question: what exactly is happening when a volume dial breaks and starts turning the volume up instead of down or vice versa?
comment: Do you mean a rotating volume dial, like found on an AV reciever/amplifier? They are rotary encoders. They're supposed to repeatedly count +1 or - 1 when you turn up or down. When they get dirty, they can count all sorts of things instead. Here's [a video]( URL_0 ) of a guy dismantling and cleaning such a dial, to fix an erratic volume control
passages: BULLET::::- Sound on/off switch, or sound volume knob, which adjusts the volume level of the internal piezoelectric speaker using a potentiometer. At this same time as adding this, the modder can replace the speaker with a louder one.
   BULLET::::- TS10: In 1986, Ibanez began production of the "Power Series", which included the TS10 Tube Screamer. The TS10 had three times as many changes to the circuit than the TS9 had had. Some TS10 pedals were made in Taiwan, using a MC4558 chip. All TS10s (as well as other L and 10-series pedals) used floating jacks and pots, which were mounted to the boards instead of the cases. This is weak point in the design sometimes causing the jacks to break off.
   A crescendo pedal is a large pedal commonly found on medium-sized and larger pipe organs (as well as digital organs), either partially or fully recessed within the organ console. The crescendo pedal incrementally activates stops as it is pressed forward and removes stops as it is depressed backward. The addition of stops, in order from quietest to loudest, creates the effect of a crescendo (and, likewise, a diminuendo, when the stops are deactivated). The crescendo pedal is located directly above the pedalboard, to the right of any expression pedals that may be present. In actual use, the operation of the crescendo pedal usually does not move the draw knobs or stop tabs on the console; the stops are electronically activated inside the organ. Often an indicator light or lights will be present on the console to inform the organist of when the crescendo pedal is activated and how far it is engaged.
   There are separate volume knobs for channels A and B (i.e. the two patches in a split or layer). The footswitch can be programmed to momentarily change patches, or change one of several patch parameters: filter cutoff frequency, ADSR envelope amount or attack; VCA decay or release; voice volume (the momentary value of any of the preceding being user-defined); chorus on/off, or portamento on/off. The parameter value knob can be used to alter one parameter in real-time, although the value will "jump" to the knob's current setting as soon as it is moved and some parameters stairstep badly when treated this way. The pitch-bend wheel is not spring-loaded and is centre-detented. Oscillator tuning can be initiated from the front panel, with this process taking about twenty seconds. During tuning, the instrument is silenced.
   There are some solutions to this issue that are now used in modern pedal systems. The pedal can have a vigilance function built in, where drivers must release and re-press the pedal in response to an audible signal. This prevents it from being defeated by the above circumstances and is a standard feature on most British DSD systems.
   "Eddie": "I've been doing 'Cathedral' for more than a year and I wanted to put it on record... it sounds like a Catholic church organ, which is how it got its name. On that cut I use the volume knob a lot. If you turn it up and down too fast, it heats up and freezes. I did two takes of that song, and right at the end of the second take, the volume knob just froze, just stopped."
  
  Section::::Music.:Songs.:"Secrets".
   BULLET::::- An on/off control, traditionally a pull-on switch on the "depth" potentiometer, a foot switch, or both. The "off" position bypasses the unit. In the case of an amplifier mounted unit where both switches are supplied, the unit is bypassed if the pull-on switch is off, regardless of the pedal. If the pedal is not plugged in, the unit is turned on and off by the pull-on switch; If the pedal is plugged in, then it controls the unit when the pull-on switch is "on".
  
  Section::::Vibrato or tremolo?
   BULLET::::- When the brake pedal is pressed down and pin 15 on the ECU is supplied with battery voltage.
  
  BULLET::::- Certain fault codes is set (Faulty throttle position sensor (TPS), pressure sensor, pre ignition/pinging signal or charging pressure regulation) or low battery voltage.
  
  Section::::Turbo boost pressure.:Computing, adaptation.
   This system of dynamic control is completely distinct from the act of adding stops (in the case of pipe organs) or pulling more drawbars (in the case of organs and synthesizers). Furthermore, the expression pedal can influence the volume (and, to a lesser degree, the timbre) of a note while it is being played; unlike other instruments, in which the note typically decays after it is first sounded, the organist can increase the strength of a chord or note as it sounds by increasing pressure on the expression pedal.
   Some pipe organs makes use of this phenomenon as a resultant tone, which allows relatively smaller bass pipes to produce very low-pitched sounds.
  
  Section::::Audio processing applications.
   Section::::Additional projects and contributions.:F-Pedals.
   North Electric introduced a touch-tone version of the Ericofon in the United States in 1967. Production of this variant was much lower than that of the rotary-dial Ericofons. A design flaw in the hook switch mechanism can cause the touch-tone version of the phone to become unusable if it is set down too forcibly. North Electric ceased production of the Ericofon for North America in 1972.
   BULLET::::- TS7: The TS7 "Tone-Lok" pedal was released in 1999. It was made in Taiwan like the TS5, but in an aluminum case that was more durable. The circuit inside had a "hot" mode switch for extra distortion and volume. Most TS7 pedals came with the JRC4558D chip, like the TS808 and TS9.
   By analogy, the term "debounce" has arisen in the software development industry to describe rate-limiting or throttling the frequency of a method's execution.
  
