title: SpeakerCraft

abstract: SpeakerCraft is an American manufacturer of custom-installed audio/video and home theater products based in Petaluma, California. Founded in 1976 by Edward Haase, Ken Humphreys, and Eugene Humphreys, the company evolved from a retail stereo store and original equipment manufacturer to a designer and installer of custom audio systems. Over the years, SpeakerCraft has developed proprietary technologies such as AIM, TIME, WavePlane, and MODE, and has produced more than 1000 products, including architectural speakers, subwoofers, and control systems. The company has experienced significant growth and multiple ownership changes, including its sale to Nortek, Inc. in 2004. SpeakerCraft is recognized for its innovative approach and quality products, despite some criticism regarding cost.

text:
# SpeakerCraft

**SpeakerCraft** is an American manufacturer of custom-installed audio/video and home theater products based in Petaluma, California. Founded in 1976 by Edward Haase, Ken Humphreys, and Eugene Humphreys, the company evolved from a retail stereo store and original equipment manufacturer to a designer and installer of custom audio systems. Over the years, SpeakerCraft has developed proprietary technologies such as AIM, TIME, WavePlane, and MODE, and has produced more than 1000 products, including architectural speakers, subwoofers, and control systems. The company has experienced significant growth and multiple ownership changes, including its sale to Nortek, Inc. in 2004. SpeakerCraft is recognized for its innovative approach and quality products, despite some criticism regarding cost.

## History

SpeakerCraft was founded in 1976 by Edward Haase, Ken Humphreys and Eugene Humphreys. Beginning as a retail stereo store and original equipment manufacturer of loudspeakers for companies such as Sonance, Niles Audio, Bang and Olufsen, JBL, Polk Audio, and many others, the company evolved into a designer and installer of custom audio systems. In 1988 Humphreys sold his interest to Jeff King, Sr. Jeff remained with the company until it ultimately sold in 2000 to Burkhardt, Management and Kinsman Capital. Jeff was a major force in both operations and development as well as defining the companies position for future growth. He was the primary decision maker that included hiring Jeremy Burkhardt in 1991 in the companies 16th year of business. Jeff Francisco managed the custom installation business and retail store where he studied product development and developed custom systems for the company.

In 1994, Ed Haase, Jeff King and Jeremy Burkhardt founded The SpeakerCraft Brand of architectural loudspeakers as a line of high-end custom speakers; they were set on making a new brand for the CEDIA marketplace. In 1999 Haase and King offered Burkhardt a partnership. From 1994 to 2000 this team invented and patented products, grew the brand and took market share. As mentioned Burkhardt, Management and Kinsman Capital bought out Haase and King, with the two exiting the company in 2000. Burkhardt remained with the company, serving as Vice President of Sale and Marketing Along with Jim Munn the companies CEO and Bob Cavasos the companies CFO. This team-up led to the fastest growth in company history, Kinsman's access to capital vaulted SpeakerCraft to the number one position in the industry.

Management and Kinsman sold SpeakerCraft again in 2004 to Nortek, Inc, for 58 million dollars, and Burkhardt, like all minority shareholders benefited proportionately from this sale. Munn and Cavasos stepped out and Burkhardt remained as a 32-year-old CEO with a vision for growth, seeing the iPod as forever the defining grounds for SpeakerCraft's future in distributing audio through the home. Selected by *CE PRO* magazine as a top ten industry leader, Burkhardt again leveraged his ownership and became an owner in Nortek, Inc and was promoted to company CEO. The company currently produces more than 1000 products, which include loudspeakers, amplifiers, iPod multi-room music distribution systems, and accessories that allow for various system configurations and sizes. SpeakerCraft's patented AIM series of speakers is available in ceiling and wall versions; these were patented by Haase, Francisco and Burkhardt are the largest advancements in architectural speakers. In 2007 Haase returned to SpeakerCraft as Chief technical Officer. Developing some of the finest SpeakerCraft inventions, Haase is known as the man that invented the in-wall speaker.

### Early research

Ken Humphreys and Edward Haase developed a series of architectural speakers, speakers that use the structure of a building as the “cabinet”, at the request of Fleetwood Enterprises of Riverside, California, which wanted to incorporate high-end speakers in its motor homes without taking up much space. Their first experiment with replacing bulky box speakers was a speaker featuring an in-wall mounted subwoofer, a loudspeaker used to produce low-pitch sounds. They then tested the feasibility of using walls and ceilings as alternatives for speaker cabinets; all experimenting was done with anechoic chambers, microphones, and wall enclosures. Soon Humphreys and Haase reproduced the high quality sound produced by large, space-consuming box speakers in flush-mounted architectural speakers. Much of this early work was done in conjunction with Sonance (Dana Innovations) and both companies are credited with many early developments for architectural speakers.

## Proprietary technologies

### Architectural speakers

SpeakerCraft's first innovation was the development of the architectural speaker. Architectural speakers are built into either walls or ceilings and use the structure of the wall or ceiling as the “cabinet” to enhance performance. Components of an architectural speaker include the driver (actual speaker), cross-over (which sends the correct frequencies to the correct driver), and termination point (which is where the speaker wires connect to the frame). Driver configurations typically consist of two or three drivers that provide for the playback of the bass (low frequencies), the midrange (mid-level frequencies), and tweeter (high frequency) signals.

#### AIM

To overcome the directional limitations of in-wall/in-ceiling speakers, Haase, Burkhardt and Francisco invented and patented the AIM speaker technology fully represented in SpeakerCraft’s directional in-ceiling and in-wall loudspeakers. AIM in-ceiling speakers pivot in a patented ball-and-socket arrangement toward the listener while recessed in the ceiling and in the wall they move side to side and AIM toward the listening area.

