Z*o
2 楼
http://www.stereophile.com/features/368/index.html
By Robert Harley • Posted: Nov 1, 1993
Not that long ago, digital audio was considered perfect if all the bits
could be stored and retrieved without data errors. If the data coming off
the disc were the same as what went on the disc, how could there be a sound-
quality difference with the same digital/analog converter? This "bits is
bits" mentality scoffs at sonic differences between CD transports, digital
interfaces, and CD tweaks. Because none of these products or devices affects
the pattern of ones and zeros recovered from the disc, any differences must
be purely in the listener's imagination. After all, they argued, a copy of
a computer program runs just as well as the original.
As our knowledge of digital audio has become more sophisticated, however, we
've learned that the timing of those ones and zeros is of utmost importance.
It isn't enough to get the bits right; those bits have to be converted back
into music with the same timing reference as when the music was first
digitized. It turns out that timing errors in the picosecond (ps) range—the
time it takes light to travel inches—can audibly degrade digitally
reproduced music. These timing errors—called jitter—are only now beginning
to be understood (footnote 1).
Although I have a pretty good feel for how jitter in a digital processor can
degrade sound quality, what I don't begin to understand is why CD
transports sound so different. Some have a smooth treble, soft bass, and a
deep soundstage, while others are bright, have tight and extended bass, and
poor soundstaging. My auditioning of the C.E.C. TL 1 belt-drive transport (
reviewed in Vol.16 No.7) deepened the mystery: The TL 1 had the most
distinctive sonic signature of any transport I've heard, with an extremely
smooth treble, lushly liquid midrange, and a soft, somewhat sluggish bass.
The TL 1's presentation was in sharp contrast to the Mark Levinson No.31
transport's tight, punchy, highly detailed rendering. If jitter is the cause
of these sonic differences, why don't poor (high-jitter) transports all
have the same sonic signature? What mechanisms create such a broad palate of
sonic flavors?
There are two possible answers. The first is that, besides the bits and the
timing of those bits, sound quality is influenced by a third, unknown factor
. The second—and much more likely—answer is that the jitter's spectral
content affects certain sonic aspects differently. Jitter can be randomly
distributed in frequency (like white noise), or have most of its energy
concentrated at specific frequencies. The jitter's characteristics probably
determine each transport's sound. Is this the mechanism behind the different
sonic signatures of CD transports?
We may have taken the first step toward answering that question. Stereophile
has acquired a unique test instrument that measures jitter in a CD
transport's digital output. The analyzer takes in an S/PDIF or AES/EBU
signal from a transport and outputs the transport's jitter content. The
jitter can be looked at on an oscilloscope, measured with an RMS-reading
voltmeter, listened to through an amplifier and loudspeakers, analyzed with
FFT techniques, or plotted as a function of frequency with 1/3-octave
spectral analysis. The jitter test instrument, designed by UltraAnalog's Dr.
Rémy Fourré and described in his Stereophile article last month ("Jitter
and the Digital Interface," Vol.16 No.10, p.80), is a powerful tool for
revealing the different jitter performances of various CD transports (
footnote 2).
I used the analyzer to measure the jitter in a wide range of CD transports,
most of them previously reviewed in these pages. The Stereophile test bench
and surrounding area looked like "transport city," with more than a dozen
high-end models awaiting testing. Also on hand for measurement was a "jitter
-reduction" device, Audio Alchemy's Digital Transmission Interface (DTI).
Because Stereophile has already reported on the sound of many of these
products, we can look at the measurements and see if there's a correlation
between a transport's sound quality and its measured jitter.
I'll report on the test methods and results later in this article. First,
let's look at how a transport's jitter affects the sound quality of a
digital processor connected to it.
How transport jitter affects DAC sound quality
In "The Jitter Game" (Stereophile, January 1993, p.114), I explained how
jitter in a digital processor's word clock affects the processor's sound
quality. The word clock is the timing signal that controls when the digital-
to-analog converter (DAC) converts the digital audio samples into an analog
output. Timing errors in the clock produce voltage errors in the DAC's
analog output signal, degrading the processor's sonic and technical
performance.
That article focused on jitter in digital processors; at the time, we had no
way of measuring transport jitter. Since then, we've learned much more
about the relationship between word-clock jitter, the digital processor, and
the CD transport. It turns out that word-clock jitter in a digital
processor—the point where jitter becomes audible—is a result of many
variables, including the transport, the digital interface, and the digital
processor itself.
The transport's S/PDIF digital output drives the digital processor's input
receiver. The input receiver generates a new clock by locking to the
incoming clock in the S/PDIF datastream with a Phase-Locked Loop (PLL). This
so-called "recovered" clock then becomes the timing reference for the
digital processor. When your digital processor's "lock" or "44.1kHz" LED
illuminates, the processor has locked to the incoming clock signal. If this
recovered clock is jittered, the word clock at the DAC will also be jittered.
