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Figure 7.12: The downlink average channel quality error performance defined by Equation 7.2 for a wideband AQAM scheme at an average SNR of 20dB. An interference-free scenario was assumed at the MS and the switching thresholds were set according to Table 4.8 for a target BER of 0.01%. The performance was averaged over 10000 transmission bursts and the simulation parameters were set according to Table 7.1.
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If you delete the rows or columns that contain named cells or ranges, the names contain an invalid reference. For example, if cell A1 on Sheet1 is named Interest and you delete row 1 or column A, the name Interest then refers to =Sheet1!#REF! (i.e., to an erroneous reference). If you use Interest in a formula, the formula displays #REF.
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The next group in the Blend Modes menu adds contrast to the affected layer, making the lighter areas more brilliant and deepening the darker areas. You can see in Figure 1.20 that if I had added a Hard Light blend mode to the nebula that you would see a lot more of the nebula over the texture of the car. The lighter areas in the nebula are tinted very heavily with the red of the car and the darker areas are a very dark red.
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To see the Histogram panel, choose Window Histogram. Drag the panel from its group by its header to make it free- oating for the moment so you can see it better. There are several ways to display tonal data in a histogram. Figure 6.8 shows the default view, which displays data for each of the three color channels in their particular colors (red, green, and blue). Overlapping colors are displayed as the combination of those colors. For example, where the red and green channels overlap, the overlapping area is shown in yellow. When the red, green, and blue channels overlap, they re displayed in gray.
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Putting water on any electronic device is always risky, but if you are careful, you can wash a keyboard. Newer keyboards are sealed under the key switches to protect the keyboard grid. Anything that spills in the keyboard will either settle on the keyboard membrane as sticky gunk or simply run off.
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Those are only two of many ways to create a new layer in Photoshop. Here are a few others: n Copy a selection (Ctrl+C or +C), and paste it into another image (Ctrl+V or +V). Photoshop pastes the selection as a new layer. n If you want to relegate a selection exclusively to a new layer, choose Layer New Layer Via Cut or press Ctrl+Shift+J ( +Shift+J on the Mac). Rather than cloning the selection, Layer Via Cut removes the selection from the background image and places it on its own layer. n To convert a floating selection to a new layer, press Ctrl+Shift+J ( +Shift+J on the Mac). The Shift key is very important. If you press Ctrl+J (Win) or +J (Mac) without Shift, Photoshop clones the selection (leaving the selected content behind on the layer of origin) at the same time that the new layer is created. With the Shift key, you get a new layer that consists of the content within your selection, and the content is removed from the layer of origin.
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Figure P9.25
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Using Layers in Real-World Situations
Audio Editing
Component-Based Business Modeling
Editing the Texture of a 3D Object
Selections, Masks, and Filters
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