#### TIME

TIME (Theater In Motion Experience) Series speakers are flush-mounted ceiling speakers that descend and rotate to direct sound to different positions in the room. This type of “directable” speaker was first invented by SpeakerCraft in response to customer demand for customizable sound configurations.

### WavePlane

SpeakerCraft invented the WavePlane, a baffle that isolates the tweeter from the woofer in a coaxial ceiling speaker, which results in improved high frequency dispersion and fidelity.

### MODE

Music On Demand Experience or MODE is an audio control system that connects the Apple iPod to a house-wide music system.

## Current product lines

### In-ceiling

In-ceiling speakers are a type of architectural speaker designed to flush-mount into the ceiling of a structure. SpeakerCraft in-ceiling speakers include TIME and AIM Series, CRS, and DT.

### In-wall

In-wall speakers are a type of architectural speaker designed to flush-mount into the wall of a structure. SpeakerCraft in-wall speakers include AIM LCR, AIM7 MT, The Rogue, AIM Cinema, AIM Cinema Dipole, AIMLCR3, and AccuFit IW7.

### Subwoofers

Subwoofers are loudspeakers designed to respond to only the lowest acoustic frequencies. SpeakerCraft’s subwoofers include powered compact subwoofers, passive in-ceiling subwoofers, powered floor subwoofers, and powered in-wall subwoofers.

### Box speakers

Box speakers are speakers with their own integrated cabinet (compare with architectural speakers). SpeakerCraft box speaker products include AIM Monitor and AIM MDU.

### Outdoor speakers

SpeakerCraft’s Outdoor Elements (OE) and Rox lines are specialized box speakers meant to be used outdoors.

### Control systems

Control systems are a variety of remotes and keypads that allow the users to operate their speaker systems. SpeakerCraft control systems include MODE, Multi Zone Controllers, EZ-Pad System, and SmartPath.

## Market share

SpeakerCraft competes with major brands in the home audio and home theater markets such as the following:

## Opinions about SpeakerCraft

SpeakerCraft is viewed by trade publications and magazines as a niche producer of audio equipment on par in quality and price with Klipsch and JBL, but has been distinguished from its competitors for its innovation and ability to adapt to and incorporate new technologies such as Apple’s iPod.

### Criticism

Consumers have criticized SpeakerCraft for the cost of its products. However, audiophiles also praise SpeakerCraft for its lifetime warranty on products and the quality of its product design, features, and sound.

In 1995, Dana Innovations (Sonance) sued SpeakerCraft for infringement of patents on a method of retrofitting a wall to mount speakers. The speaker mounting system Sonance claimed to have patented was in fact largely invented by the SpeakerCraft partner Ken Humphreys as is evidenced by his name as an inventor. This invention is composed of a bracket attached by screws through the wall to the speaker support. The speaker is then wedged between the bar and the support surface in a hole in the wall, resulting in the speaker being flush-mounted to the wall. SpeakerCraft moved for a summary judgment of invalidity. The district court of California held that the patents were invalid because they were anticipated by an in-wall speaker offered by Boston Acoustics Inc. more than a year prior to the application dates of each patent. The U.S. Court of Appeals held that the patents were not anticipated by the Boston Acoustics product and reversed the district court’s decision and remanded the case for further proceedings. The circuit court affirmed the district court’s decision.

SpeakerCraft then developed Mounting System 540040012, which eliminated the need for the separate bracket used in the Sonance design.

## InfoBox

SpeakerCraft
|
|  |
| Company type | Private |
| Founded | 1976 |
| Founder | Ed Haase<br>Ken Humphreys |
| Headquarters | Petaluma, California |
| Products | Loudspeakers, Home audio, Architectural speakers, Home cinema, Theater electronics, Theater control systems |
| Website | www.speakercraft.com |


title: Southern Lights: Overexposed

abstract: Southern Lights: Overexposed is a combined studio album and visual album by Alex Faith and Dre Murray, released the album on April 28, 2015. Faith and Murray worked with Swoope and Wit Shahbazian in the production of this album.

text:
# Southern Lights: Overexposed

***Southern Lights: Overexposed*** is a combined studio album and visual album by Alex Faith and Dre Murray, released the album on April 28, 2015. Faith and Murray worked with Swoope and Wit Shahbazian in the production of this album.

## Critical reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| *CCM Magazine* |  |
| Cross Rhythms |  |
| Jesus Freak Hideout |  |
| Indie Vision Music |  |
| New Release Tuesday |  |

Specifying in a two and a half star review by *CCM Magazine*, Matt Conner realizes, "the hooks aren't as refined and the depth less dynamic than a hip-hop album is allowed to be anymore" Kevin Hoskins, indicating in a four and a half star review from Jesus Freak Hideout, recognizes, "The later parts of the album are mostly solid with just a few missteps, but nothing glaringly bad or skip-worthy." Awarding the album four and a half stars at New Release Tuesday, Dwayne Lacy says, "The album is very southern but also holds strong lyricism, which is a combination that some believe is lacking in the south... These dudes are real." Anthony Peronto, giving the album four stars for Indie Vision Music, writes, "But that doesn't mean there isn't universal appeal in *Southern Lights: Overxposed*." Indicating in an eight out of ten review at Cross Rhythms, Alan Reid responds, "Collison Records have released some fine hip-hop albums and this earthy, hard-hitting missive is amongst their best."