It is commonly believed that transport jitter is rejected by the input
receiver and not passed to the recovered clock. Unfortunately, that's true
only above a certain frequency, called the "jitter attenuation cutoff
frequency." Below this cutoff frequency, the input receiver and PLL simply
pass the incoming jitter to the recovered clock. The popular Crystal CS8412
chip has a jitter attenuation cutoff frequency of 25kHz, meaning that the
device is transparent to transport jitter below 25kHz. (This specification
is clearly stated in the CS8412's data sheet [downloadable as a PDF file---
Ed.].) The input receiver essentially acts as a low-pass filter to jitter.
Note that jitter energy with a frequency between DC and 40kHz produces
audible degradation.
A second source of word-clock jitter is the input receiver's intrinsic
jitter. Input receivers vary greatly in their intrinsic jitter, from 40
picoseconds in the UltraAnalog AES 20 input receiver, 200ps for the Crystal
CS8412, up to 5000ps (5ns) in the Yamaha YM3623 chip. (The Yamaha receiver's
jitter can be reduced with a few circuit tricks.)
We can quickly see that the sonically degrading word-clock jitter in a
digital processor is influenced by several variables:
1) the transport's jitter;
2) S/PDIF or AES/EBU interface-induced jitter (the digital interconnect);
3) how well the digital processor's input receiver rejects transport and
interface jitter;
4) the input receiver's intrinsic jitter; and
5) how well the clock is recovered and handled inside the digital processor.
By Robert Harley • Posted: Nov 1, 1993
Not that long ago, digital audio was considered perfect if all the bits
could be stored and retrieved without data errors. If the data coming off
the disc were the same as what went on the disc, how could there be a sound-
quality difference with the same digital/analog converter? This "bits is
bits" mentality scoffs at sonic differences between CD transports, digital
interfaces, and CD tweaks. Because none of these products or devices affects
the pattern of ones and zeros recovered from the disc, any differences must
be purely in the listener's imagination. After all, they argued, a copy of
a computer program runs just as well as the original.
As our knowledge of digital audio has become more sophisticated, however, we
've learned that the timing of those ones and zeros is of utmost importance.
It isn't enough to get the bits right; those bits have to be converted back
into music with the same timing reference as when the music was first
digitized. It turns out that timing errors in the picosecond (ps) range—the
time it takes light to travel inches—can audibly degrade digitally
reproduced music. These timing errors—called jitter—are only now beginning
to be understood (footnote 1).
Although I have a pretty good feel for how jitter in a digital processor can
degrade sound quality, what I don't begin to understand is why CD
transports sound so different. Some have a smooth treble, soft bass, and a
deep soundstage, while others are bright, have tight and extended bass, and
poor soundstaging. My auditioning of the C.E.C. TL 1 belt-drive transport (
reviewed in Vol.16 No.7) deepened the mystery: The TL 1 had the most
distinctive sonic signature of any transport I've heard, with an extremely
smooth treble, lushly liquid midrange, and a soft, somewhat sluggish bass.
The TL 1's presentation was in sharp contrast to the Mark Levinson No.31
transport's tight, punchy, highly detailed rendering. If jitter is the cause
of these sonic differences, why don't poor (high-jitter) transports all
have the same sonic signature? What mechanisms create such a broad palate of
sonic flavors?
There are two possible answers. The first is that, besides the bits and the
timing of those bits, sound quality is influenced by a third, unknown factor
. The second—and much more likely—answer is that the jitter's spectral
content affects certain sonic aspects differently. Jitter can be randomly
distributed in frequency (like white noise), or have most of its energy
concentrated at specific frequencies. The jitter's characteristics probably
determine each transport's sound. Is this the mechanism behind the different
sonic signatures of CD transports?
We may have taken the first step toward answering that question. Stereophile
has acquired a unique test instrument that measures jitter in a CD
transport's digital output. The analyzer takes in an S/PDIF or AES/EBU
signal from a transport and outputs the transport's jitter content. The
jitter can be looked at on an oscilloscope, measured with an RMS-reading
voltmeter, listened to through an amplifier and loudspeakers, analyzed with
FFT techniques, or plotted as a function of frequency with 1/3-octave
spectral analysis. The jitter test instrument, designed by UltraAnalog's Dr.
Rémy Fourré and described in his Stereophile article last month ("Jitter
and the Digital Interface," Vol.16 No.10, p.80), is a powerful tool for
revealing the different jitter performances of various CD transports (
footnote 2).
