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Source: Communications Network Test and Measurement Handbook
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As the output shows, since a is not a B, the cast of a to B is invalid and is prevented by the if statement. However, this approach requires two steps. First, the validity of the cast must be confirmed. Second, the cast must be made. These two steps can be combined into one through the use of as, as the following program shows:
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Enhanced view is similar to Enhanced with Overprints (see the following definition). In this view mode, all vector objects (text is a vector object too) are anti-aliased around the edges. It s your best view of your work, but not the default view. If you never create overprint objects, you might want to use this as your default view the difference between Enhanced and Enhanced with Overprints is trivial to many users.
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Sound effects creation and Foley editing In the movies, the sound you hear is a mixture of real sound recorded on the set (mostly dialog, though ambient sounds are also recorded where suitable), plus effects that are added afterward. In games, there is no set, so all sounds are necessarily added afterward. Audio engineers spend a lot of time trying to find or create effects that sound appropriate for the scene in the game. Foley editing is a film industry term for the process of synchronizing sounds to events on the screen. Studio recording of talent All the dialog in a game has to be recorded somewhere, and this happens in a studio, specifically in a place called the voice booth. The actor sits in the booth with a script, away from any other sounds, and the engineer and others sit outside. The task requires some specific technical knowledge not needed elsewhere. When you are recording a voice actor on two different days, for example, you have to make sure that the recording levels and other conditions are set so that his voice sounds the same on both days otherwise, when the sound recording is played back in the game, the players will notice an odd variation that (to them) occurs for no reason. Directing an actor requires people-skills: you have to convey the mood you want to the actor in order to get the right emotional tone in the material. Live recording of music is yet another story and is, of course, a career unto itself in the film, television, and music industries. In the game industry, we don t often record music live, but it does happen occasionally in games that want to cash in on a hot band s name-recognition. It can be very cool to claim your game has new, exclusive material from a hit group. More frequently, however, the games use tracks from commercially released albums. Music composition, including adaptive music Composing isn t a required skill for all audio engineers, but it s certainly a valuable one. Game composers are somewhere between classical composers and composers for film. Unlike with film, they can t be entirely sure what s happening on the screen at any given time, unless they re composing for a cut-scene or other non-interactive sequence. That means the music must be general enough to work with whatever is happening. Unlike classical composing, however, it can t be abstract: it must support the game experience. Adaptive music, sometimes called interactive music, is a somewhat experimental field which involves creating music that changes automatically in response to circumstances in the game. It s exciting and has tremendous potential, but despite several years of effort is still in its infancy.
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CHAPTER 3 Applications of the Derivative
Creating Bode Plots
Part I:
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