## Track listing

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Overexposed" (featuring Sean C. Johnson) | 4:02 |
| 2. | "All Around the World" (featuring Tragic Hero) | 3:13 |
| 3. | "Wake Up Music" (featuring Swoope) | 3:13 |
| 4. | "I-275" (interlude) | 3:17 |
| 5. | "Money" (featuring Reconcile) | 4:47 |
| 6. | "City of Nightmares II" (featuring Ada-L) | 3:45 |
| 7. | "I-610" (interlude) | 3:30 |
| 8. | "Decatur Street Blues" (featuring Corey Paul) | 4:50 |
| 9. | "Forever" | 4:04 |
| 10. | "Takin' Time" (featuring Young Noah) | 5:11 |
| Total length: | | 39:47 |

## Charts

| Chart (2015) | Peak
position |
| --- | --- |
| US Christian Albums (*Billboard*) | 15 |
| US Independent Albums (*Billboard*) | 23 |
| US Top Rap Albums (*Billboard*) | 22 |

## InfoBox

| Southern Lights: Overexposed | |
| --- | --- |
|  | |
| Studio album by Alex Faith and Dre Murray | |
| Released | April 28, 2015 (2015-04-28) |
| Genre | Christian hip hop |
| Length | 39:47 |
| Label | Collision |
| Producer | Swoope, Wit Shahbazian |
|  | |
| Alex Faith chronology | |
| *ATLast*
(2013) ***Southern Lights: Overexposed***
(2015) | |
| Dre Murray chronology | |
| *Gold Rush: Maybe One Day*
(2013) ***Southern Lights: Overexposed***
(2015) | |
|  | |


title: Spectrahedron

abstract:
In convex geometry, a spectrahedron is a shape that can be represented as a linear matrix inequality. Alternatively, the set of n × n positive semidefinite matrices forms a convex cone in Rn × n, and a spectrahedron is a shape that can be formed by intersecting this cone with an affine subspace. Spectrahedra are the feasible regions of semidefinite programs. The images of spectrahedra under linear or affine transformations are called projected spectrahedra or spectrahedral shadows. Every spectrahedral shadow is a convex set that is also semialgebraic, but the converse is false. An example of a spectrahedron is the spectraplex, defined as
  - S p e c t n = { X ∈ S + n ∣ Tr  = 1 }, where S + n is the set of n × n positive semidefinite matrices and Tr  is the trace of the matrix X. The spectraplex is a compact set, and can be thought of as the "semidefinite" analog of the simplex.

text:
# Spectrahedron

In convex geometry, a **spectrahedron** is a shape that can be represented as a linear matrix inequality. Alternatively, the set of *n* × *n* positive semidefinite matrices forms a convex cone in **R**<sup>*n* × *n*</sup>, and a spectrahedron is a shape that can be formed by intersecting this cone with an affine subspace.

Spectrahedra are the feasible regions of semidefinite programs. The images of spectrahedra under linear or affine transformations are called *projected spectrahedra* or *spectrahedral shadows*. Every spectrahedral shadow is a convex set that is also semialgebraic, but the converse (conjectured to be true until 2017) is false.

An example of a spectrahedron is the **spectraplex**, defined as

$\mathrm {Spect} \_{n}=\\{X\in \mathbf {S} \_{+}^{n}\mid \operatorname {Tr} (X)=1\\}$,

where $\mathbf {S} \_{+}^{n}$ is the set of *n* × *n* positive semidefinite matrices and $\operatorname {Tr} (X)$ is the trace of the matrix $X$. The spectraplex is a compact set, and can be thought of as the "semidefinite" analog of the simplex.


title: Spectronic 20

abstract: The Spectronic 20 is a brand of single-beam spectrophotometer, designed to operate in the visible spectrum across a wavelength range of 340 nm to 950 nm, with a spectral bandpass of 20 nm. It is designed for quantitative absorption measurement at single wavelengths. Because it measures the transmittance or absorption of visible light through a solution, it is sometimes referred to as a colorimeter. The name of the instrument is a trademark of the manufacturer. Developed by Bausch & Lomb and launched in 1953, the Spectronic 20 was the first low-cost spectrophotometer. It rapidly became an industry standard due to its low cost, durability and ease of use, and has been referred to as an "iconic lab spectrophotometer". Approximately 600,000 units were sold over its nearly 60 year production run. It has been the most widely used spectrophotometer worldwide. Production was discontinued in 2011 when it was replaced by the Spectronic 200, but the Spectronic 20 is still in common use. It is sometimes referred to as the "Spec 20".

text:
# Spectronic 20

The **Spectronic 20** is a brand of single-beam spectrophotometer, designed to operate in the visible spectrum across a wavelength range of 340 nm to 950 nm, with a spectral bandpass of 20 nm. It is designed for quantitative absorption measurement at single wavelengths. Because it measures the transmittance or absorption of visible light through a solution, it is sometimes referred to as a colorimeter. The name of the instrument is a trademark of the manufacturer.

Developed by Bausch & Lomb and launched in 1953, the Spectronic 20 was the first low-cost spectrophotometer. It rapidly became an industry standard due to its low cost, durability and ease of use, and has been referred to as an "iconic lab spectrophotometer". Approximately 600,000 units were sold over its nearly 60 year production run. It has been the most widely used spectrophotometer worldwide. Production was discontinued in 2011 when it was replaced by the Spectronic 200, but the Spectronic 20 is still in common use. It is sometimes referred to as the "Spec 20".

## Design

The Bausch & Lomb Spectronic 20 colorimeter uses a diffraction grating monochromator combined with a system for the detection, amplification, and measurement of light wavelengths in the 340 nm to 950 nm range.

As shown in the schematic optical diagram (see left), polychromatic light from a source in the system passes through lenses which are reflected and dispersed by the diffraction grating to restrict the range of light wavelengths. This restricted range of wavelengths is then passed through the sample to be measured. The intensity of the transmitted light is determined by a phototube detector. Mechanical movement of the diffraction grating by means of the cam attached to the wavelength control enables the user to select for various wavelengths. This is the "λ knob", wherein λ refers to wavelength of light used for the measurement.

