Distance between columns. Vertical margins between columns using Sass using a bootstrap grid as an example
In fact, the main idea of this educational program should have been a competent choice of acoustics. But when I started working, I realized that it was logical to start with the very first problem - the sound properties of the room where these acoustics will be located. In the end, it turned out that this time I didn’t get to the process of selecting speakers, but I wrote some useful tips on where and how to install the already purchased system in order to reveal its best properties. I’ll say right away that the material is designed for beginner music lovers who are just taking their first steps in search of better sound.
Judge for yourself: interesting advanced sources, amplifiers and speakers appear almost continuously, so there is always a temptation to try something new. Well, if the choice of a component suddenly turns out to be not very successful, the search for a candidate for replacement almost always turns from a painful inevitability into an additional adventure. On the other hand, most of us have the chance to choose a new room for a music system or home theater very rarely, and for some, never at all.
For this reason, the fever of permanent upgrades, as a rule, does not spread to the listening room. But it is precisely this that is the most important component of a sound installation, on which the character and sound quality of the equipment, regardless of its class, most dramatically depends. Well, if this is so, there is only one option left: to leave the consumer excitement for a while and start bringing the existing property into acoustic order.
Prevention is better, but cure is more frequent
Hi-Fi salon workers won’t let you lie; the phrase “It played in your house, but it doesn’t play in my house” is the best illustration of the problem of interior acoustics. That is, acoustics itself has no problems, but problems arise from those who try to ignore its existence.
Let's say a young family has found its own apartment. The first step is to draw up a plan for arrangement and repair. “We’ll put the refrigerator here, the washing machine in the bathroom, and the sofa in the living room.” We hang the TV opposite the sofa, unless, of course, someone comes up with the disastrous idea of driving it into a corner. Then, by the way, it may well turn out that the screen turned out to be opposite a window facing south - I personally have seen this more than once.
In order to uncompromisingly combat early reflections, optimize bass and reduce reverberation time, some home studio owners resort to the most radical measures, such as building walls from acoustic traps Speakers are most often the last thing people remember, and God forbid, if this happens at least before the installation of the notorious sofa. It’s clear why: even if the future inhabitants of the apartment really like to listen to music, worries and expenses during a large-scale renovation are through the roof, they shouldn’t forget to order a toilet...
The result is predictable. The speakers find themselves driven into the corners of the room, and the subwoofer peeks out hauntedly from somewhere behind the curtain. As a result, the sound will most likely be worthy of the first car of a young hip-hop fan who is experiencing an acute shortage of financial resources and musical taste.
But it will never be possible to arrange the acoustics purely by chance so that your mother-in-law, a hereditary musicologist, comes to visit and plunges into deep euphoria. The fact is that the rules for the optimal location of sound sources almost always go against the established norms (not to say cliches) of interior design.
The fact that the acoustics of a room influences many things is evidenced, for example, by the work profile of the British company Oscar Acoustics. They make special decorations in office meeting rooms that improve the speech intelligibility of all meeting participants It is important to understand that any room always acts as a resonator, shaping the character of the sound no less than, say, a violin deck. However, unlike the body of a violin, the shape of the room in the vast majority of cases does not contribute to euphony.
For example, a rectangular topology with parallel surfaces of a large area inevitably leads to the emergence of unwanted reflections and standing waves, turning the more or less flat (at best) frequency response of the speakers into a curve that most closely resembles an earthquake seismogram. Moreover, at different points in space, the shape of this curve can change in the most bizarre way.
Four bad rooms
We list the main factors of the negative impact of a room on sound:
1. Insufficient, or, conversely, too long reverberation time. This parameter characterizes the “vocality” of the room, that is, the duration of sound attenuation, and is expressed by the time required to attenuate it a thousand times (by 60 dB). A room that is too echoey is just as unsuitable for the normal perception of music as one that is completely deaf, depriving listeners of the slightest sense of spatial volume.
2. Standing sound waves. They arise due to reflections and mutual overlap of low-frequency vibrations, the wavelengths of which are comparable to the size of the room. They are perceived by ear as sharp rises and dips of bass at strictly defined points in space.
