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current to your starter motor is probably on the order of 200 amps. Now consider what 50,000 to 200,000 amps might do to that same wiring. Although the peak current lasts only 0.0001 second, the resistive heating is often suf cient to burn insulation, melt components, even vaporize conductors. Much lightning damage occurs from near-hits, however. It is not uncommon for one boat to suffer a direct strike and for boats in adjacent slips to lose electronic equipment. Just as a current-carrying wire produces a magnetic eld, and a varying magnetic eld produces current in a conductor (the principle behind the alternator), lightning currents produce extreme magnetic elds, which then induce currents in nearby wires. These induced currents are often suf cient to destroy sensitive electronic circuits. Just any copper conductor will not suf ce to conduct currents of 50,000 amps. The conductor must be large and conductive enough to present the path of least resistance to ground (the surrounding water, in the case of a boat). Small-diameter wire, corroded connections, and too small a ground plate (area of metal in contact with the water) may cause the lightning to seek additional paths to ground, resulting in dangerous side ashes. The recommendations in ABYC Standard E-4 are intended to minimize both danger and damage from lightning.
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1. Gain, measured in dB. 2. Gain flatness across one channel, measured in dB (sweep entire channel with frequency generator). 3. Frequency accuracy after a certain warm-up period, measured in Hz. 4. Frequency stability over a certain temperature range after a specified period of warm-up, measured in Hz. 5. Frequency drift over a set time at 25 C, measured in Hz, from turn-on to full warm-up. 6. P1dBOUT at output, measured in dBm. 7. Phase noise of local oscillator at 10 kHz offset from carrier in dBc, measured in dBc/Hz/10 kHz. 8. Two-tone IMD at output, measured in dBc. 9. In-band internally generated spurs with no input signal, measured in dBm and Hz. 10. 3-dB bandwidth of a channel, measured in Hz. 11. Minimum discernible signal (MDS) with zero SNR, measured in dBm.
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But LC filters are low in cost and can fit into a tight form factor (as opposed to distributed designs). They are not suitable for very tight bandwidth requirements that demand steep skirts. 2. Discrete crystal designs have been used from as low as 10 kHz to higher than 400 MHz, and can be employed in both narrow- and wideband applications. They are found in bandpass and bandstop applications. 3. Surface acoustic wave (SAW) filters use a piezoelectric crystal substrate with deposited gold electrodes. SAWs are capable of replacing LC filters in certain wideband applications between 20 MHz to 1 GHz, but will ordinarily experience a 6- to 25-dB insertion loss. Their filter skirts, or shape factor, are the sharpest of all the filter structures. 4. Distributed filters comprise copper strips placed on a dielectric substrate a printed circuit board that act as narrow- and wideband filter structures from 500 MHz up to 40 GHz (and beyond). They are low in cost and have high Q at high frequencies but, depending on frequency and design, can take up significant board space. There are also special bandpass filter responses that are demanded for various requirements. For instance, the popular Butterworth response is adopted
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19:
Do not assume that the Dolby Digital or the DTS label is a guarantee of 5.1 channels (or 6.1 channels or 7.1 channels) of digital audio. These audio encoding formats can carry anywhere from one to eight discrete channels, so a Dolby Digital or a DTS soundtrack may be mono, stereo, Dolby Surround stereo, and so on.7 Most movies produced before 1980 had a monophonic soundtrack. When these movies are put on Blu-ray, unless a new soundtrack is mixed, the original soundtrack is encoded into a single channel of digital audio, usually the center channel. In some cases, more than one Dolby Digital version of a soundtrack is available: a 5.1 channel track and a track specially remixed for two-channel Dolby Surround. It s normal for a player to indicate playback of a Dolby Digital audio track while the connected receiver indicates Dolby Surround. This means that the disc contains a two-channel Dolby Surround signal encoded in Dolby Digital format.
