Instruct: Given a question, retrieve relevant documents that can help answer the question.
Query: What was the first digital scale?
The balance (also balance scale, beam balance and laboratory balance) was the first mass measuring instrument invented.[1] In its traditional form, it consists of a pivoted horizontal lever with arms of equal length–the beam–and a weighing pan[7] suspended from each arm (hence the plural name "scales" for a weighing instrument). The unknown mass is placed in one pan and standard masses are added to the other pan until the beam is as close to equilibrium as possible. In precision balances, a more accurate determination of the mass is given by the position of a sliding mass moved along a graduated scale. Technically, a balance compares weight rather than mass, but, in a given gravitational field (such as Earth's gravity), the weight of an object is proportional to its mass, so the standard masses used with balances are usually labeled in units of mass (e.g. g or kg).
Developed within a digital vocabulary consisting of four other phrases (digital addict, digital omnivore, digital agnostic, digital denier), digital phobic is part of a scale of social description for online behavior within the digital age.
Rather than throwing content at consumers, digital conversations are designed to engage them in a scripted conversation, to find out what they want and guide them to the outcome they desire. It is this Dialogue Marketing that many perceive as being the way forward, and digital conversations provide a solution to delivering this at scale. It moves away from a traditional one way stream of information with a consumers (offering every consumer the same choices) and moves towards a dialogue, finding out what it is they want and giving it to them. This movement is seen as essential by many:
Its digits are slender at the base, free, with squarish scales beneath, and large trapezoidal penultimate and distal expansions, the lower surface of each of which is covered by two large plates separated by a longitudinal groove; all the digits are clawed, the claw retractile is between the distal plates; in the inner digit, the penultimate expansion is absent. Its body covered above with small, granular scales, intermixed with larger tubercles; the abdominal scales are juxtaposed. the pupils are vertical. No preanal or femoral pores are present.
The signal passes through an anti-aliasing, resampling, or reconstruction filter, which may increase peak amplitude slightly due to the Gibbs phenomenon (The Gibbs Phenomenon is a mathematical concept and only applies to one point so in practice it is irrelevant to real life circuits and devices). It is possible, for the "analog" signal "represented" by the digital data to exceed digital full scale even if the digital data does not, and vice versa. In the analog domain there is no peak/clipping problem unless the d/a analog circuitry was badly designed. In the digital domain there are no peaks created by these conversions. 
In analog systems, full scale may be defined by the maximum voltage available, or the maximum deflection (full scale deflection or FSD) or indication of an analog instrument such as a moving coil meter or galvanometer.
In classic-style analog micrometers, the position of the thimble is read directly from scale markings on the thimble and sleeve (for names of parts see next section). A vernier scale is often included, which allows the position to be read to a fraction of the smallest scale mark. In digital micrometers, an electronic readout displays the length digitally on an LCD on the instrument. There also exist mechanical-digit versions, like the style of car odometers where .
In 1973,[55] Yamaha licensed the algorithms for the first digital synthesis algorithm, frequency modulation synthesis (FM synthesis), from John Chowning, who had experimented with it since 1971.[56] Yamaha's engineers began adapting Chowning's algorithm for use in a commercial digital synthesizer, adding improvements such as the "key scaling" method to avoid the introduction of distortion that normally occurred in analog systems during frequency modulation.[57] In the 1970s, Yamaha were granted a number of patents, evolving Chowning's early work on FM synthesis technology.[58] Yamaha built the first prototype digital synthesizer in 1974.[55] Yamaha eventually commercialized FM synthesis technology with the Yamaha GS-1, the first FM digital synthesizer, released in 1980.[59] The first commercial digital synthesizer released a year earlier, the Casio VL-1,[60] released in 1979.[61]
For example, the number 123.45 has a precision of 5 and a scale of 2. The precision is a positive integer that determines the number of significant digits in a particular radix (binary or decimal). The scale is a non-negative integer. A scale of 0 indicates that the number is an integer. For a decimal number with scale S, the exact numeric value is the integer value of the significant digits divided by 10.
Multi-scale camouflage is a type of military camouflage combining patterns at two or more scales, often (though not necessarily) with a digital camouflage pattern created with computer assistance. The function is to provide camouflage over a range of distances, or equivalently over a range of scales (scale-invariant camouflage), in the manner of fractals, so some approaches are called fractal camouflage. Not all multiscale patterns are composed of rectangular pixels, even if they were designed using a computer. Further, not all pixellated patterns work at different scales, so being pixellated or digital does not of itself guarantee improved performance.
A good map has to compromise between portraying the items of interest (or themes) in the right place on the map, and the need to show that item using text or a symbol, which take up space on the map and might displace some other item of information. The cartographer is thus constantly making judgements about what to include, what to leave out and what to show in a "slightly" incorrect place. This issue assumes more importance as the scale of the map gets smaller (i.e. the map shows a larger area) because the information shown on the map takes up more space "on the ground". A good example from the late 1980s was the Ordnance Survey's first digital maps, where the "absolute" positions of major roads were sometimes a scale distance of hundreds of meters away from ground truth, when shown on digital maps at scales of 1:250,000 and 1:625,000, because of the overriding need to annotate the features.