Yes, yes, this is how it happens not only with conversations behind you, but also with sound reflections from the acoustics in front of you 3. Early reflections. High-frequency (to a lesser extent - mid-frequency) vibrations reflected from surfaces located near the speakers (mainly bare side walls, floor and ceiling). They enter our ears almost simultaneously with the direct signal, disrupting the correct perception of the localization of sound sources in a stereo panorama. Moreover, the phase mismatch of the direct and reflected waves (which also varies in frequency) leads to a sharp deterioration in the uniformity of the frequency response.
4. Fluttering echo. A series of rapid repetitions of sound at specific frequencies that occurs when speakers are placed between two parallel, highly reflective surfaces.
Saving sound using improvised means
There are many ways to curb sound anarchy, the most radical of which involve building an accurate acoustic model of the room by laser scanning it. It is highly advisable to think about acoustic preparation at the initial stage of a major overhaul, and it is better to entrust it to a trusted specialist. And specifically to the installer, and in no case to the interior designer. Because the latter (unless, of course, he is also an audiophile) does not know that large areas of drywall absorb bass with amazing appetite, and reflect mids and highs with characteristic overtones. Or that an uncurtained glass wall is the embodiment of the nightmare of any music lover with ears.
This is what the acoustic treatment of one of the halls of the Manifold Recording studio looks like. This is about the question of how much work needs to be put in to make the room really sound However, if this train has already left, leaving the room with the existing decoration and interior as a given, you can try to improve its acoustic properties on your own. By the way, the chances of significantly improving the sound of the system in this case are quite high. Of course, it will not be possible to completely get rid of all problems, but you will be able to save a fair amount of money in comparison with the “installer” option.
Let's start with a meaningful arrangement of columns. First of all, move them away from the back wall, especially if the bass reflex ports are directed directly at it. This will make the bass less boomy and more intelligible, and improve the depth of the music scene. How much should I move? There is no universal answer, so first of all, read the manual for the speakers, and then listen and experiment. By the way, the listener himself should not rest his head against the wall for the same reason. Soft pillows on the back of the sofa help a lot, and ideally a woven tapestry or a heavy curtain behind your back.
The proximity of the side walls contributes to the occurrence of early reflections and standing waves, so we also try to keep the acoustics away from them. In the fight against the latter, by the way, it is very useful to obtain detailed information about the modes - that is, the frequencies at which resonant phenomena occur, and at the same time finding out their approximate location in the room. All you need is a tape measure and an online acoustic calculator, such as this one.
Acoustically calculator Another way to determine the optimal position of the columns is the method of even and odd sections. For example, the length of a room is divided by an even factor, and the width by an odd factor. Dividing, say, the width by two and the length by three, we get a kind of marking, at the intersections of which lines it is recommended to install speakers.
True, if a music lover does not live alone, at this moment it is extremely likely that a conflict situation will arise with household members who do not consider it a good idea to install two one and a half meter wooden pillars right in the middle of the room. Well, apparently we will have to make compromises, the main thing is that they, again, make sense from the point of view of acoustics. And keep in mind that as the distance between speakers decreases, the top end of the bass spectrum tends to sound brighter, while the deepest lows tend to sound brighter. In addition, always try to minimize the length of the wires connecting the speakers to the power amplifier. Most likely, for this you will have to lengthen the interconnects, but the game is worth the candle.
After the speakers have found a stable position in space, orient their acoustic axes directly to the listening position. Any deviations from the “direct shot” are fraught with distortion of the frequency response, especially at high frequencies, because developers strive to obtain the best sound precisely for this position of the emitters. True, some manufacturers (for example, Dali for speakers with wide-directional ribbon tweeters) recommend not turning them towards the listener, but this exception only confirms the general rule. In the version with bookshelf speakers, for the same reasons, the HF emitters of the speakers should be at the level of the ear of a sitting person.
Walls and ceilings that meet at right angles are the main acoustic problem in most rooms. Large acoustic traps will help even in the most difficult cases, the main thing is to be able to fit them into the interior If we are talking about a 2.1 configuration (we will look at multi-channel systems for home cinema in a separate article), it’s time to look at the subwoofer. As the sound frequency decreases, the directionality of its propagation decreases, but this does not mean at all that the sub can be pushed anywhere - as long as it does not interfere and there are enough wires.
