may have several sub panels.  Each sub   panel may or may not have its own "Sub Main" breaker.  You would   have a sub panel in your house, in your garage, etc.  (Every place you have that is a "separate entity") The typical  the circuit breaker is the hot line FOR THE DEVICES FED BY THAT BREAKER.  NOT THE HOT INPUT TO THE     BREAKER.  If your panel is wired properly, this breaker output     wire (device input) will be a black (hot) wire for 117v breakers,  and a black (hot) & a red (hot) OR a black (hot) & awhite (hot) for the ganged or two pole 240v breakers.  (( The      coloration here depends on your local code, the age of the         installation, and whodunit)) There will be two buss strips located on the side of the p:       : : TRANS :   :       : :    MAIN     :   :   :: POWER GD6 FORMERGDBD6 METER GD6 DISTRIBUTIONGDBD6 INSIDE  : :    LINE  : :       : 3 :       : :    PANEL    : 3 :     THE : :       : :       : 3 :       : :             : 3 : HOUSE   : HMMMMMMM<   HMMMMMMM< 3 HMMMMMMM< HMQMMMMMMMMQMM< 3 HMMMMMMMMMMM<                    3             3        3    3 IMMMMMMMMMMM;                    3             3        3    3 :   JONES :                    3          IMMOMM; IMMMOMM; 3 :   :                    Sealtite<TM> and four Sealtite<TM> connectors will usually    be acceptable, but you must check your local code to be sure.First, let me describe an ideal diversion system for those of us   on a budget. You can easily spend 10,000 dollars or more on grounding grids,   Ufer grounds, dissipative arrays, etc.  Lets save those for the    rich.  We'll do almost as good a job, at low cost.  Keep in mind   that lightning diversion is system oriented.  That is, one facet   of the system can be the best possibllectrical codes for your State, County, and Municipality.  These  codes are there for your protection, so don't snoot at them.       Locate your meter, and your main distribution panel should be      right underneath.  Hopefully it is surface mounted, and not flush  mounted.  Surface mounts are so much easier to work with, because  you don't have to rip the wall apart to wire in the gas tube       device.  The gas tube is installed on the cold side of the         Breaker that feeds the HOUSE SUBPANEL.  See evice at the building main distribution panel, installed after (on the cold sides of) the main circuit breaker that feeds the house subpanel.  (NOT THE MAIN THAT FEEDS THE MAIN PANEL).  You want your gas tube on the cold side of the House Main.  See prior clarification.  I'm assuming your computer is in your house.  If you're working in your garage, change the words that read "...feeds the house", to read "...feeds the garage."APARTMENT DWELLERS:  This can nearly be an impossibility for those of yoill the sound goes away.  You'll be dealing with abreaker that has only one "leg".  That is a single 120 Volt        breaker.  Any that are ganged together (trip one, another trips)   or take up two slots in the panel, are 240 Volt breakers.  These   would feed (supply power to) items such as:  water heaters,        stoves, dryers...  They better not be feeding your outlets!3.  An off the shelf 3-way MOV spike diverter screwed captive into the DEDICATED duplex receptacle that will be serving your compu     condensing unit.  You'll add your gas tube device here, after the  apartment main.  It must be installed on the cold side of the      apartment main breaker.  (the side feeding your apartment, not     the side coming from the meter).  Worst case, the utility company  can be contacted to rotate (disconnect) your meter while the       electrician installs your device.  HOMEOWNERS:  At least you can do what you wish on your own         property.  (sort of).  You still have to follow all the            ee, and if anyother portion of the system is deficient or ailing, then the whole system isn't work a hill of beans.  Even though some of the        diversion components are electrically installed in parallel with   the line, the diversion route is one simple series circuit. From   cloud to a good earth ground.  The old loggers had the "a chain is only as strong as its weakest link" adage.  I guessthat's why all those sayings were developed.  (because they're     true) Anyway, here we go.1.  A gas tube dprior clarification.  2.  A hybrid at the house subpanel, placed on the cold side of the circuit breaker controlling the wall outlet you will be using.  I'm assuming your computer is located in your house.  If you're working in your garage, then change the words ..."house subpanel" to ..."garage subpanel".(If your breakers aren't labeled, here's the opportune time to do  so.) Plug a portable radio into the desired outlet and turn it up.  Trip a breaker off (wait 2 seconds) and back on, one by one, tu that live in an apartment.  