However, consumers have also had to deal with intellectual property as it concerns their ownership of and ability to control the born-digital material that they buy. Piracy proves to be a bigger problem with digital objects, including those that are born-digital, because such materials can be copied and spread in perfect condition with speed and distance on a scale inconceivable for traditional print and physical materials. Again, the first-sale doctrine, which, from a consumer standpoint, allows purchasers of materials to sell or give away items (such as books and CDs), is not yet applied effectively to digital objects. Three reasons for this have been identified by Victor Calaba: "...first, license agreements imposed by software manufacturers typically prohibit exercise of the first sale doctrine; second, traditional copyright law may not support application of the first sale doctrine to digital works; finally, the functionally prevents users from making copies of digitized works and prohibits the necessary bypassing of access control mechanisms to facilitate a transfer."
In 2008, Skullphone debuted his Digital Media series – a series painted specifically for indoor viewing – a departure from the large-scale outdoor work for which he first became known. Skullphone's gallery work is centered on signage and borrows from the worlds of advertising, religion, government and private enterprise, the artist employing a deliberate grid system of red, blue and green paint that mimics LED displays, creating pointillistic images that dislocate when approached. Skullphone describes the philosophy behind his Digital Media paintings as "documenting what is disposable and ephemeral" and claims that the work has its "roots in the street, and is optical, and is pop."
Currently, students receive a three-digit score following sitting for the Step 1 examination. In 1999, the USMLE phased out the use of a percentile-based system in favor of a three-digit and two-digit scaled scoring system. In October 2011, two-digit scaled scores were no longer reported to any parties besides the examinees. In April 2013, the two-digit score was eliminated completely from the score report.
In 2011-2012 the AEI adopted a new, long-range policy regarding digitization, for several reasons. First, the AEI learned that it was unlikely that the EU would perform more large-scale digitization. Consequently, the AEI could develop a true "archive" where the goal would be to digitize as many documents as resources allowed. 
Originally, the MOS system had three to five digits. The first four-digit code number indicated the soldier's job; the first two digits were the field code, the third digit was the sub-specialty and the fourth code number (separated by a period) was the job title. A fifth code digit was for the soldier's special qualification identifier (SQI) digit, which indicated what specialized training the soldier had. If the soldier did not have an SQI, the digit was listed as "0" or was omitted.
Examples:
Consider the probability distributions shown below, referenced to a log scale.
In each case, the total area in red is the relative probability that the first digit is 1, and the total area in blue is the relative probability that the first digit is 8.
For receive (but not transmit), there is a distinction between analog and digital beamforming. For example, if there are 100 sensor elements, the "digital beamforming" approach entails that each of the 100 signals passes through an analog-to-digital converter to create 100 digital data streams. Then these data streams are added up digitally, with appropriate scale-factors or phase-shifts, to get the composite signals. By contrast, the "analog beamforming" approach entails taking the 100 analog signals, scaling or phase-shifting them using analog methods, summing them, and then usually digitizing the "single" output data stream.
In electronics and signal processing, full scale or full code represents the maximum amplitude a system can represent. In digital systems, a signal is said to be at digital full scale when its magnitude has reached the maximum representable value.
For example, the first (non-zero) digit on this list of lengths should have the same distribution whether the unit of measurement is feet or yards. But there are three feet in a yard, so the probability that the first digit of a length in yards is 1 must be the same as the probability that the first digit of a length in feet is 3, 4, or 5; similarly the probability that the first digit of a length in yards is 2 must be the same as the probability that the first digit of a length in feet is 6, 7, or 8. Applying this to all possible measurement scales gives the logarithmic distribution of Benford's law.
The first attempts to use digital system in Z scale were based on NEM standard, Selectrix, which offered the smallest decoders in the market, with thicknesses of less than 2 mm. German company Müt brought also the first digital control central unit designed specially for Z scale in the market in the early 2000s. Use of the popular National Model Railroad Association (NMRA) Digital Command Control (DCC) standard has expanded substantially in Z scale recently as locomotive decoders with sizes comparable to the sizes of smallest Selectrix decoders have become available.
As early as 1988, Märklin announced their intention to offer digital train control systems in Z scale, and Märklin's 1988 Z scale product catalog listed three locomotives with a built-in digital decoder. However, the technology was not developed enough, and the manufacturer had to cancel these plans, mainly due to heat dissipation problems in locomotive decoders. Since then, these problems have been solved, Z scale has embraced advanced electronics (e.g., microprocessors originally developed for cell phones, surface-mount technology, etc.), and an increasing number of modellers have converted their locomotives to use third party digital model train control systems.
In these situations, where the distribution of first digits of a data set is scale invariant (or independent of the units that the data are expressed in), the distribution of first digits is always given by Benford's Law.
Another challenge surrounding preservation of digital content resides in the issue of scale. The amount of digital information being created along with the "proliferation of format types" makes creating trusted digital repositories with adequate and sustainable resources a challenge. The Web is only one example of what might be considered the "data deluge". For example, the Library of Congress currently amassed 170 billion tweets between 2006 and 2010 totaling 133.2 terabytes and each Tweet is composed of 50 fields of metadata.
Japan, led by Keio University and JAXA, has also played a prominent international role in Digital Earth helping to create the Digital Asia Network with a secretariat located in Bangkok to promote regional cooperation and initiatives. Citizens in the Gifu Prefecture upload information to community-scale Digital Earth programs with from their smartphones on topics ranging from first sightings of fireflies in spring to location of blocked handicap access ramps.
The company relocated and soon began to develop its line of digital scales. It developed an alliance with a Polish scale manufacturer that has a first class ISO approved manufacturing facility, excellent technical capability, and very competitive labor costs. Working together they produced a line of prescription scales, and then a line of laboratory and analytical scales for the North American market. The alliance continues today.