An individual set of modes and potential sources of resonances for each room (a glass cabinet with dishes) makes the search for the optimal location of the subwoofer an exciting, creative and far from simple task. Take the time to experiment with its position - and you will be surprised how differently “non-directional” low frequencies can sound.
In order not to carry a heavy box during the experiments, some do the opposite: they sit the sub in a chair, and in search of the right bass (not louder, but more legible and uniform), they crawl around the room on all fours, and then place it in the best place for hearing. sub We already know the starting point in our search: closer to walls and corners there is more bass, and, most often, uncontrollable hum. By the way, while moving, do not forget about adjusting the cutoff frequency and phase rotation, it also helps.
About the benefits of mirrors and the dangers of reflections
During all manipulations with acoustic systems, it is important to remember that the biggest troubles are usually caused by large surfaces that reflect sound well, especially when they are located symmetrically. That is why high-end recording studios and concert halls do not have right angles and parallel walls, and their ceilings are formed by panels of complex shapes that work, depending on the specific task, to absorb or dissipate sound energy.
In our situation, “setting up a room” may involve three stages. First, we determine the reverberation level (the easiest way is to clap your hands loudly and listen carefully to the reaction of the room). Rooms that are too loud are much more common than rooms that are too muffled. Any sound-absorbing materials and objects will be suitable for adjustment: upholstered furniture, thick curtains, paintings and bookshelves on the walls (in no case glazed), and even large plush toys. If the sound from the clap disappears almost before you bring your palms together, then the elements of decoration and comfort are obviously too much, and it would be nice to get rid of some of them.
Stage two is the fight against early reflections. A carpet on the floor (the thicker the better) and a ceiling lined with sound-absorbing tiles (tensile fabric also works great) help here. A compromise option: a decorative rug directly in front of the speakers. Don’t forget about the walls; instead of paintings, it’s better to place special sound-absorbing panels on them, some of which look quite stylish and nice. The optimal place to place absorbing elements is not difficult to find. Place a mirror or a sheet of mirror film on the surface under study and move it until the person sitting in the listening position sees the reflection of the speakers in it. Well, since the angle of incidence is equal to the angle of reflection, sound-absorbing material must be placed in this area.
Example of effective placement of sound-absorbing panels Finally, a couple more words about taming the bass. An effective way to combat their excess, uneven distribution and characteristic muttering is to place acoustic traps - cylindrical structures that absorb the energy of low-frequency vibrations - in corners (sometimes along walls too). To install them, you won’t have to undertake renovations, but you need to be mentally prepared for the appearance of several more bulky objects in the room.
By showing volume, frequency, and panning visually, you can show how each device affects the image of the sound by placing it in the space between the speakers. The three main sound parameters correspond to the coordinate axes: X, Y, Z.
Fig.8. Sound visualization: X, Y, Z axes.
Panorama from left to right.
Panorama, i.e. The left (right) location of the sound between the speakers is visually shown as a left-to-right arrangement.
Fig.9. Panorama: position from left to right.
Sounds that are closer to us are louder, while sounds that are closer to us are quieter and softer, so the volume of a sound in a mix can be shown as foreground to background (closer to farther).
As you may have noticed in mixes, some sounds are brought to the foreground (usually the vocals or lead instrument), while others (strings, backing vocals) remain in the background. If you want to highlight a particular sound in a mix, the first thing you can do is pull up the corresponding fader on the mixer. By lowering the volume of the sound, you, accordingly, push it into the background.
Although volume is the primary function for bringing sounds closer, there are also other devices or factors that make sounds appear closer, such as compressors; equalizers, in the “presense” range maximum gain mode; short (less than 30 milliseconds) delays; in general, any effect that makes the sound “stick out.”
Reverbs and long delays make sounds seem more distant. These effects are discussed in Chapter 4, “Studio Equipment Functions and Visual Representation of All Parameters.”
