Daccord 3 free pdf download

Do not put objects on the front passenger's airbag. The original radio and navigation system have a coded theft protection circuit. Be sure to get the customer's anti-theft codes and write down the frequencies for the radio's preset stations before disconnecting the battery negative cable. Before returning the vehicle to the customer, enter the radio code, the navigation code, then enter the customer's audio presets, and set the clock.

Center the cable reel whenever the following is performed see step 6 in Installation. Do not apply grease to the cable reel. If the cable, reel shows any signs of damage, replace it with a new one. For example, if it does not rotate smoothly, replace the cable reel. It has no serviceable parts. Once an airbag has been deployed, it cannot be repaired or reused. For temporary storage of an airbag during service, observe the following precautions.

Store the removed airbag with the pad surface up. Never put anything on the airbag. To prevent damage to the airbag, keep it away from any oil, grease, detergent, or water. Never perform electrical inspections to the airbags, such as measuring resistance.

Do not position yourself in front of the airbag during removal, inspection, or replacement. Refer to the scrapping procedures for disposal of a damaged airbag. The side curtain airbag inflator assembly is a long, jointed part containing an inflator A , a flexible bag B , an adapter pipe C , and a center bracket D.

When removing or installing the side curtain airbag inflator assembly, never handle the flexible bag B or the adapter pipe C.

During installation or replacement, be careful not to bump by impact wrench, hammer, etc. The airbags could accidentally deploy and cause damage or injury. After a collision in which a side airbag was deployed, replace the side impact sensor on the deployed side, and the SRS unit. After a collision in which the airbags or the side airbags did not deploy, inspect for any damage or any deformation on the SRS unit, front impact sensors, and side impact sensors.

Replace all damaged parts. Do not disassemble the SRS unit, front impact sensors, side impact sensors, driver's seat position sensor, front passenger's weight sensor unit ' models , and front passenger's weight sensors. Be sure the SRS unit, front impact sensors, and side impact sensors are installed securely with the mounting bolts torqued to 9. Observe the instructions. Never attempt to modify, splice, or repair SRS wiring. If there is an open or damage in SRS wiring or terminals, replace the harness.

Be sure to install the harness wires so they do not get pinched or interfere with other parts. Make sure all SRS ground locations are clean and securely fastened for optimum metal-to-metal contact. Poor grounding can cause intermittent problems that are difficult to diagnose.

Do not insert the probe of the tester into the terminal side of the connector, and do not tamper with the connector. Use a U-shaped probe. Do not insert the probe forcibly. Use specified service connectors in troubleshooting. Using improper tools could cause an error in inspection due to poor metal-to-metal contact. To release the lock, pull the spring-loaded sleeve A toward the stop B while holding the opposite half of the connector.

Then pull the connector halves apart. Be sure to pull on the sleeve and not on the connector. Connecting 1. As the two connector halves are pressed together, the sleeve A is pushed back by the pawl C. Do not touch the sleeve. When the connector halves are completely connected, the pawl is released, and the spring-loaded sleeve locks the connector.

Side Airbag Connector Disconnecting To release the lock, pull the spring-loaded sleeve A and the slider B while holding the opposite half of the connector.

Be sure to pull on the sleeve and not on the connector half. Connecting Hold both connector halves, and press them firmly together until the projection C of the sleeve-side connector clicks. Do not use the special tool if it is damaged. Make sure to remove the special tool before reconnecting.

The circuit may need to be opened when diagnosis is performed on the circuit. Insert the SRS short canceller No. To remove the retainer A , insert a flat-tip screwdriver B between the connector body and the retainer, then carefully pry out the retainer. Take care not to break the connector. NOTE: It is not necessary to reinstall the removed retainer; the terminals will stay locked in the connector housing. Because the component parts seat-back cover, cushion, etc. Do not repair a torn or frayed seat-back cover.

Replace the seat-back cover. After a collision in which the side airbag was deployed, replace the side airbag with new parts.

If the seat-back cushion is split, it must be replaced. If the seat- back frame is deformed, it must be replaced. Never put aftermarket accessories on the seat covers, pads, seat heaters, lights, etc.

BitsDuJour downloads use a discount coupon code that comes direct from the software vendor, so you'll always get the latest version of the software app sold under the same terms as a regular sale, just at a great promotional price.

Prices do not necessarily include taxes, which will vary by country. Review what others have to say I also like the lyric feature that takes the chords up or down a half step.

This program is the greatest thing since sliced bread.. The fact that I can select a chord and with one click switch from the notes, to the intervals is fabulous. I finally know the names of those partial chords. Expand All Email Updates. Login SignUp. On BitsDuJour Today. See The Deal. Music Deals. All Rights Reserved. As observed in conventional songbooks Chediak , the fact of displaying lyrics, chord ciphers and melody synchronically, can in principle help users to learn to play a song.

For instance, they display the guitar chord ciphers synchronically, facilitating interpretation of notes played on the fretboard. The user can edit song ciphers on a chord grid and associate melody and lyrics to it. However, since the goal of AAS is basically to generate MIDI sequences Moog to be used by composers, arrangers and musicians in general, they do not care about performance details. For instance, there is no indication of the fingering of a chord on a guitar neck.

