Review Materials in Engineering Mechanics:

This material has been prepared for use in conjunctions with the third edition of ENGINEERING MECHANICS by Bedford and Fowler. This material contains selected problems from each section of the text. If the solution should carry a free body diagram but doesn't, be sure to sketch out one before undertaking the solution. Students should be aware that the following solutions is different from designing and constructing one's solution.

I have no doubt that, in spite of my strenuous efforts, there remain errors of one sort or another. Any errors that remain is my resposibility. I will be pleased and grateful to hear from any reader who discovers errors. There is no reward except the exhilaration of continuing the search for the all-too-elusive "truth". My electronic email address is mlzarco@engineer.com.

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Chapter 1


Chapter 2


Chapter 3


Chapter 4

Board of Electronics and Communications Engineering
“Licensure Examination for Electronics
and Communications Engineering”
PRC YEARBOOK 2000

MATHEMATICS

I. Algebra & General Mathematics
• Algebraic functions
• Theory of equations
• Factorization and algebraic functions
• Ratio, proportion and variation
• Matrix theory
• Arithmetic and geometric progressions
• Equations and inequalities
• Linear and quadric equations
• Complex number system
• Polynomials
• Mathematical induction
• Logic and probability
• Statistics

II. Geometry
• Lines and planes
• Plane figures
• Applications of Cavalier’s, Pappus and Prismodial theorems
• Coordinates in space
• Quadric surfaces
• Mensuration
• Plane geometry
• Solid geometry
• Spherical geometry
• Analytical geometry


III. Trigonometry
• Logarithmic principles
• Trigonometric functions
• Fundamental trigonometric identities
• Solutions of right and oblique triangles
• Applications of terrestrial mensuration
• Area, perimeter and centroid of plane figures
• Polar coordinates
• Spherical trigonometry


IV Calculus
• Complex variables
• Derivatives and applications
• Integration and applications
• Transcendental functions
• Partial derivatives
• Higher derivatives
• Indeterminate forms
• Multiple integrals
• Differential equations

V. Engineering Economics
• Basic principles of engineering economy
• Cost concept and analysis
• Principles and applications of time-money rela¬tionships
• Simple and compound interest
• Annuities
• Depreciation, capitalization, perpetuities


VI. Physics

• Mechanics and fundamentals
• Newton’s law of motion
• Work and energy
• Impulse and momentum
• Mechanical and thermal properties of matter
• Electromagnetic
• Magnetic fields and magnetic forces
• Strength of materials
• Minors & lenses principles

VII. Mathematical Laws, Terms and Theories
• Laws, theories and other rules relative to the fields of mathematics


ELECTRONICS ENGINEERING

I. Electricity/Magnetism fundamentals
• Atomic structure
• Electric charge
• Laws (ohm, Kirchoff, Lens, Coulomb, etc.)
• Magnetic power
• Magnetic field/flux
• Magnetic/electric quantities/units
• Magnetic/electromagnet principles

II. Electrical Circuit
• AC-DC Circuits
• Resistors
• Inductors
• Capacitors

III. Solid State Devices/Circuit
• Semiconductor fundamentals
• Transistor components circuits, analysis, design
• Special services (Photo electric, photo voltaic etc.)

IV Power Generator/Sources/Principles /Application
• Cells and batteries
• Electric Generator
• Electronic power supply
• Voltage regulation
• Photovoltaic/thermoelectric generator
• Distribution transformers
• UPS/float-battery systems
• Converters/inverters

V Electronic (Audio/RF) Circuit/Analysis/Design
• Amplifiers
• Oscillators
• Rectifier
• Filters
• Voltage regulation

VI Test and Measurements
• Volt - ohm- ammeter (analog/digital)
• R-L-C-Z bridges
• Spectrum analyzer
• Oscilloscope
• Cable testers
• RF meters
• Signal generators (audio, RF video)
• Noise generators
• Power/reflectometer/grid-dip meter

VII. Microelectronics
• Integrated circuits components, characteristics
and products
• Operational amplifier/multivibrators


VIII Industrial Electronics Principles/Application
• Electronic control system
• Industrial solid state services
• Welding systems/high frequency heating
• Feedback systems/servomechanism
• Transducers
• Motor speed control systems
• Robotic principles
• Bioelectrical principles
• Instrumentation and control

IX. Computer Principles
• Analog/digital system
• Binary number systems/Boolean algebra
• Mathematical logic and switching networks
• Basic digital circuits (logic gates, flip-flops,
multivibrator, etc.)
• Static and dynamic memory devices
• Peripheral and interface devices
• Programming and machine languages
• Information and acquisition processing
• Analog/digital conversion
• Computer networking