WARNING: You must use other tools such as delays and reverbs to calibrate your distance from the sound source. If you ever happen to be in an anechoic test chamber (a room where the walls absorb all sound so that there are absolutely no reflections), you won't be able to tell the distance to the sound source based on volume alone. However, for the purposes of this book, volume is shown from foreground to background. So the louder the sound, the more foreground it is shown.
Pitch: top and bottom.
There is an interesting illusion that happens with high and low frequencies in the world of images. Test it on your own system. Play some recording and listen to where high- and low-sounding sounds are located relative to the speakers. Instruments such as bells, cymbals, and high-pitched strings always seem to be much higher between the speakers of instruments such as bass guitars, bass drums, and tambourines.
Rice. 11. Frequencies: Bottom up.
There are several reasons for this illusion. First, low frequencies travel across the floor to your feet, but high frequencies do not. With this in mind, professional studios are always precisely calibrated regarding how much low frequency will be transmitted to you through the floor and legs. (And this is the reason some engineers work barefoot!)
On a more esoteric level, there is a theory in the field of music psychology that places frequencies from the bottom up of the human body, starting from the bottom of the belly to the top of the head.
Rice. 12. Frequencies within us.
In this book we will not challenge the correctness of such systems; be that as it may, it contributes to our perception of high and low frequencies in the world of images. Regardless of why this happens, high-pitched sounds appear to be positioned higher than low-pitched sounds, which is how we will place them in our images.
Fig 13. Song with high and low frequencies highlighted.
You can raise or lower the sound by changing the pitch with harmonic processors and ixiters, or by having musicians do modulation. Since an equalizer controls the volume of certain frequencies, using it we can move the sound up and down...at least a little. On the other hand, no matter how much low end you add to a piccolo flute part, it will never make the floor vibrate or the bass guitar will ever soar to the skies.
Determination of the boundaries of a 3-dimensional stereo space of sound images.
Think about this: the sound image is never to the left of the left speaker and to the right of the right, right? Well, otherwise the room would seem strange.
Since the exact location is a figment of your imagination, different people have different ideas about left and right boundaries. Some people say that the sound cannot be to the left or right of the speakers. And some find that the sound may be a little, an inch or two, to the left and right of the speakers. Test yourself. Pan the sound as far to the left as possible and listen to where its image is. The left and right boundaries of the imaginary space are shown here:
Rice. 14. Left and right boundaries of space.
When you turn the pan knob, you move the sound from left to right between the speakers. What about the depth (front and back) of volume then?
Typically, the backing vocals and strings are placed a few inches behind the speakers. When you reduce the volume of the sound, it seems as if the distance between you increases. Let’s now try to answer the question: “How far will the sound be behind the speakers before it completely disappears?”
Most people feel that the sound is anywhere from 6 inches to two feet behind the speakers, depending on their size. It's interesting to note how the size of the speakers affects this illusion. If we have a boom box, we usually don't hear sound more than a few inches behind the speakers.
Rice. 15. Limits of boom box space.
And when we listen to large concert PA systems, sometimes the sound seems to be more than 6 feet behind the speakers.
Rice. 16. Limits of concert acoustics space.
Check how far away the sound can be behind different speakers. This is usually a fairly short distance.
NOTE: That some sounds may be beyond the limits of imagination is a psychoacoustic phenomenon. For example, if you place the sound of distant thunder between speakers, it can appear miles away, miles behind the speakers. The reverb sound of the Grand Coliseum or the echo of the Grand Canyon may also be far behind the speakers. This is a good example for creating entire sound worlds.
So, according to the previous remarks, when you turn on the sound, it appears in the space in front of you. But how far ahead can we push it? First, no matter how loud we make the sound, we will not be able to move it behind us. In fact, sounds rarely appear to us more than a short distance in front of the speakers. Most people find this distance to be between 3 inches and 1 foot in front of the speakers. Again, this distance depends on the size of the speakers. The loudest sound from a boom box may not be more than 2 inches away, while the loudest sound from a large speaker system may be 6 to 10 feet in front of the speakers (check your own systems).