However, I have had good        success with going to the Maintenance Supervisor of the property,  and explaining to him what I wanted to do.  Ask him to show you    the meter room, this is where you will do most of your dirty work.  There are separate meters for each apartment, and these separate  meters feed a small main distribution panel for yourspecific apartment.  This panel will have an apartment main        breaker, along with possibly another for an air conditioning  ter equipment.  Screwed captive means that the MOV diverter is provided with a screw that holds the device to the duplex receptacle.  Most require removing the outlet cover first.  This last line defense is the package that contains two RJ-11 modular phone jacks that will be labeled in/out, from phoneline/to modem, or something like that. Spike diverters using MOV's should have a colored MOV status lamp which goes out if the MOV fails.  In this failed condition, the spike diverter will still usually when people ask before they dig.  When you call, ask them their name first and write it down.  If you get a negative response from the 1st contact person, go up one supervisory level and try again.  (get the name before you ask).  (If still negative, advise them you will hold them personally liable if you are injured or damage anything.) Ask for a date that the locator will arrive, and if possible, meet them. 2.  Watch them operate the detector, and don't hesitate to ask questions.  They may locatempts.  The mostexpensive diversion devices are useless unless there is an easy    path for the diverted spikes and surges to dissipate into the      earth.  I can tell you right now, that the schmutzy ground rod     that the power company drove into the dirt 5 years ago near the    base of the meter is not a satisfactory earth ground.  So here's   what to do to make the whole project gel.  Don't get               disheartened, it's kinda fun.   What you are going to do, is drive some ground rods in you driveways, etc.  (as if you were in a hot air      balloon looking down) You are going to be doing this to scale, so  let 1" equal 2' or whatever.--------------------------------------End of Lightnin Divert P1 9/9I am debugging the flowchart required for the next steps.  They    shouldbe ready in a week (HA).  There will be a parts listing, sources,  andmaybe a glossary as well as digging and driving instructions. [Lightnin Divert P2 X/Y] ...  Coming soon at your local theater. er your home via      underground cables; (phone, cable TV, electric, etc.); you must    locate those cables before you do any digging.  As a point of      reference, the utility companies are responsible for maintenance   on the cables up to and including the demarcation device. 1.  Call the appropriate utility company and tell them that you are going to be digging in your yard, and you'd like them to come out and mark (locate) their lines so you won't damage them.  Most utility providers are ecstatic pass electrical current through to the equipment, but the current will no longer be spike diverted. After you have had the electrician install whatever diversion     devices you elect to use, you may think that you are all set. NOT!  You have diverted the damaging spikes and surges, but to where?   The lightning was looking for a way to get to a goodearth ground, that's why it hit in the first place. You have to give the spikes and surges a real easy path to divert to or they will "laugh" at your atte your water input, if it's not PVC pipe.  Leave their flags intact while you do your rooting around.  I've known the locators to blow it big time, and have seen a 2 foot diameter hole augered right through a 50 pair phone cable.  The digging contractor was not liable in any way, because the utility company had "located" (albeit incorrectly) the lines.On a sheet of paper, sketch the top view of your house, electric   meter, and telephone demarc.  Include major trees, hedges,         swimming pools,r lawn  with a sledgehammer, and then connect them all together with bare  copper wire.  Spend an hour or two figuring your materials list    using the included worksheet and flowchart.  Don't hesitate to     barter for some of the items, tools, or labor.  If you know your   materials supplier, try trading them a ground network installation at their home for your materials and tools.Substitutions are fine on some items, and are noted where          applicable. If your residence has any utilities that ent‚CےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےقےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےThe Second disk for the January, 1994 ANN contains:An Article from IEAUG authored by their Newsletter Editor, Thomas  Keene as follows:ERRORS      Tom takes an indepth look at CRC, CPM errors.Patricia Herrington has provided us with:PCUPDATE     FILES!!! (unlocked)   Music for FTBL is in binary insted of using the DATA statment (DATA takes up much more memory than binary).    