## Quantitative measurements

Many substances absorb light in the ultraviolet - visible light range. Absorption at any particular wavelength in the ultraviolet visible range is proportional to the concentration of the substances in the solution or other medium, in accord with the Beer–Lambert relationship. In a practical sense, the Beer–Lambert relationship can be stated as:

```
       *A* = ε x *l* x *c*
```

in which *A* is the absorbance measured by the instrument, ε is the molar absorption coefficient of the sample, *l* is the pathlength of the light beam through the sample, and c is the concentration of the substance in the solution or medium. The Spectronic 20 is thereby commonly used for quantitative determination of the concentration of a substance of interest. The Spectronic 20 measures the absorbance of light at a pre-determined concentration, and the concentration is calculated from the Beer–Lambert relationship.

The absorbance of the light is the base 10 logarithm of the ratio of the Transmittance of the pure solvent to the transmittance of the sample, and so the two absorbance and transmittance can be interconverted. Either transmittance or absorbance can therefore be plotted versus concentration using measurements from the Spectronic 20. Plotting a curve using percent transmittance of light yields an exponential curve. However, absorbance is linearly related to concentration, and so absorbance is often preferred for plotting a standard curve. This type of standard curve relates the concentration of the solution (on the x-axis) to measures of its absorbance (y-axis).

To obtain such a curve, a series of dilutions of known concentration of a solution are prepared and readings are obtained for each of the dilutions (see plot at left). In this plot, the slope of the line is the product ε x *l*. By measuring a series of standards and creating the standard curve, it is possible to quantify the amount or concentration of a substance within a sample by determining the absorbance on the Spec 20 and finding the corresponding concentration on the calibration curve. Alternatively, the logarithm of percent transmittance can be plotted versus concentration to create a standard curve using the same procedure.

The absorbance measured by the Spectronic 20 is the sum of the absorbance of each of the constituents of the solution. Therefore, the Spectronic 20 can be used to analyze more complex solutions. For example, if a sample solution has two light-absorbing compounds in it, then the user performs measurements at two different wavelengths and constructs standard curves for each compound. Then the concentration of each compound can be calculated algebraically.

The Spectronic 20 can be used for turbidimetric measurements. In microbiological work, the turbidity of a liquid culture of bacterial cells relates to the cell count, and OD600 measurements can be conducted for this purpose using the Spectronic 20. Likewise the turbidity of water suspensions of clays and other particles of size suitable for light scattering can be quantitatively determined by means of a Spectronic 20. In the past, the Spectronic 20 was used for clinical diagnostic purposes.

## Use

Before testing a sample, the Spectronic 20 is calibrated using a blank solution, which is the pure solvent that is used in the experimental sample. It is typically water or an organic solvent. In this calibration, the transmittance is set at 100% using the calibration knob of the instrument (the amplifier control knob in the figure at right). The instrument can also optionally be calibrated with a stock solution of a sample at a concentration known to have an absorbance of 2 or else vendor supplied standards, using the light absorption knob in the diagram shown at right. After calibration, the user places a 1/2 inch test tube or cuvette containing the sample solution to be measured into the sample compartment. Calibration is repeated each time the wavelength is changed. It or a standard reference sample is generally used to periodically check for drift. To measure wavelengths above 650 nm, the bottom of the instrument is opened, and a red filter and a red-sensitive photocell is installed.

The original design of the Spectronic 20 utilized an analog dial for readout of transmission from 100%T to 1%T (top scale), 0A - 2A (lower scale). Using the original instrument requires manual setting of the wavelength and making readings from a moving-needle analog display.

| External videos | |
| --- | --- |
|  | |
| “The Standard Curve“ (Spec 20 Instructions), Wellesley College | |

## Replacement

The Spectronic 20D (launched in 1985) and later the 20D+ replaced the analog dial with a red digital LED readout, offering greater precision in the readout, if not greater accuracy in the actual reading. A side-by-side comparison of the features of the 20+ and 20D+ is available in the 2001 operating manual.

The Spectronic 20 was replaced by the Spectronic 200 in the Thermo Scientific spectrophotometer product line in 2011. The Spectronic 200 utilizes an array detector and digital control of the measured wavelength, while retaining the characteristic λ knob of the Spec 20 for setting the wavelength. In addition to replicating the user modes of the Spec 20D+ (which it can emulate on a color LCD screen) the Spec 200 accommodates both test-tubes and square cuvettes without needing to install an adapter. Software modes described in the Spectronic 200's specifications include scanning, four wavelength simultaneous measurement, and quantitative analysis with up to four standards, in contrast to the SPEC 20D+ which offered only single point calibration.

## Product line history

Originally introduced by Bausch & Lomb in 1953, the product line was sold to Milton Roy in 1985. Milton Roy sold its instrument group to Life Sciences International, renamed Spectronic Instruments, Inc. in 1995. Spectronics Instruments was purchased by Thermo Optek in 1997, renamed Spectronic-Unicam in 2001 and Thermo-Spectronic in 2002. In 2003 the product line was moved to Madison, WI and the brand renamed to Thermo Electron.

With the merger of Thermo Electron and Fisher Scientific in 2006 the brand changed to Thermo Scientific, and remained such until the end of the production run. Spectronic 20 instruments found in labs today may bear any of the Bausch and Lomb, Milton Roy, Spectronic, Thermo Electron or Thermo Scientific brand names.

The Spectronic 20 is apparently one of the few lab instruments to remain intact after the destruction of the laboratory in the movie *Back to the Future*.