Regardless of our perception of the exact boundaries of imaginative space, we can easily imagine exactly where the sound is located - in front or behind, and volume is a decisive factor in this. Thus, a normal stereo field is actually three-dimensional! In the pictures we show only the far boundaries of the imagination space.
Rice. 17. Far and near boundaries of space.
Finally, what about the top and bottom boundaries of the space? As discussed earlier, higher pitched sounds appear to be positioned higher than lower pitched ones. The question is how much higher? And where is the upper limit of the audible range between the speakers? Some people say they can't hear sounds above the actual speaker placement. Some say that the sound floats several inches above the speakers. Again, the upper limit depends on the size of the speakers and the listener's imagination. Regardless of the exact limit, the sound never goes beyond the ceiling. The field of imagination is limited somewhere around the top of the speakers. Now, what about the lower limit? Low frequencies usually travel through the floor to your feet. So gender is the lower limit. The upper and lower bounds are shown here:
Rice. 18. Upper and lower boundaries of the imagination field.
No matter how far left we pan the sound, it never feels like it's positioned much to the left of the left speaker. The same goes for the right side. Sounds may be slightly ahead or behind the speakers. We never place the sound above the speakers, but it comes to us through the floor.
The limits of sound representation space can be shown like this:
Rice. 19. Natural boundaries of the mix layout.
This is where the mix is located. In the world of imagination, sounds are never located outside the room. It is especially important to discover that this space is limited.
So, if you listen to a large orchestra of 100 musicians, the sound fills that entire space.
Rice. 20. A large orchestra fills the space between the speakers.
You can't hear every violin in such an orchestra, you hear entire violin sections. Conversely, if you only have three violins, you will hear each of them quite clearly.
Fig.21. Violins with enough space between them.
Since the space between speakers is limited, and overlap of sounds is the main problem of the mix, the main goal of mixing becomes... space control!
As you can imagine, we can move the sound in the space between the speakers by changing the volume, panorama, and pitch (the equalizer has a small effect). These same three parameters are used not only to move sounds, but also to place and move effects such as delays, flangers and reverbs.
Rice. 22. Moving the sound using Volume, Panning, Equalization.
This limited space between the speakers is the stage or palette where we can create different mix structures. The trick is to creatively arrange the sound patterns.
Now let's discuss the elements, instrument sounds and effects that we will be placing between the speakers.
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All topics in this section:
All aspects of a recorded piece of music
Rice. 3. Eleven Aspects of a Recorded Musical Piece When
Aspect 1. Concept or theme
A concept can be defined as a combination of ten other components: It is also known as “mood”, “flow”, “aura”, depending on your definition. The concept is usually defined as
Aspect 2. Melody
Melodic line comments are especially dangerous. Comments like: “The melody is just not good” - nullify the creative process, destroying your relationship with the performer. The truth is
Aspect 3. Rhythm
If you know a lot about the complexity of rhythms, you can make assumptions accordingly. There are entire areas of rhythm that are studied in music theory. Be that as it may, even if you don't know
Aspect 4. Harmony
If you can arrange a harmony, the performer will most likely think you are a god if you can perform it. Even if you don't know anything about chord structure, inversions, voicing
Aspect 5. Words
Trying to tell someone that their writing is bad can have serious consequences for your health. A surprising number of hits have pretty dumb lyrics. However, I recommend being especially
Aspect 6. Arrangement
The term "arrangement" is used to indicate the density of the arrangement, i.e. the number of sounds in a song at any given moment, including the number of sounds in each frequency band. Main
Aspect 7. Instrumentation
As an engineer, you are responsible for making sure every instrument sounds good, even if the band members chose them themselves. If there is something wrong with the sound of the instrument, you can, of course, try to do everything possible
Aspect 8. Song Structure
Structure refers to the order and length of the parts of a song (intro, verse, chorus, break, transition, improvised accompaniment). As an engineer, in general you won't be able to say much about the structure.