I used the analyzer to measure the jitter in a wide range of CD transports,
most of them previously reviewed in these pages. The Stereophile test bench
and surrounding area looked like "transport city," with more than a dozen
high-end models awaiting testing. Also on hand for measurement was a "jitter
-reduction" device, Audio Alchemy's Digital Transmission Interface (DTI).
Because Stereophile has already reported on the sound of many of these
products, we can look at the measurements and see if there's a correlation
between a transport's sound quality and its measured jitter.
I'll report on the test methods and results later in this article. First,
let's look at how a transport's jitter affects the sound quality of a
digital processor connected to it.
How transport jitter affects DAC sound quality
In "The Jitter Game" (Stereophile, January 1993, p.114), I explained how
jitter in a digital processor's word clock affects the processor's sound
quality. The word clock is the timing signal that controls when the digital-
to-analog converter (DAC) converts the digital audio samples into an analog
output. Timing errors in the clock produce voltage errors in the DAC's
analog output signal, degrading the processor's sonic and technical
performance.
That article focused on jitter in digital processors; at the time, we had no
way of measuring transport jitter. Since then, we've learned much more
about the relationship between word-clock jitter, the digital processor, and
the CD transport. It turns out that word-clock jitter in a digital
processor—the point where jitter becomes audible—is a result of many
variables, including the transport, the digital interface, and the digital
processor itself.
The transport's S/PDIF digital output drives the digital processor's input
receiver. The input receiver generates a new clock by locking to the
incoming clock in the S/PDIF datastream with a Phase-Locked Loop (PLL). This
so-called "recovered" clock then becomes the timing reference for the
digital processor. When your digital processor's "lock" or "44.1kHz" LED
illuminates, the processor has locked to the incoming clock signal. If this
recovered clock is jittered, the word clock at the DAC will also be jittered.
It is commonly believed that transport jitter is rejected by the input
receiver and not passed to the recovered clock. Unfortunately, that's true
only above a certain frequency, called the "jitter attenuation cutoff
frequency." Below this cutoff frequency, the input receiver and PLL simply
pass the incoming jitter to the recovered clock. The popular Crystal CS8412
chip has a jitter attenuation cutoff frequency of 25kHz, meaning that the
device is transparent to transport jitter below 25kHz. (This specification
is clearly stated in the CS8412's data sheet [downloadable as a PDF file---
Ed.].) The input receiver essentially acts as a low-pass filter to jitter.
Note that jitter energy with a frequency between DC and 40kHz produces