  In the Hammond organ, multiple wires are pressed together under the piano keys of the manuals. Their bouncing and non-synchronous closing of the switches is known as "Hammond Click" and compositions exist that use and emphasize this feature. Some electronic organs have a switchable replica of this sound effect.
  
  Section::::Contacts.:Arcs and quenching.
   Section::::Commercial performance.
   Section::::History.:Alternative manufacturers.
  
  Although the Univox units are the most well-known incarnation of this circuit, Shin-ei licensed this circuit out to dozens of manufacturers. 
  
  Section::::Sound.
  
  This fuzz is an octave fuzz using two germanium diodes to produce the square wave clipping. 
  
  The controls are 'Balance' (volume), 'Expander' (fuzz amount), a two position 'tone' switch, and an on/off footswitch on top. 
   The most common method of controlling the louvers is the balanced swell pedal. This device is usually placed above the centre of the pedalboard and is configured to rotate away from the organist from a near-vertical position (in which the shades are closed) to a near-horizontal position (in which the shades are open). An organ may also have a similar-looking crescendo pedal, found alongside any expression pedals. Pressing the crescendo pedal forward cumulatively activates the stops of the organ, starting with the softest and ending with the loudest; pressing it backwards reverses this process.
  
  Section::::Construction.:Console.:Combination action.
   BULLET::::- The handset volume is quite loud even at the lowest setting of "1". However, this is an issue experienced among all Windows Phones.
  
  BULLET::::- The MMS Settings for Canadian legally unlocked Lumia 900 phones is not available with the current hardware/software release. This issue is well documented within Nokia and may be corrected by downloading the "Network Setup" app from the marketplace which was made available again to Canadians in early 2013.
  
  Section::::Successor.
   A "high shelf" or "treble control" will have a frequency response "|H(f)|" whose square is given by:
   BULLET::::- Release defeat - if enabled, regardless of the release time, stops the sound when the key is lifted. In combination with a footswitch that momentarily turns release defeat "Off" when pressed, this can be used to provide a Sustain Pedal (sostenuto) effect. (Stored with the Step)
  
  BULLET::::- Release gets decay - if enabled, and release defeat is On, when the key is lifted, it releases according to the Decay time instead of the Release time. (Stored with the Voice, separate setting for each ADSR)
   BULLET::::- Revision F changed the output amplifier from a class A to a push-pull design. Metering circuit now uses an op-amp (1973/3/15) "Serial numbers 2612-7052"
  
  BULLET::::- Revision G replaced the input transformer with a differential amplifier. "Serial numbers 7053-7651"
  
  BULLET::::- Revision H changed the faceplate to silver and includes a red “Off’ button. This version is branded with blue UREI logo. "Serial numbers 7652- "
  
  BULLET::::- Universal Audio Re-Issue (2000/4/1) is based on “D” and “E” models.
  
  Section::::All Button Mode.
   Another control a compressor might offer is hard knee or soft knee selection. This controls whether the bend in the response curve between below threshold and above threshold is abrupt (hard) or gradual (soft). A soft knee slowly increases the compression ratio as the level increases and eventually reaches the compression ratio set by the user. A soft knee reduces the potentially audible transition from uncompressed to compressed, and is especially applicable for higher ratio settings where the changeover at the threshold would be more noticeable.
  
  Section::::Controls and features.:Peak vs RMS sensing.
   BULLET::::- crescendo (abbreviated ") translates as "increasing" (literally "growing")
  
  BULLET::::- decrescendo (abbreviated to ") translates as "decreasing".
  
  BULLET::::- diminuendo (abbreviated "") translates as "diminishing".
  
  Signs sometimes referred to as "hairpins" are also used to stand for these words (See image). If the angle lines open up (), then the indication is to get louder; if they close gradually (), the indication is to get softer. The following notation indicates music starting moderately strong, then becoming gradually stronger and then gradually quieter:
  
  /score
   The most common form of controlling the level of sound released from the enclosed box is by the use of a balanced expression pedal. This is usually placed above the centre of the pedalboard, rotating away from the organist from a near vertical position ("shut") to a near horizontal position ("open"). Unlike a car accelerator pedal, a balanced expression pedal remains in whatever position it was last moved to.
   LNBs without a feedhorn built-in are usually provided with a (C120) flange around the input waveguide mouth which is bolted to a matching flange around the output of the feedhorn or polarizer unit.
  
  Section::::Polarization.
  
raw_presuppositions: When a volume dial breaks, it starts turning the volume up instead of down or vice versa. When a volume dial breaks, it starts turning the volume up instead of down or vice versa.
raw_corrections: When the volume dial seems to break, it is actually because the interior gets dirty, which can be cleaned to restore proper functioning. When the volume dial seems to break, it is actually because the interior gets dirty, which can be cleaned to restore proper functioning.