Aspect 9. Execution
The sound engineer - whether he is producing the project or not - is often responsible for the accuracy and purity of the performance. There are five main aspects of execution that an engineer must
Section A
A physical representation of sound waves and the imaginary arrangement of sounds between speakers. Our relationship to sound is twofold: we feel (hear) sound
Visual representation of sounds
How big is each sound in this world of images? Our goal is to show how much space each sound takes up in the space between the speakers, so here
Musical style
Most bands that go into the studio want the mix to sound like the music they're playing. For some bands and some styles the rules are quite strict. For example,
The song and all its elements
Sometimes it's obvious that a mix needs to be done in a certain style. But more often than not, engineers (and the band) forget to check that the mix matches the song and all its elements. Such as: con
Volume control
FADERS Faders control the volume of every sound in the mix, including effects. Setting a specific volume level for each sound is based on its relationship to other sounds.
Sound image stabilization: more presence
After several years of fighting noise with compressors, people have also discovered that the sound, when processed by a compressor, also becomes more close, “present”. Lowering the level of p
Shortening the duration of the sound
You can also use a noise gate to shorten the sound. A noise gate cuts off both the attack and release of sound due to the fact that these are usually the quietest parts of the sound. All this leads to an unusual effect.
Equalizers
EQ (equalization) is a change in the volume of certain frequencies, similar to how the “high” and “low” knobs work on stereo players. This is the hardest work
Types of equalizers
There are three main types of equalizers used in the studio: graphic, parametric and cut (high and low pass filters). Graphic. Gromkos
Lower Mids (Oohzone): 200 to 800 Hz
If the sound in this range is too loud, it becomes especially muddy and unclear, and leads to rapid listening fatigue. You may hear something like: “Just mix
Harmonic structure of sound
Experts cannot come to a consensus on how different frequencies affect our psyche, and this fact can be understood by knowing the individual nature of the perception of sounds. Psychologists and philosophers have written a lot
When to Equalize
There are five times when you can use an equalizer during a recording session. In the first case, each sound is equalized individually during recording on a multi-track tape recorder. Second
Common terminology for equalization techniques
Even if you have learned all the frequencies; understood how to cut and raise frequencies depending on different instruments; and became a master of equalizing the sound of instruments depending on different types
Panning knobs and stereo placement
When mixing, you use the pan (balance) knobs to place the sound to the right or left between the speakers. The pan knob contains, in effect, two g knobs.
Temporal (time-based) effects
DELAYS After many unsuccessful attempts to use tennis courts to create delays, engineers were able to create a delay using a tape recorder. You could hear the delay when recording with
Various delay times
Now let's outline specific delay intervals so that they can be remembered. More than 100 milliseconds. Professional engineers call this interval "
Level 2 Impact: Volume Setting Patterns
Compared to the individual volume level of instruments, the combined
Level 3 Impact: Volume Changes
During the song, its volume changes: from quiet to loud, just like that
Compressors/limiters
Just like volume faders, compressors/limiters have an impact on music and songs. Compressors/limiters are often used for technical reasons, such as to get better ratio
Impact of equalization
If you've been involved in recording for a long time, you understand that the boundaries
EQ dynamics
Level 1 impact. – Individual EQ placement and relative settings.
Mixing styles
So we discussed with you the levels of impact that can be created by four tools in the studio - volume, equalizers, panning and effects. When you use it all
Mixing process
Different engineers have different procedures for this. Below is a process to help you build your mix effectively. EQ each instrument individually
Mix map
Use a mix map to make it easier to remember multiple moves (
Laboratory work No. 3
Columns and lists
Creating Columns
ü Two columns of equal width.
ü Three columns of equal width.
2. On the tab Page layout in Group Page settings click the button Columns
2. On the tab Page layout in Group Page settings click the button Columns.
One.
4. Click the button OK.
Setting the number of columns
2. In the tab Page layout in Group Page settings click the button Columns Other speakers(Fig. 2).
Number of columns(Fig. 3).
Apply
To the entire document.
To this section.
Until the end of the document.
Delimiter
6. Click the button OK.
Columns uncheck the box columns of the same width
5. In the area Sample
6. Click the button OK.
Ü Exercise
1. Copy from folder file to your personal folder.
Document with columns.
Rice. 7. Design of a numbered list
Rice. 8. Design of a bulleted list
To create a numbered or bulleted list as you type, do the following:
1. Place the cursor at the beginning of the list. If necessary, press the key
2. Click the button arrow Numbering or Markers groups Paragraph tabs home(Fig. 7) and select the desired numbering option in the list gallery.
