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You can insert or replace characters within a string by using insert( ) and replace( ). The prototypes for their most common forms are shown here: string &insert(size_type start, const string &strob); string &insert(size_type start, const string &strob, size_type insStart, size_type num); string &replace(size_type start, size_type num, const string &strob); string &replace(size_type start, size_type orgNum, const string &strob, size_type replaceStart, size_type replaceNum); The first form of insert( ) inserts strob into the invoking string at the index specified by start. The second form of the insert( ) function inserts num characters from strob, beginning at insStart, into the invoking string at the index specified by start. Beginning at start, the first form of replace( ) replaces num characters from the invoking string, with strob. The second form replaces orgNum characters, beginning at start, in the invoking string with replaceNum characters from the string specified by strob, beginning at replaceStart. In both cases, a reference to the invoking object is returned. You can remove characters from a string by using erase( ). One of its forms is shown here: string &erase(size_type start = 0, size_type num = npos); This removes num characters from the invoking string, beginning at start. A reference to the invoking string is returned. The following program demonstrates the insert( ), erase( ), and replace( ) functions:

Answers: 1,2,5

20 V

To configure a packet capture process, use the following syntax, where Table 6-3 covers the parameters in the capture command:

Use Application Data folder redirection when possible. This practice improves network performance, eliminating the need to copy that data each time a user logs on. When troubleshooting Password Manager Agent, always verify that the user logged on has Full Control permission on their Application Data folder.

The following (incorrect) program inputs a string entered from the keyboard and then displays the ASCII code for each character in the string. (Notice that it uses a cast to cause the ASCII codes to be displayed.) However, this program has a serious bug.

An example of such a display is shown in Figure 30.3. In this case the selective capture is focused on the H1H2 pointer value during a pointer movement set to increment at a rate of one per second. The display shows a pointer value held for 7999 frames, an increment flag set for one frame, then a new pointer value held for a further 7999 frames. The increase in sample time is significant; one analyzer that uses this technique has memory sufficient to capture up to eight frames of a STM-4 signal, a total of 1 ms. In its selective byte capture mode it can hold up to 2048 changes of the monitored data, each holding for upwards of 65,000 frames, giving a total of up to 4.5 hours of continuous monitoring. Payload capture. Transmission of an (unimpaired) payload is the ultimate purpose of a synchronous transmission system, so examination of the payload is an important function of an analyzer. The number of frames of payload captured is limited only by internal memory. As in overhead capture, the methods for capture range from simple manual triggering through sophisticated trigger on errors, byte values, etc. A number of techniques can be readily identified:

router boots into ROMMON mode; if 0x1, the router boots the Mini-IOS or the first file in flash if a Mini-IOS doesn t exist; if 0x2 0xF, the router uses the default boot sequence. The default configuration register value is 0x2102. For the password recovery, it s 0x2142. Use the config-register IOS command to change this value.

There are at least two meanings in CorelDRAW for the term view and the previous sections have covered only one of them: view quality, the level of detail with which you see your work. Zooming increasing and decreasing the resolution of a page and panning (sliding your view without zooming, similar to using the scroll bars on the edge of a document window) are the topics of the sections to follow. In the real world, evaluating the progress of a design from different perspectives is a chore when compared to CorelDRAW s workspace; you back into a ladder in your artist s loft, you can t find your favorite magnifying glass, and you wear the carpet thin moving toward and away from your canvas! These days, one way to work faster (and usually smarter) is through a digital design program such as CorelDRAW. Another good way is to master all the features for zooming your view, as I ll cover next.