COMMUNICATIONS ENGINEERING

I. Transmission fundamentals
• The Transmission Systems
• Transmission Medium
• Primary Line Constants
• Velocity and Line Wavelength
• Characteristic Impedance
• Propagation Constants
• Phase and group velocity
• Standing Waves
• Voltage Standing Wave Ratio
• Telephone Lines and Cables
• Wave guides
• Balanced and Unbalanced Lines
• Uniformity Distributed Lines
• Twisted Pair Cable
• Coaxial Cable
• The Decibel
• Power Level Calculations
• Signal and Noise Fundamentals

II. Acoustics
• Definition
• Frequency Range
• Sound Pressure Levels
• Sound Intensity
• Loudness Level
• Pitch and Frequency
• Interval and Octave
• Sound Distortion
Room Acoustics
• Electro-Acoustic Transducers

III. Modulation
• Amplitude Modulation
• Phase Modulation
• Frequency Modulation
• Pulse Modulation


IV Noise
• External Noise
• Internal Noise
• Noise Calculation and Measurements
• Radio Interference

V Radiation and Wave Propagation
• Electro Magnetic Radiation
• Wave Propagation
• Radiation Patterns
• Wavelength Calculations
• Radiation Resistance
• Diversity Systems

VI. Antennas
• Basic Considerations
• Wire Radiators in Space
• Isotropic Radiator
• Current and Voltage Distribution
• Resonant, New-resonant antennas
• Terms and Definition
• Antenna gain and resistance
• Bandwidth, beamwidth, polarization
• Effects of Ground on Antennas
• Grounded, undergrounded Antennas
• Grounding Systems
• Antenna Height
• Design and Applications
• Matching Systems
• Impedance Calculations
• Antenna Types
• Directional and non-directional
• Microwave Antennas
• Wideband and Special Purpose Antennas

VII. Wire and Wireless Communications System
• The Telephone Set
• Connection and Performance
• Exchange Area Plant
• Loop Design
• Trunks in the Exchange plant
• Insertion Loss
• Traffic Calculations
• Reference Equivalent and Standards
• Telephone Networks
• Signalling, Billing, CAMA, ANT
• Echo, Singing and Design Loss
• Via NetLoss
• Network Hierarchy, Class Type
• VF Repeaters
• Transmission Considerations in Long Distance Network
• Telephone Exchanges
• PSTN, PABX, Line Concentration
• Telephone features - IDD, NDD, LEC
• Mobile Communications
• Cellular communication, trunk radio, radio pag¬ing, etc.

VIII. Digital and Data Communications
• Definition
• Bit and Binary Transmission
• Signalling Rate
• Error Probability
• Digital Filtering
• Switching
• Packet Circuit
• Vertical Circuit
• Open Systems Interconnection
• Multiplexing, Modulation and Synchronization
• Pulse Code Modulation
• Companding
• Encoding
• Bandwidth and Signal to Noise Ratio
• Delta Modulation
• Slope Overload
• Adaptive Delta Modulation
• Codes and Protocols
• Error Detection and Correction Codes
• Digital Carrier Systems
• Frequency Shift Keying
• Phase Shift Keying
• Differential Phase Shift Keying
• Teleprinters and Telegraph Circuits
• Teleprinters
• Teletype Transmission
• DC Nature of Data Transmission
• Loops
• Neutral and Polar
• Binary Transmission and the Concept of Time
• Asynchronous and Synchronous
• Timing
• Distortion
• Bits, Bands, WPM
• Data Interface Standards
• Data Input/Output Devices
• Digital Transmission on Analog Channel
• Modulation-Demodulation Schemes Parameters
• Circuit Conditioning
• Modem Applications
• Serial and Parallel Transmission

IX. Microwave Communications and Principles

X. Satellite
• The Satellite System
• Types of Satellite
• Satellite Orbit
• Uplink Consideration
• Demand AssignmentMultiple Access
• Antenna Tracking
• Satellite Link Budgets
• Path Loss
• Figure of Merit
• Ratio of Carrier to Thermal Noise Power
• Station Margin

XI. Fiver Optic
• Principles of Light, Transmission
• Types
• Light Sources, Laser, LED
• Light Detectors
• Modulation and Waveform
• System Design
• General Application
• Design Procedure
• Dispersion Limited Domain
• System Bandwidth
• Splicing Techniques

XII. Broadcasting
• Radio Transmitter (AM, FM, Television)
• Studio (Microphone, Amplifiers, Cameras, Light¬ing, etc.)
• Cable Television
• VSAT

XIII. Telecommunications and Broadcasting, Laws and Regulations

Laplace Tranforms Formulas

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Connecticut Preview: Mariah in full voice for state visit

Many may try to sing like Mariah Carey, but area vocal coaches and instructors recommend against it.