3. Enter list items by pressing the key
4. At the end of the last paragraph, click
Convert a numbered or bulleted list to plain text
Follow these steps to remove numbers or labels from a list, thereby converting the list text into regular paragraphs.
1. Select the paragraphs you want to convert. This could be the entire list or just part of it. The corresponding button on the formatting panel ( Numbering or Markers) will be pressed.
2. Press the button Markers or Numbering groups Paragraph tabs home or click the arrow on this button and select a mode No(Fig. 7, Fig. 8).
Sorting lists
When you create a list, you typically add items to it as information becomes available. Once the list is formed, you can organize it. To do this, do the following.
Select all items in the list.
1. In the tab home in Group Paragraph click the button Sorting(Fig. 9).
Rice. 9. Home Tab
2. The Sort Text dialog box will appear (Fig. 10).
Rice. 10. Dialog box Sort text
3. Select the sorting type from the drop-down list (Fig. 10).
4. Set the sort order (ascending or descending) (Fig. 10).
5. Click on OK.
Ü Exercise
1. Copy from folderH:\documents\Office\Lab files file to your personal folder Document for working with lists.
2. Open this document in Word.
3. Create a numbered list based on this text (choose your own style).
4. Save the received document in your personal folder under the name Numbered list.
5. Convert list text into regular paragraphs.
6. Create a bulleted list (choose your own style).
7. Sort the list alphabetically.
8. Save the received document in your personal folder under the name Bulleted list.
9. Close the document.
PLAN.
Inserting a symbol
To insert a symbol into a document, do the following.
1. In the tab Insert in Group Symbols click the button Symbol. Then select the command Other characters(Fig. 16).
Rice. 16.Insert tab
2. A dialog box will appear Symbol(Fig. 17).
Rice. 17.Dialog box Symbol
From the dropdown list Font select the desired symbol group from the list. Here are the ones you'll use most often.
· Symbol. Greek alphabet, mathematical symbols, all kinds of arrows, trademark, copyright sign, etc.
· Plain text. Vowels with accent marks and other special characters, currency symbols, paragraph marks, etc.
· Wingdings. Pictures depicting watches, envelopes, telephones, etc.
To insert a symbol, double-click the left mouse button on it. You can also highlight a character and then click OK.
Click the button Cancel to close the dialog without inserting a character. Click the button Close to close the window after inserting one or more characters.
Laboratory work No. 3
Columns and lists
Columns are commonly used in newspaper articles, brochures, and similar documents. Lines of text in columns are shorter than usual, they are easier to read, and columns provide great flexibility when formatting a document with pictures, tables, etc. Word makes it easy to use columns in a document. In Fig. Figure 1 shows the article formatted in two columns.
The columns you'll create with Word are newspaper-style columns, meaning the text on the last line of one column continues on the first line of the next column on the page. In documents where column rows must appear side by side, use tables.
When you define a column split for the selected text, it will be split into multiple columns. Word inserts section break lines before and after the selected text. If you have not selected the text in advance, the entire document will be divided into columns. But if your document is divided into sections, the columns will only apply to the text in the current section.
Rice. 1. A document divided into two columns.
Creating Columns
Word has four predefined column creation modes.
ü Two columns of equal width.
ü Three columns of equal width.
ü Two columns of unequal width, with the wider column on the left.
ü Two columns of unequal width, with the wider column located on the right.
You can apply any kind of column formatting to the entire document, to the current section, to selected text, or to text from the current cursor position to the end of the document. To do this, do the following.
1. If you want to divide only part of the document into columns, select the text that will fall into the columns, or place the cursor at the position from which the division into columns will begin.
2. On the tab Page layout in Group Page settings click the button Columns and in the menu that appears, select the required number of columns (Fig. 2).
Rice. 2. Selecting the number of text columns
3. The selected text will be formatted in the selected number of columns with equal spaces between them.
It should be noted that when a document fragment is formatted as multicolumn text, section breaks are automatically inserted into the document, and this fragment becomes a section of the document. This should be taken into account when subsequently working with the document.