audible degradation.
A second source of word-clock jitter is the input receiver's intrinsic
jitter. Input receivers vary greatly in their intrinsic jitter, from 40
picoseconds in the UltraAnalog AES 20 input receiver, 200ps for the Crystal
CS8412, up to 5000ps (5ns) in the Yamaha YM3623 chip. (The Yamaha receiver's
jitter can be reduced with a few circuit tricks.)
We can quickly see that the sonically degrading word-clock jitter in a
digital processor is influenced by several variables:
1) the transport's jitter;
2) S/PDIF or AES/EBU interface-induced jitter (the digital interconnect);
3) how well the digital processor's input receiver rejects transport and
interface jitter;
4) the input receiver's intrinsic jitter; and
5) how well the clock is recovered and handled inside the digital processor.
s*g
3 楼
最近要出差去多伦多做项目,我现在只有H1B，但听说可以用Automatic Visa
Revalidation。不知道有没有大侠有过类似经验。有没有什么注意事项？先谢过指教了
！
Revalidation。不知道有没有大侠有过类似经验。有没有什么注意事项？先谢过指教了
！
S*T
4 楼
。。。。。话说那神猿金灵正在枝叶中打坐，忽然觉得身下有些不稳。这棵巨松乃是木
青的本体，高达五六十丈，直径也有十余丈，木质更是坚如铁石，寻常法宝都难以伤及
分毫的。莫非是那叛徒又或者是某个强敌想来偷袭？金灵不敢大意，立刻将神念放出。
他的修为本已到了练虚后期，神念强大，整个花园一草一木一花一叶无不在其掌握之中
。但是奇怪的是禁制之中一切正常，完全不象有外敌入侵的样子。这个花园本就是自成
一体与外界隔绝的，若非刻意为之，也不会刮风的。更不用说是能撼动这重逾千万斤的
巨树的狂风了。
渐渐地只见那巨大的松树晃动的幅度越来越大，而且方向也是变化不定，更有类似波动
的感觉从树根直传到树梢。明明是一棵渊停岳峙的参天巨木，现在却有如那春天河边风
中的杨柳一般摇曳生姿。
金灵也是头一次遇到如此反常的情况，不由得惊疑不定起来。若是有敌人来袭，主人神
通广大，自然会预感得到，有警讯传出的。而眼下的情形，怪异虽然怪异，但却绝对没
有危险的感觉。倒是树上花粉纷纷落下，犹如一层薄纱笼罩在巨木之上，连带着空气中
都充满着浓郁的松香气味，让成道数千年的老猴子也不禁有些精神恍惚起来。
金灵正沉浸在早年的回忆当中，忽然闻到一股淡淡的焦糊味，象是有什么东西烧了起来
。他转头循着气味来源的方向往巨松的树干中间望去，突然脸色苍白，有如火烧屁股一
般地跳了起来。
原来这巨松的树干中间偏上的地方，两条最下也是最粗的主枝中间，有一个天然形成的
树洞。乃是巨松内部唯一暴露于外界的地方。也是木青本体绝对的禁区，就连金灵自己
，也是无法接近分毫的。当年和金灵这猿猴一样在巨松下玩耍而得到木青提携成为神兽
的还有一只松鼠，论起受宠甚至还比金灵强上那么一些的，就是因为有一次无意中过于
接近这处树洞而触发了禁制，结果神形俱灭的。而且事后木青也完全没有任何愧疚或者
后悔的表示的。眼下这个树洞里竟然冒出一股烟雾，甚至不用神识也能察觉那是里面烧
了起来。
金灵又急又怕，有心要去救火，但是那树洞的禁制威力之大，以他现在的修为也绝对是
招架不住的。如果不去理睬，万一火势失去控制伤了巨松，不用想主人也是不会轻饶他
的。他在那里上蹿下跳地纠结了一阵，眼看那烟雾越来越浓，焦味也越来越大。忽然有
火苗从那树洞中窜了出来，舔上旁边直接长在树干上的卷曲的松针，吡剥做响。
眼见得形势万分危急，而主人又迟迟不见出现，甚至连神识也沟通不上。金灵不禁暗叹
一声，想不到我今日竟然要莫名其妙地陨落在此。双臂一晃，背后的两只短剑就到了手
上，白茫茫的剑气缠绕之下，现出一条蛟龙的形状，附近的空气被冻得成为液态，一滴
滴地落下。金灵大吼一声，咬破舌尖吐出一口精血，喷在脖子上一个非金非木的铭牌上
，立刻在身外形成一个光罩，然后心一横眼一闭便向那喷烟冒火的树洞禁地冲去。
刚刚冲到禁制边缘，只见巨松突然有如筛糠一般的一阵抖动，忽然从树洞里喷出一股乳
白色半透明的树汁来，微微带些草腥味，却是灵气十足的样子，饶是金灵护体光罩乃是
灵界排得上号的灵宝所化，也被这白液无视的样子，直接浇了他一头一脸，毛发全湿，
有如落水狗一般好不狼狈。只是这么一浇，却也把火头给浇灭了。
青的本体，高达五六十丈，直径也有十余丈，木质更是坚如铁石，寻常法宝都难以伤及
分毫的。莫非是那叛徒又或者是某个强敌想来偷袭？金灵不敢大意，立刻将神念放出。
他的修为本已到了练虚后期，神念强大，整个花园一草一木一花一叶无不在其掌握之中
。但是奇怪的是禁制之中一切正常，完全不象有外敌入侵的样子。这个花园本就是自成
一体与外界隔绝的，若非刻意为之，也不会刮风的。更不用说是能撼动这重逾千万斤的
巨树的狂风了。
渐渐地只见那巨大的松树晃动的幅度越来越大，而且方向也是变化不定，更有类似波动
的感觉从树根直传到树梢。明明是一棵渊停岳峙的参天巨木，现在却有如那春天河边风
中的杨柳一般摇曳生姿。
金灵也是头一次遇到如此反常的情况，不由得惊疑不定起来。若是有敌人来袭，主人神
通广大，自然会预感得到，有警讯传出的。而眼下的情形，怪异虽然怪异，但却绝对没
有危险的感觉。倒是树上花粉纷纷落下，犹如一层薄纱笼罩在巨木之上，连带着空气中
都充满着浓郁的松香气味，让成道数千年的老猴子也不禁有些精神恍惚起来。
金灵正沉浸在早年的回忆当中，忽然闻到一股淡淡的焦糊味，象是有什么东西烧了起来
。他转头循着气味来源的方向往巨松的树干中间望去，突然脸色苍白，有如火烧屁股一
般地跳了起来。
原来这巨松的树干中间偏上的地方，两条最下也是最粗的主枝中间，有一个天然形成的
树洞。乃是巨松内部唯一暴露于外界的地方。也是木青本体绝对的禁区，就连金灵自己
，也是无法接近分毫的。当年和金灵这猿猴一样在巨松下玩耍而得到木青提携成为神兽