Those emulating their favorite star can injure their voices if they force hitting those shrill notes, or even low ones below what comes comfortably, experts advise. Aspiring artists should develop their own, individual sound and skills, they say. People aren't just born with powerful voices and the ability to sing regularly and comfortably in whistle range, the highest register of the human voice, as Carey can.

Carey boldly promotes her instrument in the title of her current, 40-city world sojourn, "The Adventures of Mimi: The Voice, The Hits, The Tour," which makes its only Connecticut stop Friday at Mohegan Sun Arena.

Some credit genetics, even destiny, in Carey's fairy tale-like rise to fame. Born to an opera singer mother who named her for Lerner and Loewe's 1951 Broadway song, "They Call the Wind Mariah," Carey later wed, and divorced, Sony Music President Tommy Motolla.

True singing stars like Carey, vocal coaches say, get their chops from a blend of training and their innately pleasing and distinct voices.

Carey's deep, sultry, low notes and seemingly superhuman high-end wailing may seem effortless, but her voice has been cultivated over years -- beginning with coaching from her mother growing up.

"It's just like an athlete. Were you born able to run the 500-meter dash?" said Marianna Vagnini, a Naugatuck voice instructor who has traveled as a professional soprano and will begin teaching students at Waterbury Arts Magnet School this year. "When Mariah Carey came out, she didn't sound like anyone else, which is what made her."

Echoed Richard Gard, a composer, musician, teacher, producer and conductor who oversees the music department at Naugatuck Valley Community College in Waterbury: "It helps what you're born with. I'd say more than a good voice, you might be born with a distinctive voice."

Both Gard and Vagnini tutor students to find their own voices, rather than emulating Mariah's, Sinatra's -- or anyone else's for that matter.

Once a singer has found his or her own sound, proper training can expand performers' abilities to span the scale. But not quite to the seven-octave range Carey's publicity handlers have said she can achieve. Several vocal coaches have expressed doubt over the supposed seven-octave voice.

"You'd have to be about 10 feet tall to have that range," said Gard, explaining the capacity for seven octaves as close to a grand piano's capability, from bottom of the keyboard to top. He called a three-octave range both huge and rare.

A Web site that aims to debunk urban legends even has addressed this topic, with the snopes.com entry granting Carey perhaps six octaves. Others are not as generous, estimating Carey's range at anywhere between three and five octaves.

Other artists who have been said to possess extraordinary range in excess of three octaves include Peruvian singer Yma Sumac, whose Web site claims her as at least once capable of five octaves, and Julie Andrews, whose voice has been categorized by sources as in the four- to five-octave range.

"The human voice is a miraculous instrument," said Vagnini, adding that whatever Carey's range, she ranks undeniably among those with voices that impress. "She definitely raised the bar in what people expect to hear in a pop singer. She's certainly a bright light in pop history."

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Blake and Malvino Multiple Choice Questions with Answers

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TPUB MODULES IN ELECTRONICS

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GRADEBOOK in MATH OF INVESTMENT

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The trouble with 'Idol'? The singing

May 21, 2006

BY THOMAS CONNER Staff Reporter

"American Idol" is a train wreck, no doubt. It's undeniably soggy with schadenfreude (the enjoyment we get from watching others suffer), which drives much of reality TV. But the moments that cause actual discomfort, for some of us, aren't the wrong notes, the bent keys or even Taylor Hicks' white-man's-overbite dancing. It's when the rare moments of hope and joy are quashed -- not by Simon Cowell's cutting sarcasm but by the contestants' own lack of trust in the songs they sing. There they are, crawling into an abbreviated song, beginning to develop an actual emotion or two and rushing toward a truly dramatic moment ... which they promptly ruin by oversinging the hell out of it.

Oy, the trills, the frills, how raw these kids' throats must be from week after week of belting and barnstorming. No moving sustained notes here -- every syllable of a song held longer than a beat must move up and down the scale like a San Francisco seismograph. Wow 'em with chutzpah, and who cares what the song actually means.

As we approach the fifth finals for the hit Fox talent show -- Tuesday and Wednesday nights on Fox -- these are not new complaints.

'Idol' finale will be good day for Powter
Singer/songwriter Daniel Powter will perform his hit single ''Bad Day'' on Tuesday's final ''American Idol'' performance show.

The pairing is a natural one as the Fox contest has been utilizing the song as the musical theme for exiting contestants throughout this fifth season.

''Bad Day'' held the top post on the Billboard Hot 100 for five weeks, its popularity bolstered by the weekly airings on ''American Idol.''