FTBL cannot take much more of programming as  OUT OF MEMORY error   will occure. Using binary has gained about 3K of extra programming in  FTBL, to which I added more goodies. To see and hear them, play the    game for a while.     Good Luck. You'll need it!          Dale Metcalf           RR 1 BOX 41A           FLOODWOOD, MINN. 55736           (218) 476-3088      ouse and the amount of insulation vs BTU's needed.             A nice peice of work!DATASHEET    A SmartBasic program to calculate data for the above             program.HEATCOOLTX   Documentation for the above two programs.And finally, from the SFAUG Newsletter:Babble       Babbling Bob Blair is at it again!  kinda newsy.SFAUGART     Now he's bragging about his User Group.  SFAUGMEM     And here is some info on some of the folks you will             meet at the 1994 ADAM Convention in Sarasoll Disk &     Tape Drives & will also copy from and to the same drive.  Should media swaps be required, the User is prompted with the appropriate message.  If the KRUNCH option is chosen, all deleted files on the storage       medium will be removed & the active files will be moved up             accordingly, reclaiming all lost space in the Directory!  Status       reports indicate what file<s> are being relocated & to what block      location. II.   COPY FILE<S> - Before choosing this option the        e old FTBL before BSAVEing a new FTBL). This     subroutine will NOT BSAVE until you run the cursor through the BSAVE   statement.   At this point you can explore by LISTing. If you make any changes,  you will have to RUN (FTBL) the game and break into by SHIFT STORE key again. THIS IS THE ONLY KEY THAT IS ACTIVE WHILE THE OPPOSSING TEAM IS PLAYING.   To see the STATS of the game or any other special keys, you will    have to wait till its your turn (NEXT PLAY Prompt).   DON`T MESS WITH THE SUPPORTINGUpdates to the Personal Calendar Utility program!!RSVP        Urging us to provide vital feedback.Barry Wilson has been cruising the BBS air waves and grabbed a     couple of good files for us.MIDITRMS    An extensive listing of MIDI terms.SURGPROT    More info on Surge protection than you will ever            need!Jerry Vrancks has given us a very timely program.HEATCOOLSB   A SmartBasic Version 1 program that calculates              the heating or cooling requirements for your             h     For NIAD Members Only! ------------------------------------                FILE MANAGER V2.0                  Modified by SAMThe following is a brief overview of "The File Manager" a super        efficient file management utility.  File Manager is completely Menu    driven utilizing ADAM's SmartKeys.Sharon "SAM" McFarlane / NIAD------------------------------------I.    BACKUP/KRUNCH - The BACKUP option executes an image backup of    all Disks/DDP's.  This utility will copy from and/or to ata Florida.             Yep - Bob's bragging about SFAUG members now!!See you next Month.    Bob Blair51171 EKOP00011,tluafed ot neercs MER89901$q TEG03701"YEK YNA SSERP     " ?01701?:?:EMOH:0# RP00701"ROOLF BALS a htiw " ? NEHT "s"=$bb RO "S"=$bb FI536017"ECAPS LWARC a htiw " ? NEHT "c"=$bb RO "C"=$bb FI036018 ;"TNEMESAB DELOOCNU ro/dna " ? NEHT "n"=$cb RO "N"=$cb FI526014 ;"TNEMESAB DELOOC ro/dna " ? NEHT "y"=$cb RO "Y"=$cb FI02601= ;"DETAEHNU htiw " ? NEHT "n"=$hb           Source/Destination Drives should be assigned.  After pressing SmartKey II, a listing of all Source Media files is displayed. Use the up/down  <ARROW> Keys to move the cursor throughout the files.  As each file is highlighted, press the <STORE-GET> Key if a copy of that particular    file is required.  An inverse "diamond" symbol marks each file to be   copied.  Press <RETURN> to display the File Attribute Edit Menu.  This provision allows changes to be made eg. Filename/type, prior to        tranlace your wagerCL-clears your wager bck to zeroBJ-press to play blackjackPOK-press to play pokerGO-start,deals the cardsDL-dealHIT-gives you another cardSTD- keep the cards you have in front of youCNT- continueTAK- take the money you have wonH.R-guess if the card is a high card or a low cardHLR- almost the same as above except there is 5 cards ARCADE: a shooting game. To play, enter RUN ARCADE. scores,set, and arcade go with ARCADE. cards goes with cardgames.Sincerly,John Silva69 Sycamothe up/down <ARROW> Keys to move throughout the Directory.  The Edit Menu is self-explanatory. Should an option be chosen in       error, simply press the <RETURN> Key to leave the attribute unchanged. A "SAVE CHANGES?" message is displayed prior to leaving the Directory  Edit Mode.  