的还有一只松鼠，论起受宠甚至还比金灵强上那么一些的，就是因为有一次无意中过于
接近这处树洞而触发了禁制，结果神形俱灭的。而且事后木青也完全没有任何愧疚或者
后悔的表示的。眼下这个树洞里竟然冒出一股烟雾，甚至不用神识也能察觉那是里面烧
了起来。
金灵又急又怕，有心要去救火，但是那树洞的禁制威力之大，以他现在的修为也绝对是
招架不住的。如果不去理睬，万一火势失去控制伤了巨松，不用想主人也是不会轻饶他
的。他在那里上蹿下跳地纠结了一阵，眼看那烟雾越来越浓，焦味也越来越大。忽然有
火苗从那树洞中窜了出来，舔上旁边直接长在树干上的卷曲的松针，吡剥做响。
眼见得形势万分危急，而主人又迟迟不见出现，甚至连神识也沟通不上。金灵不禁暗叹
一声，想不到我今日竟然要莫名其妙地陨落在此。双臂一晃，背后的两只短剑就到了手
上，白茫茫的剑气缠绕之下，现出一条蛟龙的形状，附近的空气被冻得成为液态，一滴
滴地落下。金灵大吼一声，咬破舌尖吐出一口精血，喷在脖子上一个非金非木的铭牌上
，立刻在身外形成一个光罩，然后心一横眼一闭便向那喷烟冒火的树洞禁地冲去。
刚刚冲到禁制边缘，只见巨松突然有如筛糠一般的一阵抖动，忽然从树洞里喷出一股乳
白色半透明的树汁来，微微带些草腥味，却是灵气十足的样子，饶是金灵护体光罩乃是
灵界排得上号的灵宝所化，也被这白液无视的样子，直接浇了他一头一脸，毛发全湿，
有如落水狗一般好不狼狈。只是这么一浇，却也把火头给浇灭了。
c*g
5 楼
不好意思，我从来没用过apple的产品，最近有朋友想让我帮带一台ipad回国，帮他问
一下ipad的操作系统能不能设置成中文的？
一下ipad的操作系统能不能设置成中文的？
p*7
6 楼
http://pubs.acs.org/doi/abs/10.1021/ja908371f
and
pubs.acs.org/doi/abs/10.1021/cm901950q
p*************[email protected]
Thank you!
and
pubs.acs.org/doi/abs/10.1021/cm901950q
p*************[email protected]
Thank you!
r*e
7 楼
大虾，google一下再问比较好
【在 b******u 的大作中提到】
: 请教大虾，faculty面试一般提什么问题？
【在 b******u 的大作中提到】
: 请教大虾，faculty面试一般提什么问题？
x*4
8 楼
原文太长，发个summary？
sound-
★ 发自iPhone App: ChineseWeb 7.8
【在 Z*****o 的大作中提到】
: http://www.stereophile.com/features/368/index.html
: By Robert Harley • Posted: Nov 1, 1993
: Not that long ago, digital audio was considered perfect if all the bits
: could be stored and retrieved without data errors. If the data coming off
: the disc were the same as what went on the disc, how could there be a sound-
: quality difference with the same digital/analog converter? This "bits is
: bits" mentality scoffs at sonic differences between CD transports, digital
: interfaces, and CD tweaks. Because none of these products or devices affects
: the pattern of ones and zeros recovered from the disc, any differences must
: be purely in the listener's imagination. After all, they argued, a copy of
sound-
★ 发自iPhone App: ChineseWeb 7.8
【在 Z*****o 的大作中提到】
: http://www.stereophile.com/features/368/index.html
: By Robert Harley • Posted: Nov 1, 1993
: Not that long ago, digital audio was considered perfect if all the bits
: could be stored and retrieved without data errors. If the data coming off
: the disc were the same as what went on the disc, how could there be a sound-
: quality difference with the same digital/analog converter? This "bits is
: bits" mentality scoffs at sonic differences between CD transports, digital
: interfaces, and CD tweaks. Because none of these products or devices affects
: the pattern of ones and zeros recovered from the disc, any differences must
: be purely in the listener's imagination. After all, they argued, a copy of
g*g
9 楼
You can do it as long as you don't stay there for more than
30 days. On your way out, mention to your agent about this
and keep your I-94.
【在 s***g 的大作中提到】
: 最近要出差去多伦多做项目,我现在只有H1B，但听说可以用Automatic Visa
: Revalidation。不知道有没有大侠有过类似经验。有没有什么注意事项？先谢过指教了
: ！
30 days. On your way out, mention to your agent about this
and keep your I-94.