Released in April, Powter's self-titled Warner Bros. debut bowed at No. 9 on The Billboard 200 and has sold 274,000 copies in the United States, according to Nielsen SoundScan. Powter is scheduling early July dates for a brief U.S. tour.

Billboard

"American Idol" has endured many such slings and arrows for its outrageous fortune. But five years on, it's worth revisiting the criticisms that concentrate on these wearying vocal gymnastics, which seem to be the crutch of almost every contestant. Call it oversinging, or oversoul (a transcendent term used by some vocal coaches), "Idol" often is accused of dumbing down our understanding of good singing. But which came first: the oversinging or the "Idol"?

"These kids didn't invent this. They're all imitating what's already out there," says Los Angeles-based vocal trainer Roger Love. "That's the whole point of the show, despite how they market it."

Love has little love for "Idol." Perhaps that's why he's a regular guest on "Idol Tonight," a live pre-show yak-fest each week on the TV Guide Channel. He's also coached the singing voices of stars too numerous to list, from the Jacksons to the Killers, and his training technique turned Joaquin Phoenix and Reese Witherspoon into more than just the stars of the film "Walk the Line."

"Simon is always saying a performance is 'so karaoke' or 'loungey.' Well, yeah. That's what the show is. It's about kids imitating other artists."

That includes the reliance on oversinging. It's an unfortunate habit that did not begin on "American Idol," he says. The show simply gave it a forum. An impossibly huge and, unfortunately or not, influential forum.

"When Mariah [Carey], instead of singing the notes as written, started riffing around the notes, making clusters around the melody -- that's when it happened," Love says. "The problem is, she started doing it so much you lost track of where the melody actually was. And she made that really popular. It's a style of singing that's interesting here and there, but a pain in every single song.

"And unless you really practice and slow it down, you can't imitate it. Mariah got up there with her incredible voice and said, 'Hey, look what I can do!' But not everybody can do that -- and a lot of people are trying. 'American Idol' begs them to. But it's like Luther Vandross said: 'A lot of singers think they're being paid by the note.' He could have done all those trills, but he didn't need to."

Becky Menzie, a staple of Chicago cabarets and a musical theater instructor at Northwestern University, looks to singers like Vandross, and even further back to a more complete era, for songcraft. "Let's go back to an old analogy: the '70s success of Barry Manilow. That old key-change thing, having a vocal piece have shape and get more exciting at the end -- some of those trills and high notes entertain, sure, but are they always tasteful and correct for what the song is? No," she says. "Tony Bennett knows how to end on a high note and wail and make you go, 'Wow!' Manilow made it with the key change. Burt Bacharach did it with orchestrations. The gimmicks are there for a reason, but no one's great if all they do is gimmicks. You have to understand what you're singing, what it's about, what it deserves. That's how you entertain."

Cliff Colnot sees "Idol's" brand of entertainment as little more than a dog-and-pony show. "It's just a talent show. It could be dogs or inventors [Cowell produces ABC's 'American Inventors' show]. The fact that they're singers is nearly irrelevant to what the show is about," says Colnot, a conductor with the Chicago Symphony Orchestra and a composer who's worked with pop artists ranging from Richard Marx to Hugh Jackman.

He's hearing more of the oversinging in the pop and commercial singers he works with. "It's faux emotion. Mariah, Whitney [Houston], it's all a Pavlovian paradigm. You sing higher, then hold. Then you go higher and hold longer. Then you do a melisma [several notes on one syllable] around a super-high note and hold it longer, while the band goes through changes. And people go crazy. Why not just bring out dogs and do tricks?"

Oversinging used to be a trick singers pulled out only for a powerful punch in concert. Once Mariah -- or Whitney or whichever diva is to blame -- captured it on CD, our ears were retuned.

"Now it's become part of the language," Colnot says. "Once it got recorded, it moved out of the Apollo Theater, and now it's in our DNA."

Indeed, the bombastic "Idol" style of singing is everywhere now -- on radio, in concert, even on Broadway. In a March column for the New York Times, theater critic Ben Brantley blamed the increasing volume and sameness of Broadway singers on the influence of "Idol." "Quivering vibrato, curlicued melisma, notes held past the vanishing point: the favorite technical tricks of 'Idol' contestants are often like screams divorced from the pain or ecstasy that inspired them," Brantley wrote, then cited examples of the same trend showing up in Broadway's most popular musicals.

Jackie Presti has had enough of it. "There's no storytelling on Broadway anymore," says Presti, a New York vocal therapist who works with both Broadway and commercial singers. "That's not because songwriters aren't delivering it as much as it's because the singers aren't getting it. So many of them don't understand, or don't care, about setting up a story with the song or moving you with characters. God, now you sit in the theaters and everyone's just screaming at you right away."