Convert multi-column text to single-column text
To turn multi-column text into single-column text.
1. Place the cursor anywhere in this text.
2. On the tab Page layout in Group Page settings click the button Columns.
3. In the menu that appears (Fig. 2), select the option One.
4. Click the button OK.
Setting the number of columns
You can set an arbitrary number of columns.
1. Place the cursor anywhere in the document.
2. In the tab Page layout in Group Page settings click the button Columns and in the menu that appears, select the command Other speakers(Fig. 2).
3. Set the required value in the counter Number of columns(Fig. 3).
Rice. 3. Selecting the number of text columns
The maximum theoretically permissible number of text columns to be created is 45. However, with commonly used page parameters and font sizes, the number of columns does not exceed 10-12. In addition, it should be borne in mind that with a large number of columns, their width becomes very small, which makes such text difficult to read.
4. Using the field dropdown Apply specify which part of the document to apply column division to.
To the entire document. This is only possible if the document is not divided into sections.
To this section. This is only possible if the document is divided into sections.
Until the end of the document. Word inserts a section break line in place of the current cursor position and applies a column break to the last section of the document.
5. To make multi-column text easier to read when there is a small gap between columns, you can install a column separator. This can be done both when creating and after creating multi-column text. Check the box Delimiter to display a vertical line between columns (like in a newspaper).
Rice. 4. Installing a column separator
The separator is a vertical black bar approximately 0.75 pt thick (Fig. 1). The color and thickness of the separator cannot be changed.
6. Click the button OK.
Setting column widths and spaces between them
In all cases, except for selecting parameters Left And On right, by default all columns are created the same width. The gap between them is 1.25 cm.
You can set arbitrary widths of columns and spaces between them. This can be done both when creating and after creating multi-column text.
To do this, do the following.
1. Place the cursor anywhere in the document.
2. On the tab Page layout in Group Page settings click the button Columns and in the menu that appears, select the command Other speakers(Fig. 2).
3. To change the width of all columns and the spaces between them in the window at once Columns enter the required data in the text fields width or interval(Fig. 5) (or click on the corresponding arrows next to the fields). Checkbox columns of the same width must be installed.
Rice. 5. Changing the width of all columns and the spaces between them
4. To arbitrarily change the width of each column and each space between them in the window Columns uncheck the box columns of the same width and set the required values.
The total width of all columns and the spaces between them must be equal to the width of the active part of the page (the width of the page minus the sizes of the left and right margins).
5. In the area Sample you will see how the changed columns will look.
6. Click the button OK.
Ü Exercise
1. Copy from folderH:\documents\Office\Lab files file to your personal folder Document to be divided into columns.
2. Open this document in Word.
3. Divide the text of paragraphs 1 and 2 (ignore the heading) into 2 columns of equal width.
4. Divide the text of the 3rd paragraph into 3 columns of equal width with a separator between them.
5. Change the number of columns from three to two and set the gap between them to 3 cm.
6. Save the received document in your personal folder under the name Document with columns.
7. Convert text with columns to plain text.
8. Close the document you were working on.
You can buy a very expensive audio system, but if you put it in a small, square room, the cost won't matter as much. Choosing the right location for the speaker system is a very important factor in getting good sound in the room.
Instructions
Instructions
In Word, it is possible to place text in several columns on one sheet, and then we will look at how to make columns in Word. A clear example of such text design is usually newspapers and various magazines.
You can configure the placement of text in Word in several columns before you start typing, or you can divide already typed text into columns. To create columns you need to go to the tab "Page layout" and in the menu "Columns" select one of the proposed speaker placement options or select an option "Other Columns" to independently adjust their quantity.
In the settings window that appears "Columns" You can fine-tune each created column by specifying its width, the distance between adjacent columns, and, if necessary, setting a dividing line. These settings can be applied to the entire document, to the end of the document, or to selected text.
Once columns are created, text will move to the next as one column is filled. If you need to move on to the next without completely filling one column, you should set a column break before the text that should go in the next column. This is done on the tab "Page layout" on the menu "Breaks" selecting an item "Column".