【在 s***g 的大作中提到】
: 最近要出差去多伦多做项目,我现在只有H1B，但听说可以用Automatic Visa
: Revalidation。不知道有没有大侠有过类似经验。有没有什么注意事项？先谢过指教了
: ！
b*n
10 楼
Kao!!
这就射了？！
。。。。。话说那神猿金灵正在枝叶中打坐，忽然觉得身下有些不稳。这棵巨松乃是木
青的本体，高达五六十丈，直径也有十余丈，木质更是坚如铁石，寻常法宝都难以伤及
分毫的。莫非是那叛徒又或者是某个强敌想来偷袭？金灵不敢大意，立刻将神念放出。
他的修为本已到了练虚后期，神念强大，整个花园一草一木一花一叶无不在其掌握之中
。但是奇怪的是禁制之中一切正常，完全不象有外敌入侵的样子。这个花园本就是自成
一体与外界隔绝的，若非刻意为之，也不会刮风的。更不用说是能撼动这重逾千万斤的
巨树的狂风了。
渐渐地只见那巨大的松树晃动的幅度越来越大，而且方向也是变化不定，更有类似波动
的感觉从树根直传到树梢。明明是一棵渊停岳峙的参天巨木，现在却有如那春天河边风
中的杨柳一般摇曳生姿。
金灵也是头一次遇到如此反常的情况，不由得惊疑不定起来。若是有敌人来袭，主人神
通广大，自然会预感得到，有警讯传出的。而眼下的情形，怪异虽然怪异，但却绝对没
有危险的感觉。倒是树上花粉纷纷落下，犹如一层薄纱笼罩在巨木之上，连带着空气中
都充满着浓郁的松香气味，让成道数千年的老猴子也不禁有些精神恍惚起来。
金灵正沉浸在早年的回忆当中，忽然闻到一股淡淡的焦糊味，象是有什么东西烧了起来
。他转头循着气味来源的方向往巨松的树干中间望去，突然脸色苍白，有如火烧屁股一
般地跳了起来。
原来这巨松的树干中间偏上的地方，两条最下也是最粗的主枝中间，有一个天然形成的
树洞。乃是巨松内部唯一暴露于外界的地方。也是木青本体绝对的禁区，就连金灵自己
，也是无法接近分毫的。当年和金灵这猿猴一样在巨松下玩耍而得到木青提携成为神兽
的还有一只松鼠，论起受宠甚至还比金灵强上那么一些的，就是因为有一次无意中过于
接近这处树洞而触发了禁制，结果神形俱灭的。而且事后木青也完全没有任何愧疚或者
后悔的表示的。眼下这个树洞里竟然冒出一股烟雾，甚至不用神识也能察觉那是里面烧
了起来。
金灵又急又怕，有心要去救火，但是那树洞的禁制威力之大，以他现在的修为也绝对是
招架不住的。如果不去理睬，万一火势失去控制伤了巨松，不用想主人也是不会轻饶他
的。他在那里上蹿下跳地纠结了一阵，眼看那烟雾越来越浓，焦味也越来越大。忽然有
火苗从那树洞中窜了出来，舔上旁边直接长在树干上的卷曲的松针，吡剥做响。
眼见得形势万分危急，而主人又迟迟不见出现，甚至连神识也沟通不上。金灵不禁暗叹
一声，想不到我今日竟然要莫名其妙地陨落在此。双臂一晃，背后的两只短剑就到了手
上，白茫茫的剑气缠绕之下，现出一条蛟龙的形状，附近的空气被冻得成为液态，一滴
滴地落下。金灵大吼一声，咬破舌尖吐出一口精血，喷在脖子上一个非金非木的铭牌上
，立刻在身外形成一个光罩，然后心一横眼一闭便向那喷烟冒火的树洞禁地冲去。
刚刚冲到禁制边缘，只见巨松突然有如筛糠一般的一阵抖动，忽然从树洞里喷出一股乳
白色半透明的树汁来，微微带些草腥味，却是灵气十足的样子，饶是金灵护体光罩乃是
灵界排得上号的灵宝所化，也被这白液无视的样子，直接浇了他一头一脸，毛发全湿，
有如落水狗一般好不狼狈。只是这么一浇，却也把火头给浇灭了。
【在 S*******T 的大作中提到】
: 。。。。。话说那神猿金灵正在枝叶中打坐，忽然觉得身下有些不稳。这棵巨松乃是木
: 青的本体，高达五六十丈，直径也有十余丈，木质更是坚如铁石，寻常法宝都难以伤及
: 分毫的。莫非是那叛徒又或者是某个强敌想来偷袭？金灵不敢大意，立刻将神念放出。
: 他的修为本已到了练虚后期，神念强大，整个花园一草一木一花一叶无不在其掌握之中
: 。但是奇怪的是禁制之中一切正常，完全不象有外敌入侵的样子。这个花园本就是自成
: 一体与外界隔绝的，若非刻意为之，也不会刮风的。更不用说是能撼动这重逾千万斤的
: 巨树的狂风了。
: 渐渐地只见那巨大的松树晃动的幅度越来越大，而且方向也是变化不定，更有类似波动
: 的感觉从树根直传到树梢。明明是一棵渊停岳峙的参天巨木，现在却有如那春天河边风
: 中的杨柳一般摇曳生姿。