## InfoBox

| External videos | |
| --- | --- |
|  | |
| "Introduction to Colorimetry" (Spectronic 20), David Frank | |
| "Absorbance Spectrophotometry Video 02, Function test for Spectronic 20+", Robin Aiken | |
| "Lab Protocol - Spec 200 (Unit 2 Spectrophotometry)", Mark Garcia | |


title: Special member functions

abstract:
In the C++ programming language, special member functions are functions which the compiler will automatically generate if they are used, but not declared explicitly by the programmer.
The automatically generated special member functions are:
  - Default constructor if no other constructor is explicitly declared.
  - Copy constructor if no move constructor and move assignment operator are explicitly declared.
  - If a destructor is declared generation of a copy constructor is deprecated.
  - Move constructor if no copy constructor, copy assignment operator, move assignment operator and destructor are explicitly declared.
  - Copy assignment operator if no move constructor and move assignment operator are explicitly declared.
  - If a destructor is declared, generation of a copy assignment operator is deprecated.
  - Move assignment operator if no copy constructor, copy assignment operator, move constructor and destructor are explicitly declared.
  - Destructor In these cases the compiler generated versions of these functions perform a memberwise operation. For example, the compiler generated destructor will destroy each sub-object of the object. The compiler generated functions will be public, non-virtual and the copy constructor and assignment operators will receive const& parameters.

text:
# Special member functions

In the C++ programming language, **special member functions** are functions which the compiler will automatically generate if they are used, but not declared explicitly by the programmer. The automatically generated special member functions are:

If a destructor is declared generation of a copy constructor is deprecated (C++11, proposal N3242). * Move constructor if no copy constructor, copy assignment operator, move assignment operator and destructor are explicitly declared.
* Copy assignment operator if no move constructor and move assignment operator are explicitly declared.

If a destructor is declared, generation of a copy assignment operator is deprecated.

In these cases the compiler generated versions of these functions perform a *memberwise* operation. For example, the compiler generated destructor will destroy each sub-object (base class or member) of the object.

The compiler generated functions will be `public`, non-virtual and the copy constructor and assignment operators will receive `const&` parameters (and not be of the alternative legal forms).

## Example

The following example depicts two classes: Explicit for which all special member functions are explicitly declared and Implicit for which none are declared.

```
#include <iostream>
#include <string>
#include <utility>

class Explicit {
 public:
  Explicit() { std::cout << "Default constructor " << message_ << '\n'; }

  explicit Explicit(std::string message) : message_(std::move(message)) {
    std::cout << "Non-default constructor " << message_ << '\n';
  }

  Explicit(const Explicit& other) {
    std::cout << "Copy constructor " << message_ << '\n';
    *this = other;  // invoke copy assignment operator
  }

  Explicit& operator=(const Explicit& other) {
    std::cout << "Copy assignment operator " << message_ << '\n';
    if (this != &other) {
      message_ = other.message_;
    }
    return *this;
  }

  Explicit(Explicit&& other) noexcept {
    std::cout << "Move constructor " << message_ << '\n';
    *this = std::move(other);  // invoke move assignment operator
  }

  Explicit& operator=(Explicit&& other) noexcept {
    std::cout << "Move assignment operator " << message_ << '\n';
    if (this != &other) {
      message_ = std::move(other.message_);
    }
    return *this;
  }

  ~Explicit() { std::cout << "Destructor " << message_ << '\n'; }

 private:
  friend class Implicit;
  std::string message_;
};

class Implicit : public Explicit {
 public:
  void Spew() {
    std::cout << "Implicit(" << message_ << ", " << member_.message_ << ")\n";
  }

 private:
  Explicit member_;
};

```

## Signatures

Here are the signatures of the special member functions:

| Function | syntax for class MyClass |
| --- | --- |
| Default constructor | `MyClass();` |
| Copy constructor | `MyClass(const MyClass& other);` |
| Move constructor | `MyClass(MyClass&& other) noexcept;` |
| Copy assignment operator | `MyClass& operator=(const MyClass& other);` |
| Move assignment operator | `MyClass& operator=(MyClass&& other) noexcept;` |
| Destructor | `virtual ~MyClass();` |

## C++03

In C++03 before the introduction of move semantics (in C++11) the special member functions were:


title: Speech Synthesis Markup Language

abstract: Speech Synthesis Markup Language (SSML) is an XML-based markup language for speech synthesis applications. It is a recommendation of the W3C's Voice Browser Working Group. SSML is often embedded in VoiceXML scripts to drive interactive telephony systems. However, it also may be used alone, such as for creating audio books. For desktop applications, other markup languages are popular, including Apple's embedded speech commands, and Microsoft's SAPI Text to speech (TTS) markup, also an XML language. It is also used to produce sounds via Azure Cognitive Services' Text to Speech API or when writing third-party skills for Google Assistant or Amazon Alexa. SSML is based on the Java Speech Markup Language (JSML) developed by Sun Microsystems, although the current recommendation was developed mostly by speech synthesis vendors. It covers virtually all aspects of synthesis, although some areas have been left unspecified, so each vendor accepts a different variant of the language. Also, in the absence of markup, the synthesizer is expected to do its own interpretation of the text.

text:
# Speech Synthesis Markup Language

**Speech Synthesis Markup Language** (**SSML**) is an XML-based markup language for speech synthesis applications. It is a recommendation of the W3C's Voice Browser Working Group. SSML is often embedded in VoiceXML scripts to drive interactive telephony systems. However, it also may be used alone, such as for creating audio books. For desktop applications, other markup languages are popular, including Apple's embedded speech commands, and Microsoft's SAPI Text to speech (TTS) markup, also an XML language. It is also used to produce sounds via Azure Cognitive Services' Text to Speech API or when writing third-party skills for Google Assistant or Amazon Alexa.

SSML is based on the Java Speech Markup Language (JSML) developed by Sun Microsystems, although the current recommendation was developed mostly by speech synthesis vendors. It covers virtually all aspects of synthesis, although some areas have been left unspecified, so each vendor accepts a different variant of the language. Also, in the absence of markup, the synthesizer is expected to do its own interpretation of the text.