Model aircraft radios are designed to control airplanes at ranges over thousands of feet; yet in the arena, robots less than 50 feet away from their controllers can go wildly out of control or fail to move at all. The difference between the two environments is in the ambient radio interference and the antenna placement. Installing a radio that was designed to be run inside a balsa wood or plastic airplane with only small servos and a single glow-plug engine, and making it run inside a metal-cased combat robot with large noisy electric or gasoline motors, is more difficult than you might think. The first challenge to overcome is radio interference, most of which will come from inside the robot itself. As a brush-type DC motor turns, the sliding contact of the brushes over the commutator segments is constantly making and breaking circuits and reversing the flow of current in the motor s armature winding segments. This constant arcing creates high-frequency electrical noise whenever the motor is
Is there any easy way to explain how that works There is an easy way to explain how it works it doesn t. I m being a little harsh, but I ve never heard sounds coming from behind me while listening to a pair of speakers that were physically in front of me. Now, there is a simple and highly effective technique called binaural audio. That is where you take a mannequin head an anatomically correct dummy head and stick microphones in its ear canals. Then, one listens to the resulting recordings over headphones. That works. You get extremely natural, lifelike-sounding audio. Binaural sound is simple and cheap and it has been used for years. The only problem is that a lot of people don t listen over headphones. You want something that maintains some of that image over loudspeakers. There are schemes that attempt to recreate that multi-speaker experience, but from just two speakers. The main problem is that they are coming out of two loudspeakers and those sounds are bouncing around the room in the same way sounds bounce around the room when they come from loudspeakers (as opposed to actually emanating from the positions that you are trying to pretend that they are coming from). Those systems tend to work best only when you are sitting exactly in the sweet spot, directly centered between the two loudspeakers. As soon as you begin moving off to one side or another, the illusion begins to collapse. Now, I don t mean to imply that these 3D audio systems do nothing. What I can hear quite readily from the better examples of this technology is that particular sounds emanate from a point that is beyond the arc that is extending from your left speaker to your right speaker. So, you are hearing something, for example, that sounds to be further left than the physical position of the left loudspeaker. Digital signal processing is getting better and faster and cheaper; I haven t heard the most recent incarnations of these techniques, but I have yet to hear anything that was as convincing to me as actually having a loudspeaker off to the side or behind me. I have never heard something like it was behind me from a pair of speakers in front of me. How is a sense of space and position created in game audio Many modern games create quite believable spatial orientation. For example, if you re running down a road and you hear crickets chirping off to your right and you turn your character around 180 degrees, the crickets will be chirping on the left. A lot of that is done just by means of clever panning. With a lot of these games, we will use a lot of these 3D
By declaring a virtual function as pure, you force any derived class to define its own implementation. If a class fails to do so, the compiler will report an error. For example, try to compile this modified version of the figures program, in which the definition for show_area( ) has been removed from the circle class:
4 The PackageList parameter is only allowed with return code 518 (unsupported package), except for AuditEndpoint, where it can also be returned if audited. 5 The ResponseAck parameter must not be used with any other responses than a final response issued after a provisional response for the transaction in question. In that case, the presence of the ResponseAck parameter should trigger a Response Acknowledgement; any ResponseAck values provided will be ignored. 6 A LocalConnectionDescriptor must be transmitted with a positive response (code 200) to a CreateConnection. The parameter must also be transmitted in response to a ModifyConnection command, if the modification resulted in a modification of the session parameters. The LocalConnectionDescriptor is encoded as an SDP session description. 7 When several session descriptors are encoded in the same response, they are encoded one after each other, separated by an empty line.
You can use two basic commands to troubleshoot problems on an IOS device:
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It s no secret that publishers have become more and more conservative over the years. You just can t take the kinds of risks with $2 million that you could with $100,000. They re unwilling to fund unusual, quirky games that might not make any money. Not every game needs to be a smash hit, but every game needs to be a steady, reliable seller.
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