Enter "Y" & any changes are automatically saved to         Disk/DDP after which the Main Menu is then displayed.  A "N" input     immediately returns the User to the Main Menu.V.    SOURCE MEDIA - Used to select DISK #1/#2 orlace your wagerCL-clears your wager bck to zeroBJ-press to play blackjackPOK-press to play pokerGO-start,deals the cardsDL-dealHIT-gives you another cardSTD- keep the cards you have in front of youCNT- continueTAK- take the money you have wonH.R-guess if the card is a high card or a low cardHLR- almost the same as above except there is 5 cards ARCADE: a shooting game. To play, enter RUN ARCADE. scores,set, and arcade go with ARCADE. cards goes with cardgames.Sincerly,John Silva69 Sycamo These changes are permanent &    it's very easy to make an error!-----------------------------------==========================================================CARDGAMES / ARCADE INSTRUCTIONS:CARDGAMES- a casino type cardgame using sprites and the smartkeys. You can play poker or blackjack and you can switch in between games. At    the bottom of the screen are 6 blue boxes they represent the           smartkeys. You start out playing poker, but you can change to          blackjack if you want.BET-psferring the file to another medium.  Press <RETURN> again to      execute the copy utility.III.  COPY BLOCK<S> - This option allows the User to copy a single     block or a group of blocks to the same OR a different location on a    storage medium.  Blocks may be transferred from and/or to any Disk or  Tape Drive as well as from and to the same medium.IV.   EDIT SOURCE DIRECTORY - This feature allows changes to any/all   attributes in a Disk/DDP Directory. The files are displayed one at a   time using re StreetNew Bedford, MA 02740member # 0487jsil912369=======================================================================================================CARDGAMES / ARCADE INSTRUCTIONS:CARDGAMES- a casino type cardgame using sprites and the smartkeys. You can play poker or blackjack and you can switch in between games. At    the bottom of the screen are 6 blue boxes they represent the           smartkeys. You start out playing poker, but you can change to          blackjack if you want.BET-p TAPE #1/#2 as the    Source Media.  The default drive is DISK #1.VI.   DESTINATION  - Used to select DISK #1/#2 or TAPE #1/#2 as the    Destination Media.  The default drive is DISK #2.* NOTE:  Pressing the <ESCAPE> Key at any point with any option will   return the User to the Main Menu.------------------------------------WARNING!  It is always advisable to use a backup copy of any important files before making any changes to a Disk/DDP Directory OR moving      blocks from one location to another. x1 *** ***      *****   PROGRAM DESCRIPTIONS   *****       ***      by Bob Tarnowski      ***.................................................NOTE: This volume contains    ***   ***  NIAD PUBLIC DOMAIN  ***   ***          *** ***    BASIC VOLUME #21    *** ***      *****   PROGRAM DESCRIPTIONS   *****       ***      by Bob Tarnowski      ***.................................................NOTE: This volume contaOUNCE - Clever program for printing text   page centered or left/right justified.*** ARCADE - Arcade type shooting game in hi-res.*** CARDGAMES - Poker and Blackjack very well     done using terrific hi-res techniques.*** DIRsizer - For INITing disks and tapes with   multiple directories for storing over 200 files.*** FILEMGR - Revised version of FILEMANAGE.      Great utility for copying and directory editing.*** FOOTBALL - One of finest P.D. contributions   with excellent sound and graphics. Play balههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههins a revised version of   SmartBASIC.  SEE DOCFILE FOR DETAILS.  To use,    pull the <RESET>. After a moment, a programs menu will allow you to select your program choice.     Only files that can be RUN (A files) or BRUN (H   files) appear on the menu. A CATALOG will reveal  other files which include non-runnable machine    code and data files used by primary programs.*** MENU - Used to select and RUN the programs on this media. RUN HELLO or BRUN MENU or reboot      system by pulling the <RESET>.*** ANNههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههl!*** SCRUNCH - Good utility removes deleted files  and repositions good files to free media space.*** SLOTMACH - Well done version of the famous    Las Vegas dream machines.*** THREEK - Challenging text adventure with      cleverly coded messages.*** 5SOUNDdemo - Interesting and useful           demonstration of ADAM's sound effdects            capability.Enjoy!!!** MENU - Used to select and RUN the programs on this media. RUN HELLO or BRUN MENU or reboot      system by pulling the <RESET>.*** ANN