这就射了？！
。。。。。话说那神猿金灵正在枝叶中打坐，忽然觉得身下有些不稳。这棵巨松乃是木
青的本体，高达五六十丈，直径也有十余丈，木质更是坚如铁石，寻常法宝都难以伤及
分毫的。莫非是那叛徒又或者是某个强敌想来偷袭？金灵不敢大意，立刻将神念放出。
他的修为本已到了练虚后期，神念强大，整个花园一草一木一花一叶无不在其掌握之中
。但是奇怪的是禁制之中一切正常，完全不象有外敌入侵的样子。这个花园本就是自成
一体与外界隔绝的，若非刻意为之，也不会刮风的。更不用说是能撼动这重逾千万斤的
巨树的狂风了。
渐渐地只见那巨大的松树晃动的幅度越来越大，而且方向也是变化不定，更有类似波动
的感觉从树根直传到树梢。明明是一棵渊停岳峙的参天巨木，现在却有如那春天河边风
中的杨柳一般摇曳生姿。
金灵也是头一次遇到如此反常的情况，不由得惊疑不定起来。若是有敌人来袭，主人神
通广大，自然会预感得到，有警讯传出的。而眼下的情形，怪异虽然怪异，但却绝对没
有危险的感觉。倒是树上花粉纷纷落下，犹如一层薄纱笼罩在巨木之上，连带着空气中
都充满着浓郁的松香气味，让成道数千年的老猴子也不禁有些精神恍惚起来。
金灵正沉浸在早年的回忆当中，忽然闻到一股淡淡的焦糊味，象是有什么东西烧了起来
。他转头循着气味来源的方向往巨松的树干中间望去，突然脸色苍白，有如火烧屁股一
般地跳了起来。
原来这巨松的树干中间偏上的地方，两条最下也是最粗的主枝中间，有一个天然形成的
树洞。乃是巨松内部唯一暴露于外界的地方。也是木青本体绝对的禁区，就连金灵自己
，也是无法接近分毫的。当年和金灵这猿猴一样在巨松下玩耍而得到木青提携成为神兽
的还有一只松鼠，论起受宠甚至还比金灵强上那么一些的，就是因为有一次无意中过于
接近这处树洞而触发了禁制，结果神形俱灭的。而且事后木青也完全没有任何愧疚或者
后悔的表示的。眼下这个树洞里竟然冒出一股烟雾，甚至不用神识也能察觉那是里面烧
了起来。
金灵又急又怕，有心要去救火，但是那树洞的禁制威力之大，以他现在的修为也绝对是
招架不住的。如果不去理睬，万一火势失去控制伤了巨松，不用想主人也是不会轻饶他
的。他在那里上蹿下跳地纠结了一阵，眼看那烟雾越来越浓，焦味也越来越大。忽然有
火苗从那树洞中窜了出来，舔上旁边直接长在树干上的卷曲的松针，吡剥做响。
眼见得形势万分危急，而主人又迟迟不见出现，甚至连神识也沟通不上。金灵不禁暗叹
一声，想不到我今日竟然要莫名其妙地陨落在此。双臂一晃，背后的两只短剑就到了手
上，白茫茫的剑气缠绕之下，现出一条蛟龙的形状，附近的空气被冻得成为液态，一滴
滴地落下。金灵大吼一声，咬破舌尖吐出一口精血，喷在脖子上一个非金非木的铭牌上
，立刻在身外形成一个光罩，然后心一横眼一闭便向那喷烟冒火的树洞禁地冲去。
刚刚冲到禁制边缘，只见巨松突然有如筛糠一般的一阵抖动，忽然从树洞里喷出一股乳
白色半透明的树汁来，微微带些草腥味，却是灵气十足的样子，饶是金灵护体光罩乃是
灵界排得上号的灵宝所化，也被这白液无视的样子，直接浇了他一头一脸，毛发全湿，
有如落水狗一般好不狼狈。只是这么一浇，却也把火头给浇灭了。
【在 S*******T 的大作中提到】
: 。。。。。话说那神猿金灵正在枝叶中打坐，忽然觉得身下有些不稳。这棵巨松乃是木
: 青的本体，高达五六十丈，直径也有十余丈，木质更是坚如铁石，寻常法宝都难以伤及
: 分毫的。莫非是那叛徒又或者是某个强敌想来偷袭？金灵不敢大意，立刻将神念放出。
: 他的修为本已到了练虚后期，神念强大，整个花园一草一木一花一叶无不在其掌握之中
: 。但是奇怪的是禁制之中一切正常，完全不象有外敌入侵的样子。这个花园本就是自成
: 一体与外界隔绝的，若非刻意为之，也不会刮风的。更不用说是能撼动这重逾千万斤的
: 巨树的狂风了。
: 渐渐地只见那巨大的松树晃动的幅度越来越大，而且方向也是变化不定，更有类似波动
: 的感觉从树根直传到树梢。明明是一棵渊停岳峙的参天巨木，现在却有如那春天河边风
: 中的杨柳一般摇曳生姿。
b*l
11 楼
可以。
h*n
13 楼
One really needs to think about whether s/he fits this profession if s/he n
eeds asking this question.