In most systems, there is no indication of the possible positions of a chord neither. When this indication exists, the number of such positions is minimal typically less than 5. These limitations inhibit a suitable use of these systems for string instruments, despite their popularity.

The user must accept the generated accompaniment without being able to adjust it. Problems of modeling guitar performance It is difficult to develop IPS for guitar due to its intrinsic ambiguities and spatial constraints Cabral at al a; Cabral at al b. The first fundamental problem in guitar modeling is that the same pitch may be generated using different guitar positions9.

The second fundamental problem is that there are a maximal number of strings to play six and maximal number of fingers to use four. On the other hand, these constraints are difficult to be modeled. For these reasons, the transcription of a music conventional notation, such as a score, into the actual performance is not straightforward. This transcription problem is even more complicated when converting chord ciphers into actual fretboard positions, since ciphers introduce more ambiguity i.

Concerning solos transcriptions, the task of converting a notation into an actual guitar performance can be satisfactorily solved by some algorithms Sayegh However, to our knowledge, there is no available solution for the task of finding the best guitar performance based on a sequence of chord ciphers Fowler b.

Even for a keyboard, there is more than one way of playing a chord. In other words, there is more than one voicing Fowler a. Some notes may be doubled, some notes may be omitted, and chords have different inversions.

In the guitar case the problem is much harder. To find the best chord position, the system must first know all possible chord positions, in where a chord position can be seen as an ensemble of fretboard positions and the right-hand and left-hand fingers used. Finding these possible chord positions is, per se, a problem, since there are musical, anatomic and stylish constraints to be respected.

Finding the best chord positions is the hardest problem, involving different and often-contradictory parameters, as will be seen in section 4. Such section briefly discuss a solution for this problem, called best positioning and fingering in chord chaining. However, a detailed explanation about these solutions is not in the scope of this paper.

For example, a chord accompaniment can be seen not just as an ensemble of notes sequentially played, but also as a rhythm being applied to a sequence of chords, generating such notes. Instead of learning a sequence of notes, the user could then focus only on a chord sequence associated with a known rhythmic pattern. This separation is also of great help in the song edition process, since it will be possible to edit each element separately, omit some elements and generate some elements automatically.

For instance, the user can specify the chord grid, import the melody from a MIDI file, and specify a rhythmic pattern to be applied on the chords. In particular, the explicit representation of the underlying harmony can solve the problem illustrated in Figure 1. In fact, knowing the chord, it is simple to show the position of all fingers involved in playing it. This separation can be a basis for an adequate approach of problems such as chord positioning, fingering and chaining.

The position of every finger is indicated in the fretboard during the chord time span. At the moment that a note is played, the correspondent fingers of the left and right hands are highlighted, as illustrated in Figure 2. Circles at the top indicate left-hand fingers. Circles at the bottom indicate right-hand fingers. Black circles indicate the played string. Gray circles complete the chord position. Strings without circles are unavailable. User interface Regarding the problems of interactivity, information displaying, editing capabilities, and flexibility discussed in Sections 2.

However, the interactivity provided by our system goes beyond these simple features. In the executing mode, the user can perform executing playing commands over the song such as play, stop, pause, loop, fast forward, rewind, change tempo and change song position. When a string is played, the correspondent fingers pictures are highlighted in Figure 3, fingers 1, 2 and 3 are playing simultaneously.

Users can also transpose the song, see other positions of a given chord and toggle between the harmony exhibition mode where chords and all fingers involved in playing them are shown and the solo one where the song melody is played on the fretboard as a solo. The harmony is obtained from a chord grid like in Band-In-A-Box , with the flexibility of changing the chord position according to the user demand e.

The rhythm can be recorded from a MIDI instrument or can be chosen from the rhythm base. In the browsing mode, the user can interact directly with the fretboard and browse the chord and rhythm databases. The user can stop the system performance in order to browse musical concepts typically chords by interacting directly with the fretboard.

For example, while the user chooses chord notes in the fretboard, the program is able to show the notes names, the chord cipher, the intervals between the notes and the chord root, and the fingers that must be used to play these notes.

The user can also navigate through chord and rhythm databases, as in a chord dictionary system. Thick lines indicate the execution mode interactions, dotted lines show the edition mode interactions and thin lines indicate the browser mode interactions.

The idea is to include information about harmony, melody, rhythm, lyrics and solo, providing different granularity levels of representation. This allows simultaneously the specifications of detailed information e.

For instance, in editing a song, the user can only write the ciphers, letting the system to choose the positions and the rhythmic patterns. The song is modeled as synchronized events. There are harmonic, melodic, rhythmic, lyrics, solo and control events, each one with its own attributes. At runtime, these events can be seen as executable musical objects the ExecObjects in Figure 4. They are synchronized by the Player, which shows the performance on the virtual instrument on the display, and plays the notes via MIDI interface.