## Example

Here is an example of an SSML document:

```
<?xml version="1.0"?>
<speak xmlns="http://www.w3.org/2001/10/synthesis"
       xmlns:dc="http://purl.org/dc/elements/1.1/"
       version="1.0">
  <metadata>
    <dc:title xml:lang="en">Telephone Menu: Level 1</dc:title>
  </metadata>

  <p>
    <s xml:lang="en-US">
      <voice name="David" gender="male" age="25">
        For English, press <emphasis>one</emphasis>.
      </voice>
    </s>
    <s xml:lang="es-MX">
      <voice name="Miguel" gender="male" age="25">
        Para español, oprima el <emphasis>dos</emphasis>.
      </voice>
    </s>
  </p>

</speak>

```

## Features

SSML specifies a fair amount of markup for prosody, which is not included in the above example. This includes markup for

* pitch
* contour
* pitch range
* rate
* duration
* volume


title: Sphingomonas jejuensis

abstract: Sphingomonas jejuensis is a Gram-negative, rod-shaped and non-motile bacteria from the genus of Sphingomonas which has been isolated from the sponge Hymeniacidon flavia near the Jeju Island in Korea.

text:
# Sphingomonas jejuensis

***Sphingomonas jejuensis*** is a Gram-negative, rod-shaped and non-motile bacteria from the genus of Sphingomonas which has been isolated from the sponge Hymeniacidon flavia near the Jeju Island in Korea.

## Further reading

## InfoBox

| *Sphingomonas jejuensis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Bacteria |
| Phylum: | Pseudomonadota |
| Class: | Alphaproteobacteria |
| Order: | Sphingomonadales |
| Family: | Sphingomonadaceae |
| Genus: | *Sphingomonas* |
| Binomial name | |
| ***Sphingomonas jejuensis***<br>Park et al. 2012 | |
|
| Type strain | |
| KCTC 23321, NBRC 107775, MS-31 | |


title: Sphingomonas kaistensis

abstract: Sphingomonas kaistensis is a Gram-negative, non-motile and non-spore-forming bacteria from the genus of Sphingomonas which has been isolated from soil in Korea.

text:
# Sphingomonas kaistensis

***Sphingomonas kaistensis*** is a Gram-negative, non-motile and non-spore-forming bacteria from the genus of Sphingomonas which has been isolated from soil in Korea.

## Further reading

## InfoBox

| *Sphingomonas kaistensis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Bacteria |
| Phylum: | Pseudomonadota |
| Class: | Alphaproteobacteria |
| Order: | Sphingomonadales |
| Family: | Sphingomonadaceae |
| Genus: | *Sphingomonas* |
| Binomial name | |
| ***Sphingomonas kaistensis***<br>Kim et al. 2007 | |
|
| Type strain | |
| DSM 16846, KCTC 12334, PB56 | |


title: Speerschneider Point

abstract: Speerschneider Point is a point on Belogushev Island forming the west side of the entrance to Malmgren Bay on the west side of Renaud Island, in the Biscoe Islands. First accurately shown on an Argentine government chart of 1957. Named by the United Kingdom Antarctic Place-Names Committee (UK-APC) in 1959 for C.I.H. Speerschneider, Danish meteorologist, who was editor of the annual reports on the state of the sea ice in the Arctic issued by Dansk Meteorologisk Institut, 1910–34.  This article incorporates public domain material from "Speerschneider Point". Geographic Names Information System. United States Geological Survey.

text:
# Speerschneider Point

**Speerschneider Point** (65°45′S 66°10′W / 65.750°S 66.167°W / -65.750; -66.167) is a point on Belogushev Island forming the west side of the entrance to Malmgren Bay on the west side of Renaud Island, in the Biscoe Islands. First accurately shown on an Argentine government chart of 1957. Named by the United Kingdom Antarctic Place-Names Committee (UK-APC) in 1959 for C.I.H. Speerschneider, Danish meteorologist, who was editor of the annual reports on the state of the sea ice in the Arctic issued by Dansk Meteorologisk Institut, 1910–34.

This article incorporates public domain material from "Speerschneider Point". *Geographic Names Information System*. United States Geological Survey.


title: Sphaerozoum

abstract: Sphaerozoum is a radiolarian genus formerly reported in the subfamily Sphaerozoidae, now reported in the Collosphaeridae. The genus contains bioluminescent species. It is a genus of colonial radiolarians.

text:
# Sphaerozoum

***Sphaerozoum*** is a radiolarian genus formerly reported in the subfamily Sphaerozoidae, now reported in the Collosphaeridae. The genus contains bioluminescent species. It is a genus of colonial radiolarians (as opposed to solitary).

## Species

The following species are recognized:

## InfoBox

| *Sphaerozoum* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| *Clade*: | Diaphoretickes |
| *Clade*: | SAR |
| Phylum: | Retaria |
| Class: | Polycystinea |
| Order: | Nassellaria |
| Family: | Collozoidae |
| Subfamily: | Collosphaeridae |
| Genus: | *Sphaerozoum* |
|
| Species | |
| 1; see text | |


title: Spell Cast

abstract: Spell Cast is a spelling game show in Singapore that featured children between the ages of nine and twelve. Season one aired between 5 June 2007 - 31 July 2007 and season two started airing in January 2010. It was hosted by Shane Mardjuki in its first season and by Sarah Tan in its second season. There were major changes to the game show for its second season, changes included game format and the programme being shifted from Channel 5 to Okto. The first season was rerun on Channel 5's okto on 5 belt from 6 July 2024, Weekends at 7am.

text:
# Spell Cast

**Spell Cast** is a spelling game show in Singapore that featured children between the ages of nine and twelve. Season one aired between 5 June 2007 - 31 July 2007 and season two started airing in January 2010. It was hosted by Shane Mardjuki in its first season and by Sarah Tan in its second season. There were major changes to the game show for its second season, changes included game format and the programme being shifted from Channel 5 to Okto.