【在 b******u 的大作中提到】
: 请教大虾，faculty面试一般提什么问题？
eeds asking this question.
【在 b******u 的大作中提到】
: 请教大虾，faculty面试一般提什么问题？
s*g
14 楼
多谢指点！
f*g
15 楼
同人请说明
【在 S*******T 的大作中提到】
: 。。。。。话说那神猿金灵正在枝叶中打坐，忽然觉得身下有些不稳。这棵巨松乃是木
: 青的本体，高达五六十丈，直径也有十余丈，木质更是坚如铁石，寻常法宝都难以伤及
: 分毫的。莫非是那叛徒又或者是某个强敌想来偷袭？金灵不敢大意，立刻将神念放出。
: 他的修为本已到了练虚后期，神念强大，整个花园一草一木一花一叶无不在其掌握之中
: 。但是奇怪的是禁制之中一切正常，完全不象有外敌入侵的样子。这个花园本就是自成
: 一体与外界隔绝的，若非刻意为之，也不会刮风的。更不用说是能撼动这重逾千万斤的
: 巨树的狂风了。
: 渐渐地只见那巨大的松树晃动的幅度越来越大，而且方向也是变化不定，更有类似波动
: 的感觉从树根直传到树梢。明明是一棵渊停岳峙的参天巨木，现在却有如那春天河边风
: 中的杨柳一般摇曳生姿。
【在 S*******T 的大作中提到】
: 。。。。。话说那神猿金灵正在枝叶中打坐，忽然觉得身下有些不稳。这棵巨松乃是木
: 青的本体，高达五六十丈，直径也有十余丈，木质更是坚如铁石，寻常法宝都难以伤及
: 分毫的。莫非是那叛徒又或者是某个强敌想来偷袭？金灵不敢大意，立刻将神念放出。
: 他的修为本已到了练虚后期，神念强大，整个花园一草一木一花一叶无不在其掌握之中
: 。但是奇怪的是禁制之中一切正常，完全不象有外敌入侵的样子。这个花园本就是自成
: 一体与外界隔绝的，若非刻意为之，也不会刮风的。更不用说是能撼动这重逾千万斤的
: 巨树的狂风了。
: 渐渐地只见那巨大的松树晃动的幅度越来越大，而且方向也是变化不定，更有类似波动
: 的感觉从树根直传到树梢。明明是一棵渊停岳峙的参天巨木，现在却有如那春天河边风
: 中的杨柳一般摇曳生姿。
n*d
16 楼
look at this one
http://www.dartmouth.edu/~gradstdy/careers/services/interview/acad.html
you might also find many other links.i'm not sure which one is best...
http://www.dartmouth.edu/~gradstdy/careers/services/interview/acad.html
you might also find many other links.i'm not sure which one is best...
t*t
17 楼
VG
【在 n**********d 的大作中提到】
: look at this one
: http://www.dartmouth.edu/~gradstdy/careers/services/interview/acad.html
: you might also find many other links.i'm not sure which one is best...
【在 n**********d 的大作中提到】
: look at this one
: http://www.dartmouth.edu/~gradstdy/careers/services/interview/acad.html
: you might also find many other links.i'm not sure which one is best...
t*z
18 楼
现在还有面试亚
真晚呢
真晚呢
n*d
19 楼
VG是啥意思。。。？
你还知道其它的网站么？谢了。
【在 t******t 的大作中提到】
: VG
你还知道其它的网站么？谢了。
【在 t******t 的大作中提到】
: VG
b*u
20 楼
谢谢大家的建议，感激不尽
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