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Sample translations submitted: 2
French to English: FR>EN Construction translation I performed for a private client General field: Tech/Engineering Detailed field: Construction / Civil Engineering
Source text - French Cannot upload the original as it would violate the data protection act. The translation alongside has been purged of any identifying information.
Translation - English Amount of water to discharge: 18.43 Litres per hour
Recommended solutions
The rudiments of dehumidification Omega 20 tri
Essential to dehumidification is the installation of a control room in close proximity to the swimming pool. Airflow and high pressure are required for connecting a duct network.
The most effective solution for treating localised hygrometry is to provide a network of ducts and grids for the resumption of moist air on one side and blowing hot, dry air along the windows.
Options of electric heating or hot water battery (see paragraph 2).
Note: in the ERP (consumer rights protocol), the air ducts must be equipped with firestop valves equal to the degree of hygro-control walls.
Regulation provided by hygro-control walls.
Omega 20 tri: Placed at the vertical centre (of wall), it recovers moist air from middle to end flow and dry air is blown from underneath the machine (option from the top), flow of air: 6000 m3/h, 20mmCE (wind speed), minimal covering ø630. Electricity supply option: 3 phase 400V. Option of a TITANIUM water condenser. This allows the excess heat calories produced by the dehumidifier to be transferred into the swimming pool.
Condensation
For an area of room temperature 28°C and hygrometry of 70%, the dewpoint is from 21.9°C.
The dewpoint is the temperature below which a vapour of water contained in the air condenses. Thus, each wall at a temperature less than the dewpoint is prone to condensation. As a result, the type of walls and their implementation should be adapted to the constraints of the pool environment. The role of the dehumidifier is to maintain hygrometry at the desired level (said to be 60% to 70%). However, in no case can this combat the phenomenal ability of condensation to strike whenever a room is not materially adapted to repel it. This has especially been an issue with weak insulation.
French to English: FR>EN Translation I performed for a private client about Italian Futurism Detailed field: Mechanics / Mech Engineering
Source text - French Cannot upload as I was given a paper copy.
Translation - English The French Republic
Ministry of Commerce and Industry
Management of Industrial Properties.
Patent.
Group 17, Clause 4. Number 715.733
Musical instrument.
M. Luigi Russolo, resident of France (Seine region).
Date of hearing: 20th April, 1931 at 4:25pm in Paris.
Presented 29th September, 1931 and published 8th December 1931.
The known string instruments produce sound by sole means of the transverse vibrations of the strings inside them. In this way, the strings on violins, violas, violincellos and double basses are continuously struck crosswise with a suitable bow to cause them to vibrate transversely. Similarly, the strings of a piano are hit. Those of a harp and a guitar are pinched; the sound produced changes with the hand position and rings out, vibrating in the transverse direction.
Up to now, only longitudinal vibrations that would be produced have been used, for example, those produced by bowing the string lengthways, followed by the difficulties of instrumental performances arising from this type of vibrations.
The purpose of the invention is to create a musical instrument allowing the use of those longitudinal vibrations that are produced by the lengthways application of a surface to a musical string. Notably, each musical string is made of a metallic thread wound into a spiral and tightened between two specific points above an appropriate resonant box. The aforementioned string is able to be struck, either by hand or stroked mechanically and tangentially by means of a loop and as seen in the diagram of the loop.
Other characteristics of this invention will arise from a description that comes later in this study.
--------------------------------------------------------------------------------------------------------------------------------------The attached diagram only gives by way of example:
Figure 1 – a bird’s eye view of a single-stringed instrument of the type of invention documented in this study.
Figure 2- a cross-section of the line between 2-2 in figure 3, displaying an instrument allowing the production of longitudinal, continuous vibrations.
Figure 3- an incomplete diagram of the instrument simplified in figure 2.
According to this example of performance –as seen in figure 1- the musical string is made of a metal thread (1) such as steel, wound into a spiral and forming a spring. One end of this thread is attached to a stand (2) affixed to a resonating box (3) above which is tightened the spiralled thread; the spring. The other end of this thread is tied to a hook. Tying one end of the thread to the hook enables the tension to be more or less regulated. The useful length of thread (1) is placed between two bridges (5) which are supported by the resonating box(3) and also the installed thread above this box.
The sounds that result from this instrument come from the strings’ longitudinal vibrations when they are softly and continually struck; for example, with a hand gloved in cellophane, the rope creates the turns tangentially for this revolution (turn); this happens with the turning of the thread (1). Thus, longitudinal vibrations are produced which circulate by following the entire spiral’s revolution. Therefore, it is very easy to produce these longitudinal vibrations.
If, by producing lengthways vibrations i.e. striking and rubbing the thread, that is to say by striking and rubbing the thread (1), you exert a little pressure onto the thread and transversely displace the spiral in the apparatus. Thus, you are also producing longitudinal vibrations from the thread, transversal vibrations are produced in addition and increase the intensity of the produced sounds.
Longitudinal vibrations can be maintained as they are inside a violin, by prolonging the length of time for which the thread is struck. equally, you can produce free vibrations that are their own shock-absorbers as in a piano and harp; they are bereft of a rope that can cause excess vibrations.
The height of the model may vary, as is the case for ordinary ropes. This is to say that the tension of the thread (1) also varies as does the length that makes sound. You can also vary the tone of the sound by striking at various distances away from the supporting bridges.
Instead of a single rope, you could use several ropes identical to the prescribed rope and placed, as described, on top of the resonant box.
The strings, designed to produce various sounds (notes) may e made of threads varying in thickness or diameter. In the latter case, it is preferable that the diameter of the spiral be proportional to the diameter of that thread that forms this spiral.