The first season was rerun on Channel 5's okto on 5 belt from 6 July 2024, Weekends at 7am.

## Season 1

The first season of the show was hosted by Shane Mardjuki, and featured a prize consisting of a trophy and S$10,000 for the winner. There were three main rounds in this season: The first round required contestants to select the correct spelling from three variations of a word in five seconds; each correct answer was worth five points, the second round required contestants to fill in a missing letter in a word in five seconds. Ten questions are asked in this round; after every five questions, a bonus question is asked where the contestants would have to unscramble the five correct letters from the previous five questions asked to form a word using a clue given by the host. Each correct answer in the second round (including the two bonus questions) is worth five points. The third and final round was an oral spelling round of tic-tac-toe, where contestants would have to spell out a word verbally within ten seconds after being given the word and its definition by the host. The contestant took turns (starting with the contestant with the most points from the first two rounds) to choose a square (1 to 16) on a 4 x 4 game board, with a correct answer giving them the square. The first two contestants (the first contestant in the finals) to form a tic-tac-toe (three squares horizontally, vertically or diagonally) won the game and advanced to the next round. In the event a tie where two contestants are even on squares, a tiebreaker is played. The first contestant to buzz in and spell the tiebreaker word correctly won. An estimated 1,200 children participated in the auditions held at MediaCorp, and only 48 of them made it into the qualifier rounds which were aired on local broadcaster MediaCorp's Channel 5.

Each qualifier round featured eight contestants, with eight questions asked in the first round. Only two contestants proceeded from the qualifiers to the two semi-final episodes, which comprised a total of twelve contestants, six in each episode. In the semi-finals, the number of questions asked in the first round was reduced to six.

In the final episode, four contestants remained in the competition, namely: Jesse Chang, Sheena Lee, Russell Soh and Jayesh Melvani. In the first round, Jesse was eliminated after receiving the lowest number of points amongst the four contestants. Jayesh was then eliminated in the second round after receiving the lowest number of points, however it was pointed out by host Shane Mardjuki that he was the youngest amongst the four finalists, being only nine years old. During the final round of spelling tic-tac-toe, Russell was allowed to start the round first as he had attained the highest number of points in the first two rounds. After an intense final round, with words such as 'rehabilitate', 'excruciating' and the final winning word, 'hieroglyph', Russell won the competition, and received the Spell Cast trophy and a cash prize of S$10,000.

## Season 2

The following season of the show came in January 2010, almost three years after the first season ended, bringing with it numerous changes. Firstly, the host of the show was changed; instead of Shane Mardjuki, Sarah Tan hosted this season. The game was reconstructed completely, although maintaining the original three-round system, albeit without elimination between rounds, hence giving those who had done badly in earlier rounds a chance to catch up with the other contestants. It was also worth noting that instead of airing the show on the more popular Channel 5 on Tuesdays at 8:30pm as was with the first season, season two of Spell Cast was aired on the recently-introduced okto channel on Sundays at 11:30am.

In the first round, contestants were tasked with spelling a given word on a keyboard. In the second round, contestants had to take turns at verbally spelling a given word. In this round, if a contestant misspelled his given word, another contestant could buzz in to have a chance at spelling it correctly. In the final round, contestants had to buzz in to spell given words verbally within ten seconds, with the maximum time in the round being 4 minutes 30 seconds.

The second season of Spell Cast was won by Izzat Rashad, 12 from St Andrew's Junior School. He walked away with S$10,000 as well as the Spell Cast champion's trophy.


title: Soy Andina

abstract: Soy Andina is a 2007 American documentary film directed by Mitchell Teplitsky. It tells the story of two New York dancers and their exploration of mixed Peruvian and American identities.

text:
# Soy Andina

***Soy Andina*** is a 2007 American documentary film directed by Mitchell Teplitsky. It tells the story of two New York dancers and their exploration of mixed Peruvian and American identities.

## Plot

Cynthia Paniagua, a modern dancer from Queens with Andean heritage, begins taking lessons with Nelida Silva, an immigrant folk dancer also from the Andes. She travels to Peru to learn more. In 2000, Nelida returns to her native village to host The Patron Saint Festival, and there the two reconnect.

## Release

The film was shot over a period of five years and premiered at the Film Society of Lincoln Center in September 2007. The film also screened at the 2007 *Los Angeles Latino Film Festival*, and the U.S. Embassy organized two screening tours of the film in Peru.

## InfoBox

| Soy Andina | |
| --- | --- |
| Directed by | Mitchell Teplitsky |
| Produced by | Peter Gould
Leda Duif
Mitchell Teplitsky |
| Starring | Nelida Silva
Cynthia Paniagua |
| Cinematography | Raul Gallegos |
| Edited by | Diana Logreira
Ingrid Patetta |
| Distributed by | Lacuma Films |
| Release date | * September 12, 2007 (2007-09-12) |
| Running time | 70 minutes |
| Country | United States |
| Languages | English, Spanish |


title: Sparrow House (Portland, Maine)

abstract: The Sparrow House is an historic house at 35 Arlington Street in the Woodfords Corner and Back Cove neighborhood of Portland, Maine. Built in 1852, it is a well-preserved example of Gothic Revival architecture. It was listed on the National Register of Historic Places in 1982.

text:
# Sparrow House (Portland, Maine)

The **Sparrow House** is an historic house at 35 Arlington Street in the Woodfords Corner and Back Cove neighborhood of Portland, Maine. Built in 1852, it is a well-preserved example of Gothic Revival architecture. It was listed on the National Register of Historic Places in 1982.