Presti cites technology, not pop singers themselves, as the fountainhead of these trends. "It's actually what's in the studio these days that causes some singers to be lazy. You don't have to sing in tune anymore, with AutoTune [common studio software that corrects a singer's pitch]. So now more is expected of them live because of what technology has granted them in the studio. So they go crazy and belt everything."

It's not a model for a lasting career, she says. "Whitney Houston has her other problems, of course, but when she first started singing, I thought she'd been touched by God. But as the years went on, as everything had to be higher and louder, well now she has nothing left. They all go that way. [First 'Idol' winner] Kelly Clarkson has already been in [vocal] therapy. We ask them to scream their lungs out, and they do.

"And, frankly, it's a bad precedent to show our kids. We tell them to study hard and have integrity about what they choose to do in life, and then reality TV says, nah, you can succeed if you're the loudest and get people to vote for you. Forget the singers. Is that fair to any of us?"

tconner@suntimes.com

So who's the real deal in pop music?

When we asked this slate of singers and vocal coaches which pop stars possess real vocal talent, they were, so to speak, broken records: Whitney, Mariah, Christina.

Nearly all of them revere Christina Aguilera.

"She's the last new artist that was really incredible," says celebrity voice coach Roger Love. "I teach Natasha Bedingfield, who's got one of the top pop records in the country, but there's still nobody out there who can sing like Christina Aguilera. She has a 3-1/2-octave range, and she sounds totally powerful with it. She co-writes or writes her songs, she sounds better live than she does on record, she's reinvented herself on her albums ..."

Voice therapist Jackie Presti and Chicago cabaret singer Beckie Menzie agree. Both also cite Mariah Carey. "Especially early on, what a good use of her voice," Presti says.

The list goes on, including Nancy Wilson of Heart, Cyndi Lauper (who "can really sing, though you don't hear it much," says Presti), Joss Stone. Great singers, all. And all women.

Who are the good male singers?

Menzie mentions Michael Buble. Presti pauses, uncomfortably, finally seizing on "that Josh Groban guy -- I guess he can sing."

CSO composer and pop arranger Cliff Colnot is the only one to reel off several guys: "Marvin Gaye, Michael Jackson, Michael McDonald. Stevie Wonder would be way at the top of my list."

He grows testy when we mention the Whitmariahtina triumvirate.

"Mariah Carey? Oh, come on," he sneers. "If you asked who was the most famous, then yes -- Celine Dion, Mariah Carey, Britney Spears, Christina Aguilera. But I didn't think that was your question. Mariah Carey ... is a little trick pony. She leverages her range like she should, but it's not new or unique. She's borrowing from other people. Stevie Wonder, Elton John -- Aretha Franklin, if you need a woman -- these people, in my view, are the ones who left a unique fingerprint in singing and interpretation."

But is vocal talent purely technical, or is interpretation an inextricable factor?

"Success as a singer is not so much about the voice as the gestalt of performance -- where the voice may not be perfect but the meaning of the song moves us," Colnot says. "The strongest component of longevity for the great jazz and pop singers is the ability to tell a story. That comes across to the lay person, even on 'American Idol.' Little Paris [Bennett, a former fifth-season contestant] reaching out to tell us something -- maybe she's flat on the G or rushing the end of a bar, but she's telling a story.

"That's often all that matters."


Thomas Conner

Oveall Scores of ECE Workshop Examinations

The 12 examinees who garnered the highest places are the following:

Name of Examinee Rating Place

Delos Santos, Alfeus B. 71 1st

Fonte, Gene Q. 70 2nd

Egido, Jemalyn E. 66 3rd

Soriano, Jason S. 66 3rd

Angeles, Julius L. 66 3rd

Lavapiez, Shena G. 65 4th

Albos. Danilo L. Jr. 61 5th

Enolpe, Karen N. 61 6th

Lagaya, Mark Allen 60 7th

Montilla, Teofilo Andhree B. 60 7th

Vergara, Irene Mae A. 60 7th

Nool, Alvin R. 60 7th

The following are list of average of the other examinees:

Name of Examinee Rating

Molina, Jayson P. 58

Postrado, Lemon T. 58

Banga, Rovi Jane L. 56

Masagca, Catherine V. 56

Bautista, Anele S. 52

Banaticla, Chesca P. 51

Lopena, Robie R. 51

Medialdea, Daven 49

Collantes, Kristine Cecilia B. 48

Reyes, Shirlbert P. 47

Carloman, Kristofer L. 46

Abila, Tzaddi Alephia A. 45

Salangad, Jennely N. 42

Soriano, Manilyn A. 40

Macalalad, Richard C. 39

Posted by: Engr. Michael L. Zarco

Results of ECE Workshop Fifth Examination

The 10 examinees who garnered the highest places are the following:

Name of Examinee Rating Place

Delos Santos, Alfeus B. 54 1st

Lavapiez, Shena G. 54 1st

Albos. Danilo L. Jr. 52 2nd

Fonte, Gene Q. 52 2nd

Egido, Jemalyn E. 50 3rd

Angeles, Julius L. 46 4th

Montilla, Teofilo Andhree B. 44 4th

Soriano, Jason S. 44 4th

Bautista, Anele S. 38 5th

Collantes, Kristine Cecilia B. 38 5th

The following are list of scores of the other examinees:

Name of Examinee Rating

Banaticla, Chesca P. 36

Vergara, Irene Mae A. 36

Molina, Jayson P. 34

Nool, Alvin R. 34

Postrado, Lemon T. 32

Lagaya, Mark Allen 28

Lopena, Robie R. 28

Reyes, Shirlbert P. 28

Salangad, Jennely N. 24

Medialdea, Daven 22

Macalalad, Richard C. 16

Soriano, Manilyn A. 16

Posted by: Engr. Michael L. Zarco

Results of ECE Workshop Fourth Examination

The 11 examinees who garnered the highest places are the following:

Name of Examinee Rating Place

Delos Santos, Alfeus B. 72 1st

Fonte, Gene Q. 70 2nd

Angeles, Julius L. 64 3rd

Molina, Jayson P. 64 3rd

Soriano, Jason S. 64 3rd

Albos. Danilo L. Jr. 62 4th

Enolpe, Karen N. 62 4th

Nool, Alvin R. 62 4th

Banga, Rovi Jane L. 58 5th

Lagaya, Mark Allen 58 5th

Masagca, Catherine V. 58 5th

The following are list of scores of the other examinees:

Name of Examinee Rating

Postrado, Lemon T. 56

Abila, Tzaddi Alephia A. 54

Reyes, Shirlbert P. 50

Collantes, Kristine Cecilia B. 48

Bautista, Anele S. 42

Lopena, Robie R. 38

Soriano, Manilyn A. 34

Medialdea, Daven 32

Carloman, Kristofer L. 30

Macalalad, Richard C. 24

Posted by: Engr. Michael L. Zarco

Results of ECE Workshop Third Examination

The 10 examinees who garnered the highest places are the following:

Name of Examinee Rating Place

Soriano, Jason S. 84 1st

Fonte, Gene Q. 82 2nd

Lavapiez, Shena G. 80 3rd

Delos Santos, Alfeus B. 78 4th

Montilla, Teofilo Andhree B. 78 4th

Egido, Jemalyn E. 76 5th

Vergara, Irene Mae A. 76 5th

Postrado, Lemon T. 72 6th

Enolpe, Karen N. 70 7th

Lagaya, Mark Allen 70 7th

The following are list of scores of the other examinees:

Name of Examinee Rating

Banga, Rovi Jane L. 68

Molina, Jayson P. 66

Masagca, Catherine V. 62

Carloman, Kristofer L. 56

Banaticla, Chesca P. 52

Bautista, Anele S. 52

Lopena, Robie R. 52

Abila, Tzaddi Alephia A. 50

Medialdea, Daven 48

Salangad, Jennely N. 38

Posted by: Engr. Michael L. Zarco

Results of ECE Workshop Second Examination

The 11 examinees who garnered the highest places are the following:

Name of Examinee Rating Place

Angeles, Julius L. 70 1st

Nool, Alvin R. 70 1st

Delos Santos, Alfeus B. 52 2nd

Lavapiez, Shena G. 46 3rd

Fonte, Gene Q. 46 3rd

Montilla, Teofilo Andhree B. 42 4th

Vergara, Irene Mae A. 42 4th

Soriano, Jason S. 40 5th

Albos. Danilo L. Jr. 34 6th

Banaticla, Chesca P. 32 7th

Enolpe, Karen N. 32 7th

The following are list of scores of the other examinees:

Name of Examinee Rating

Collantes, Kristine Cecilia B. 28

Masagca, Catherine V. 28

Postrado, Lemon T. 28

Egido, Jemalyn E. 26

Banga, Rovi Jane L. 24

Abila, Tzaddi Alephia A. 22

Macalalad, Richard C. 22

Reyes, Shirlbert P. 18

Salangad, Jennely N. 18

Carloman, Kristofer L. 14

Soriano, Manilyn A. 10

Posted by: Engr. Michael L. Zarco

Results of ECE Workshop First Examination

The 11 examinees who garnered the highest places are the following:

Name of Examinee Rating Place

Albos. Danilo L. Jr. 58 1st

Angeles, Julius L. 50 2nd

Vergara, Irene Mae A. 48 3rd

Lagaya, Mark Allen 46 4th

Lavapiez, Shena G. 44 5th

Enolpe, Karen N. 42 6th

Medialdea, Daven 42 6th

Reyes, Shirlbert P. 40 7th

Lopena, Robie R. 38 8th

Montilla, Teofilo Andhree B. 38 8th

Soriano, Manilyn A. 38 8th

The following are list of scores of the other examinees:

Name of Examinee Rating

Banaticla, Chesca P. 36

Macalalad, Richard C. 34

Nool, Alvin R. 34

Carloman, Kristofer L. 32

Masagca, Catherine V. 32

Banga, Rovi Jane L. 30

Salangad, Jennely N. 28

Bautista, Anele S. 26

Collantes, Kristine Cecilia B. 26

Molina, Jayson P. 26

Abila, Tzaddi Alephia A. 0

Posted by: Engr. Michael L. Zarco

MOI Problem Set 2 and Takehome Final Examination

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Problem Set 2
Takehome Final Examination

MOI Problem Set 1
Due: April 26, 2006

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Problem Set 1

Strength of Materials Takehome Final Examination

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Final Examination

Contestant Sings 'Hero' on American Idol 5 // 2:08 PM EST Updated by Liron


Heather Cox, one of the 10 female finalists on the 5th season of "American Idol" sang Mariah's "Hero" on last night's show.


The comments made after Heather's performance, both from the show's judges and the media show how respected Mariah is as a vocalist and how difficult it is to try to sing her songs:

Paula Abdul: Here's the one big problem: Sorry, but when you sing songs that the great Mariah Carey sings, you run the hugest risk of being compared to icons. And right now, there's no one hotter than Mariah Carey and we're constantly reminded of how brilliant her voice is. It's a big, big, huge risk to take on a song like that. You did a good job but it wasn't great.

Randy Jackson: They hate when I say this, but it's hard for me because I work with Mariah... Paula's absolutely correct, when you choose stylized songs by these kinds of singers, you're gonna pale in comparison because this was their own soul, own heart, own thing so... song choice, song choice, song choice tonight.

Simon Cowell: This is going to sound odd but Paula and Randy actually spoke some sense. The problem is it was kind of like, you know those ghastly pageants when just before the finalists have arrived, somebody gets up to sing, you know, a Mariah song or something, and it's a horrible moment and it did come over a bit like that, it's sort of pointless really. Pointless if you're not gonna be as good as the original, unless you're gonna do something different with the song.


Foxes on Idol:
Tyler: I've always wanted to hear this song on the show, but I also wanted to hear it done well. If "well" is synonymous with "flat," Heather succeeded.


Curlio.com:
American Idol stalker Heather Cox decided to be brave and perform a song that has never been done on American Idol, "Hero" by Mariah Carey. Doing a Mariah song is risky, but Heather wasn't as bad as she could have been. She was pretty good actually, just not great. Paula said she improved, but picking Mariah is just a bad choice. Randy said that most everyone pales in comparison to Mariah. Simon agreed with Paula and Randy, comparing it to a beauty pageant performance.


The Post Chronicle:
Next up was Heather Cox, who sang Hero by Mariah Carey. After her horrible performance last week, the very idea of her attempting Mariah made me cringe. Unfortunately, her singing did as well. This girl just does not have a voice. How did she even get into the top 12? Granted, she did give a better performance than last week, but the bar was set amazingly low. I was quite surprised that she didn't belt the sections of the songs that were written for belting. Very amateurish.


PhillyBurbs.com:
Heather Cox seems truly lost on the Idol stage. She set herself up for comparisons to Mariah Carey with a ridiculous version of the hit, "Hero" and then looked like she might die after hearing Simon's comment that her performance was "pointless." Heather would have been better off turning in her resignation on the spot than to suffer what is her almost certain fate – getting kicked off the show this week.


TV Fodder:
Heather Cox made a fatal flaw in my book: She performed Mariah Carey. It's a bit overdone and made me feel like I was at a wedding -- without an open bar.


Blogcritics.org:
Heather Cox decided to attempt the impossible and took on a Mariah Carey song, namely "Hero". She held her own I thought, weakly but she held it. The big problem, she is not Mariah Carey, has no where near that kind of voice and so she couldn't possibly live up to the original. Gutsy song selection but it may also be a fatal one for her.


The Watercooler - TVGuide.com:
Heather, there is a reason nobody has performed Mariah Carey's "Hero" on American Idol. The woman's voice goes from gutter growl to dog whistle at the speed of light; nobody can do what Mimi does. Nice gratuitous name-dropping by the way, Randy Jackson. I'd love to see him try to tell Mariah she sounded "pitchy."

