DSR

DSR may stand for:

Computing

Organizations

Science, telecommunications and industry

ANSI escape code

In computing, ANSI escape codes (or escape sequences) are a method using in-band signaling to control the formatting, color, and other output options on video text terminals. To encode this formatting information, certain sequences of bytes are embedded into the text, which the terminal looks for and interprets as commands, not as character codes.

ANSI codes were introduced in the 1970s and became widespread in the minicomputer/mainframe market by the early 1980s. They were used by the nascent bulletin board system market to offer improved displays compared to earlier systems lacking cursor movement, leading to even more widespread use.

Although hardware text terminals have become increasingly rare in the 21st century, the relevance of the ANSI standard persists because most terminal emulators interpret at least some of the ANSI escape sequences in the output text. One notable exception is the win32 console component of Microsoft Windows.

History

Almost all manufacturers of video terminals added vendor-specific escape sequences to perform operations such as placing the cursor at arbitrary positions on the screen. One example is the VT52 terminal, which allowed the cursor to be placed at an x,y location on the screen by sending the ESC character, a y character, and then two characters representing with numerical values equal to the x,y location plus 32 (thus starting at the ASCII space character and avoiding the control characters).

DSR-50

The DSR-50 is a bolt-action anti-material rifle developed and marketed by DSR-precision GmbH of Germany, and is essentially an upscaled DSR-1 chambered in .50 BMG (12.7×99mm NATO).

Manufactured by DSR-Precision GmbH, the DSR-50 is based on the DSR-1 sniper rifle and includes modifications necessary to the fire the more powerful .50 caliber round, including a hydraulic recoil buffer in the buttstock and an innovative muzzle attachment. This muzzle device, described as a 'blast compensator', is a combination sound suppressor and muzzle brake, and is notable in its attempt at moderating the .50BMG's muzzle blast and recoil, unlike contemporary large-caliber rifles which are typically equipped with muzzle brakes only. Like the DSR-1, this rifle retains its bullpup configuration, allowing a longer barrel while retaining a shorter OAL (overall length), which is an important consideration for large caliber rounds such as .50 BMG, and focuses the weapon's balance towards the buttstock, compensating for the muzzle heavy attachments standard on the DSR-50. The DSR-50 also retains some of the DSR-1's features, such as a top mounted bipod, monopod, free-floating barrel, fully adjustable cheekrest, buttstock and foregrip, and forward magazine holder.

Machine

A machine is a tool containing one or more parts that uses energy to perform an intended action. Machines are usually powered by mechanical, chemical, thermal, or electrical means, and are often motorized. Historically, a power tool also required moving parts to classify as a machine. However, the advent of electronics has led to the development of power tools without moving parts that are considered machines.

A simple machine is a device that simply transforms the direction or magnitude of a force, but a large number of more complex machines exist. Examples include vehicles, electronic systems, molecular machines, computers, television, and radio.

Etymology

The word machine derives from the Latin word machina, which in turn derives from the Greek (Doric μαχανά makhana, Ionic μηχανή mekhane "contrivance, machine, engine", a derivation from μῆχος mekhos "means, expedient, remedy").

A wider meaning of "fabric, structure" is found in classical Latin, but not in Greek usage.

This meaning is found in late medieval French, and is adopted from the French into English in the mid-16th century.

The Works (Queen album)

The Works is the eleventh studio album by the British rock band Queen, released in February 1984. After the synth-heavy Hot Space, the album saw the re-emergence of Brian May and Roger Taylor's rock sound, while still incorporating the early 80s retro futuristic electro pop of the German electronic underground (Freddie Mercury) and New York funk scenes (John Deacon).

Recorded at the Record Plant Studios and Musicland Studios from August 1983 to January 1984, the album's title comes from a comment Taylor made as recording began – "Let's give them the works!". During the decade, the band decided not to tour in North America and lost the top spot in US sales, but sales around the world (especially Europe) would be even better. The Works sold over 5 million copies worldwide.

History

Following the release of and subsequent touring for their 1982 album Hot Space, the four members of Queen opted to take a break from the band the following year, indulging in solo projects and taking the chance to stretch in individual directions. While a spring tour of South America had been an early possibility, especially following the band's success there two years prior, equipment and promotional problems brought an end to these plans. Brian May worked with Eddie Van Halen and others on the Star Fleet Project, while Freddie Mercury began work on his solo album. By August 1983, however, the band had reunited and began work on their eleventh studio album. It would be Queen's first album for EMI (and its US affiliate Capitol Records) worldwide after the band nullified its recording deal with Elektra for the US, Canada, Australia and Japan.

Machines (EP)

Machines is an EP by Manfred Mann, released in 1966. The EP is a 7-inch vinyl record and released in mono with the catalogue number His Master's Voice-EMI 7EG 8942. The record was the number 1 EP in the UK number-one EP for 1 week, starting May 28, 1966.

Track listing

Background

For this EP, Manfred Mann's third and last number 1 EP, they chose several non R & B songs to cover including Tennessee Waltz, the best-known version being by Patti Page and the Everly Brothers When Will I be Loved.

Chart performance

The record reached the Number 1 spot on the UK's EP charts on May 28, 1966.

References