## Description and history

The Sparrow House is set on the northwest side of Arlington Street, a residential street between Forest Avenue and Back Cove in Portland's Woodfords Corner neighborhood. It is a 1+12-story wood-frame structure, with a steeply pitched gable roof and vertical board siding. The side gables and a front-facing gable above the entrance are decorated with intricate bargeboard. The front gable has a Palladian-style three-part window formed out of narrow lancet-arched windows. A single-story (ell) extends to the right of the main block.

The house was built in 1852, when the area was part of Deering, and was for a number of years the only house in the area. It was built for Warren Sparrow, a Portland businessman who operated a dry goods store and insurance business, and was one of the early organizers of Portland's streetcar system. It is along with The Gothic House in Portland's West End, one of the finest examples of Gothic residential architecture in the city. Its architect is unknown.

## InfoBox

|  | |
| --- | --- |
| Sparrow House | |
| U.S. National Register of Historic Places | |
|  | |
| Sparrow House in April 2016. | |
|  | |
| Location | 35 Arlington Street, Portland, Maine |
| Coordinates | 43°40′12″N 70°16′58″W / 43.67000°N 70.28278°W / 43.67000; -70.28278 |
| Area | 0.3 acres (0.12 ha) |
| Built | 1852 (1852) |
| Architectural style | Gothic |
| NRHP reference No. | 82000421 |
| Added to NRHP | October 29, 1982 |


title: Spitfire Prelude and Fugue

abstract: Spitfire Prelude and Fugue is an orchestral composition by William Walton, arranged and extracted in 1942 from music he had written for the motion picture The First of the Few earlier that year.

text:
# Spitfire Prelude and Fugue

***Spitfire Prelude and Fugue*** is an orchestral composition by William Walton, arranged and extracted in 1942 from music he had written for the motion picture *The First of the Few* earlier that year.

## The music

There were four films released in 1942 with music by William Walton. These helped establish him as a major figure in English music and British film music. The popularity of the music in *The First of the Few* was such that a recording was made in the same year of the *Spitfire Prelude and Fugue* with the composer conducting. Sid Cole, supervising editor of *The First of the Few*, noted that "when the film was finally edited, William Walton was doing the music. Leslie Howard, for some reason, could not be at the running of the film for Walton so he told me very elaborately what he wanted from the music. So after we had the viewing I went up to Walton and repeated what Leslie had said as accurately as I could. Walton listened very carefully and said *Oh I see, Leslie wants a lot of notes*, and he went away and wrote *The Spitfire Fugue*".

A review of *The First of the Few* in the *New Statesman and Nation* on 29 August 1942 mentioned the score: "Walton's music deserves special recommendation. His fugal movement for the assembly of parts of the Spitfire adds immensely to the most moving sequence in the film".

The prelude, called by Stephen Lloyd "one of Walton’s finest marches", is the music heard over the opening credit titles in the movie. The fugue is used to describe the making of the Spitfire; a central lyrical violin solo depicts the exhaustion and dying by illness of the aircraft’s designer R. J. Mitchell, and then the patriotic march returns joined with the fugue to mark the completion of the fighter aircraft.

In 1947, John Huntley wrote of the composition, "The Prelude is a patriotic, resounding piece of good orchestration; simple in construction, it makes ideal film music".

Walton was also commissioned in June 1968 for the score of a movie with a similar theme, *Battle of Britain*.

## Instrumentation and duration

Two flutes (second doubling piccolo), one or two oboes, two clarinets, one or two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (side drum, cymbals, bell), harp, and strings. A note in the score reads: "Optional 2nd oboe and 2nd bassoon parts have been added by Vilém Tauský, with the composer's authorization."

The work takes about eight minutes to perform.

## Score

The autograph full score, 32 pages long, can be found at the Beinecke Rare Book and Manuscript Library, Yale University. Oxford University Press published a study score in 1961.

## Arrangements

There are several arrangements including organ solo (1966, a shortened version of the piece arranged by Dennis Morrell); military band (1966 Prelude only by Rodney B. Bashford; 1970 Fugue only by J.L. Wallace); brass ensemble (1977, Elgar Howarth); and brass band (Eric Crees). There is also an arrangement of the entire composition for military band by H. B. Hingley and used for the recording "Heroes of the Air" with Hingley conducting the Central Band of the Royal Air Force in 1992.

## First performance

The *Spitfire Prelude and Fugue* was first performed at Philharmonic Hall in Liverpool on 2 January 1943 with the Liverpool Philharmonic Orchestra conducted by the composer. This was part of an all-Walton concert sponsored by the British Council.

## Recordings

The composer recorded the work twice. He conducted it for records on 24 June 1943 with the Hallé Orchestra and on 16 October 1963 with the Philharmonia Orchestra. There are several other orchestral recordings and recordings of all the band arrangements mentioned above.

The score for the film was recorded by Muir Mathieson conducting an uncredited London Symphony Orchestra in June(?) 1942 at the Denham Film Studios.

The earliest extant non-British recording of the *Spitfire Prelude and Fugue* comes from the Carnegie Hall concert of 6 February 1949 in which Leopold Stokowski conducted the New York Philharmonic. It has been released on a Pristine Audio CD.

## Bibliography

* Hunt, Martin. “Their Finest Hour? The Scoring of “Battle of Britain”. Film History, 2002, pp. 47–56.
* Huntley, John. British Film Music. London: Skelton Robinson, 1947, p. 59.
* Irving, Ernest. “Music in Films”. Music & Letters, October 1943, p. 229.
* Lloyd, Stephen. William Walton: Muse of Fire. The Boydell Press, 2001.
* Mackay, Robert. Half the Battle: Civilian Morale in Britain During the Second World War. Manchester University Press, 2002, p. 167.
* Palmer, Christopher. "The First of the Few" album notes for Chandos 8870, 1990.
* Palmer, Christopher. “Walton’s Film Music”. The Musical times, March 1972, p. 249.
* Tierney, Neil. William Walton: His Life and Music. London: Robert Hale, 1984.