CONTROL SYSTEMS PROBLEM SET

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Problem Set

MatLAB for Control System Tutorial

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Tutorial 1

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EAGLE LAYOUT EDITOR PROFESSIONAL VERSION with LICENSE

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Eagle 4.11e

MARIAH CAREY: 'The Queen of Pop'
By Christopher Hamilton

2005 was the year of Mariah Carey. On December 31, 2004, if anyone had written the previous statement, they would have been ridiculed. Mariah had been placed in the "career over" section of the music industry alongside the likes of Whitney, Bobby and Lauryn Hill. How she got there and how she overcame that stigma is the real story.

The music world is one of young, hot and upcoming artists. It's hard to get on top and it's even harder to stay there. Every year there is a new artist that rises out of the woodwork. Back in 1990, that artist was Mariah Carey.

Through her work as a background vocalist, Mariah's music came in contact with Sony head Tommy Motolla (remember him?), who promptly signed her to Columbia Records. Her very first single, "Vision of Love," shot to the top of the charts and multiple number one songs would follow. Mariah owned the 1990s.

During this time, Motolla married his protege. Is it even ethical for a record head to have a romantic relationship with one of his artists? (Berry Gordy and Diana Ross' relationship ultimately broke up the biggest female group ever, The Supremes). The eventual end of Mariah's marriage to Motolla (which was displayed in her "We Belong Together video) was the beginning of a strange and peculiar downward spiral for Mariah.

Once Mariah left Motolla and Sony for Virgin Records for a record $80 million contract, the attack was on. It's been reported that Motolla took songs intended for Carey's first release on Virgin and gave them to Jennifer "I'm Real" Lopez. Whether it's true or not is the subject of much debate; however, record companies have been known to do whatever it takes to artists they know are leaving their label.

Leading up to the release of her first movie, Mariah began to act irratically. Combined business and personal matters began to take their toll and Mariah took a "break" in the middle of the massive promotion for the debut of her movie and new Virgin CD. With no Mariah to promote them, both projects failed and the doubters began to write Mariah as a lost cause.

Virgin even got in on the act, quickly buying her contract out by giving Mariah $28 million just to leave their label. Although she made out in the deal, it's considered a public relations disaster to be paid to leave your record company to "cut their losses." Critics had a field day with the downfall of Mariah Carey. Was it because she could no longer sing or that she was close to breaking records of the highly acclaimed Elvis and the Beatles?

Now a free agent, Mariah was signed to Def Jam by new head LA Reid (the mastermind behind the chart success of Usher and OutKast). Even though her first release on Def Jam, "Charmbracelet" eventually went platinum, it was widely considered that Mariah's days as a top selling artist were long gone.

To prepare for her second release on Def Jam, Mariah took her time and went to the islands to regroup. After clearing her head of all the pressures of life, she hooked up with her old producer/friend Jermaine Dupri and created "The Emancipation of Mimi." (Mimi is the name Mariah is called by her close friends).

A ultra smash, "Mimi" walked down 50 Cent's "The Massacre" to become the number one selling cd of 2005 by selling over 5 million copies and counting. (At press time, "Mimi" is still firmly lodged in the top ten.) Even more impressively, she scored 2 more number one songs from the CD, giving her a total of 17. Now she is tied with Elvis Presley for the most number one songs of all time behind only the Beatles with 20. Does anyone think Virgin jumped the gun?

In other words, Mariah Carey is walking ground no other woman has ever achieved. She's had more number ones than Whitney, Janet Jackson and Madonna. She has earned the official title of "The Queen of Pop." More importantly, she's approaching the holy grail of the Beatles. Does anyone doubt she won't get there?

Christopher Hamilton is a freelance entertainment reporter. He can be reached for questions or comments at mrcjhamilton@hotmail.com

Download Eagle Layout Editor v4.16 in Parts

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eagle-win-eng-4.16.sfx.part1
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eagle-win-eng-4.16.sfx.part3
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eagle-win-eng-4.16.sfx.part5
eagle-win-eng-4.16.sfx.part6
eagle-win-eng-4.16.sfx.part7

Download Area for EAGLE Layout Editor 4.16

The EAGLE Layout Editor is an easy to use, yet powerful tool for designing printed circuit boards (PCBs). The name EAGLE is an acronym, which stands for Easily Applicable Graphical Layout Editor.

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Neamen Drill Problems for Chapter 5

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SmartDraw Download Area

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SmartDraw5

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DOWNLOAD AREA

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Century Schoolbook

Using MatLab for Engineering Mechanics