The string may be placed on top of a small resonating box (3), which is easily transportable, as is the case for violins and guitars, etc. You can also use inbuilt, large resonant boxes on which many strings may be placed, using the same principle as a piano.
In these assembled instruments, it is preferable to use a device to make the strings vibrate; this allows longer vibrations to occur automatically (without the use of a human hand). In the example specified in the diagrams (figures 2 and 3), such a device entails a belt (conveyer belt)-6- that is fed through two pulleys -7. The conveyer belt operates thus: (FIGURE 2) One pulley acts as an idle roller upon its axis. The other pulley is moved by the continual movement of and produced by the conveyer belt. This conveyer belt is positioned parallel to the set up of the spirals as seen in figure 1 (also number 1). The conveyor belt is positioned so that one of its parts (the pulley on the right of figure 2) is sensibly at a tangent to one of the spirals without ever relapsing into a position in which it could come into contact with the spirals. Preferably, the supportive stand -8- for the idle roller -7- causes vibrations at point 9 (figure 2) and subjects the spiral at point 10 to this action, which carries over to the other pulley. All manner of devices may of course be used in order to tighten the conveyer belt -6.
Two rollers -11- are raised by a lever-12-, and conducted by the lever’s far point (‘handle’ or makeshift handle). The rollers are positioned into the vicinity of the conveyor belt-6- and a string beneath the conveyor belt and positioned between the two rollers. This lever may be operated either by hand or by means of a key, forming part of a keyboard.
When you lower the key of this ‘keyboard’, the appropriate lever -12- lowers itself by carrying over the rollers -11-so that the conveyor belt-6- (misprinted as 7 in original?) is-as the apparatus rotates- in contact with the rope directly beneath it-1- as seen in figure 2. In this rotation, the conveyor belt -6-, being continually carried between pulleys, produces an action of rubbing and therefore longitudinal vibrations from the string. You can regulate the intensity of the sounds produced by exerting varying levels of pressure onto the string-1- from the conveyor belt -6. That is to say, by applying a higher level or a lower amount of pressure to the key- in exactly the same way that a violinist regulates the sound by the pressure exerted from the bow on the strings.
Therefore, with such an instrument, you can obtain all the same effects of continuous chords, as per an organ with all the ability for dynamics of a violin. Equally, you can produce notes and sounds of the same nature as piano notes: Press the key once and the sound resonates out continually before dying away, discontinuing automatically. In this case, the conveyor belt -6- moves itself away quickly over the string -1- having caused vibrations upon it by rubbing against it. This type of vibration continues freely by its own accord (lever is held down). In addition, sounding boards may feature in these instruments. These are controlled by a pedal and allow for a faster extinguishing of the notes.
The musical instruments of the type described in this study use longitudinal vibrations from musical strings. These produce musical notes which deliver a large variety of tones, which is due to the richness of the harmonics which you can vary at will. The variation depends on where the string is struck (which roller[s]). The sounds produced are aurally pleasing, very pure and powerful.
Of course, this invention is in no way limited to the performance methods described in this study- there are many other possibilities aside from those methods described herein.
SUMMARY
The aim of this invention is to create a musical instrument that uses longitudinal vibrations that are pleasing and produced from musical strings. The following haracteristics may be considered separately from or in addition to the practice already described.
a) Each musical string is made of a metallic thread, spun into a spiral and tightened between two specific points above a suitable resonating box. The aforementioned string can be struck by hand or mechanically and at a tangent to the rotation and also within the action of this rotation;
b) The instrument includes many musical strings positioned over the same resonating box . the strings vary in length, diameter, density and tension, which is regulated. These variations enable different notes to be achieved.
c) The conveyor belts, led in a continuous manner, are positioned in the vicinity of the musical strings parallel to the spires. These are the organs that allow the strings to be led- when desired- into contact with the string or desired strings, in order to produce the longitudinal vibrations, which are then either prolonged or stopped.
d) Two rollers, which bear upon the conveyor belt, positioned at opposites of the course of the string’s feed, are connected to a lever controlled by a key, such as one on a piano. Lowering it renders the conveyor belt in touch with the string below it.
L.RUSSOLO.
As proxy for:
LAVOIX, GUET and GIRARDOT.
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Translation education
Master's degree - University of Bangor, Wales, Uk
Experience
Years of experience: 15. Registered at ProZ.com: Jan 2010.
I was fortunate enough to undertake my MA in Translation
Studies in North Wales, a highly translational environment. An immersion in
diglossia was invaluable for my studies. It showed me how translation breaks
free from the textbooks that mothball it into theory and thrives as a reality
lived by so many on a daily basis. I had access to a translational atmosphere
that the jargon and statistics of a theory book cannot evoke but instead
dilute. The location of my study alerted me to something that is often, and
amazingly, ignored by the theorists, linguists and lexicographers: the highly
emotive desire to protect one’s mother tongue from extinction. The instinct to
avoid language death is what upholds the reality of translation, enabling it to
thrive. It accounts for much of the world's language politics, but is so often
overlooked in favour of the facts, figures and case studies that explain these issues
on a more superficial, and less human, level. While I am surprised that the
emotive nature of language politics (and resultant policies) is rarely, if
ever, discussed, it undeniably gives the medium of translation not only a
platform, but a duty to which we as translators are bound. The duty is to
enable 'nation to speak unto nation' without either speaker sacrificing his or
her identity, personality or past. Those things mean too much.
Keywords: Legal, business, finance, property, insurance, inheritance, contracts, employment law