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RealNetworks has developed its own proprietary audio format designed specifically for streaming. Part of RealSystem G2 multimedia technology, the RealAudio format uses lossy compression through psychoacoustic methods to achieve the best possible size-to-quality ratio and then encodes streaming instructions into the file. You don t usually find RealAudio files as downloads like MP3 or WMA, but rather as hyperlinks on Web pages that open the RealPlayer and stream the audio so you can listen as you download.
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The distinction between sales and marketing can be rather blurred at times, but marketing generally refers to the positioning of a product in the media rather than its presentation to a particular company or individual. Marketing representatives are often called upon to write advertising copy, generate camera-ready layouts for print advertisements, design marketing yers and shelf displays, and produce other creative selling materials.
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n Acrobat provides an extensive set of Comment preferences. Before beginning any review session you should review the preference settings by choosing Edit Preferences and clicking on Commenting in the left pane. n A single toolbar in Acrobat 8 contains all the Comment & Markup tools. n Most comments created in Acrobat have associated note pop-up windows where you can type comments. n You access comment properties by opening context menus from a note icon or pop-up note title bar. n You can create custom stamps in Acrobat from a variety of different file formats.
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Although the hedge fund industry grew out of an effort to provide an alternative to traditional asset management, the continuing convergence of nancial institutions will blur the difference between hedge funds and other nancial management alternatives. Mutual funds, insurance companies, and investment counselors can hurdle the barriers to entry easily enough to create hedge fund products re ecting their expertise. Attracted by the higher fees, these traditional managers are creating hedge funds as a way of motivating their star performers to stay with their employers. Traditional investment managers will also adopt many of the features of hedge funds into their existing products. Insurance companies don t need to tie insurance products to external hedge fund products if the insurance companies can produce nondirectional investment returns or can implement passive hedge fund portfolios. Mutual funds can implement many of the investment strategies commonly used by hedge funds without adopting hedge fund business organizations or fee structures.
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Photoshop also lets you access palette options from the keyboard, and a list of the palettes, their purpose, and shortcuts for access appears below. Note that each of the shortcuts works even when the palette is hidden: n Palette function keys: Press F5 to show or hide the Brushes palette. Press F6, F7, F8, or Alt+F9 (Option+F9 on the Mac) to toggle the display of the Color, Layers, Info, or Actions palette, respectively. If for some weird reason the Options bar is hidden, press Enter or Return to bring it back. Note that if you re using a Mac, you may want to avoid the F8 key unless you ve changed the default (Spaces) for that key. You can change this setting through your System Preferences. n Hide or show all palettes: Press Tab to hide or show all palettes, including the Toolbox, Options bar, and the status bar. To hide or show the standard palettes only that is, everything except the Toolbox, Options bar, and the status bar press Shift+Tab. n Brush size: Press left bracket ([) to decrease or right bracket (]) to increase the brush size when a paint or edit tool is active. n Brush hardness: Press Shift with a bracket key to change the hardness of a brush. Shift+] gives the brush a sharper edge; Shift+[ makes it softer. Again, a paint or edit tool must be active. n Brush preset: Press comma (,) or period (.) to cycle between preset brushes. If this doesn t work for you, try pressing Shift+comma, which selects the first preset, the single-pixel brush. Then press period to move forward. Shift+period jumps to the last preset brush. n Gradient style: Select the Gradient tool and press a bracket key, [ or ], to switch among the five gradient styles. n Gradient preset: Press comma or period to step backward or forward, respectively, through the predefined gradients. Press Shift+comma or Shift+period to switch to the first or last gradient in the list. n Shape layer styles: Select any of the shape tools and press comma (,) or period (.) to step backward or forward through the predefined layer styles. Press Shift+comma or Shift+period to jump to the first or last style in the list. n Shape attribute: With the Rounded Rectangle tool active, press a bracket key, [ or ], to decrease or increase, respectively, the corner radius. Select the Polygon tool and press a bracket key, [ or ], to decrease or increase the number of sides in the next polygon or star you draw. For the Line tool, press a bracket key, [ or ], to decrease or increase the line weight. n Custom shape preset: Select the Custom Shape tool, and press a bracket key, [ or ], to step backward or forward through the predefined shapes. Press Shift+[ or Shift+] to switch to the first or last shape in the list. n Brush opacity: When a paint or edit tool is active, press a number key to change the Opacity, Strength, or Exposure value in the Options bar. Press 1 to change the value to 10 percent, press 2 for 20 percent, and so on, up to 0 for 100 percent. Or use an exact value by typing two numbers in a row. For example, type 87 for 87 percent or 05 for 5 percent.
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Part II: Designing and Crafting Basic Pages
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Customizing the Brush tool settings using the Brush panel Using some Brush tools for editing localized areas of images and some for painting pixels Adjusting the blending mode to completely change how brush stroke effects are applied to the pixels below Erasing specific pixels in the image Using Photoshop s wet paint capabilities to create a painting from an existing image Tracing techniques to quickly give you a basis and perspective for painting images
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ubscribers, whether people who take time to add your RSS feed or paid customers, are your strongest supporters. They want you to succeed. They want you to deliver great programming. They expect much of you, making them a mixed blessing that you ll sometimes curse. In this chapter, we re going to deal with subscription arrangements that create revenue from your podcast, as well as the really simple subscriptions enabled by RSS. Winning and keeping subscribers is hard work. It involves making your program easily available for sampling and making the experience both convenient and more informative or entertaining for listeners that subscribe. Fortunately, podcasting s use of RSS makes free subscriptions very easy. Conversely, the simplicity of RSS subscriptions makes asking for payment even harder than in previous media. You need to come to terms with the idea that some people who never subscribe will hear or see everything you do for free. Some call it piracy, but it s just marketing. Subscriptions that limit access to your podcast or add extra features delivered with your show can serve two purposes. They are a way of collecting money from paying customers, but free registration-based podcasts can also be the foundation for high-value sponsorships and advertising if you can collect information about your listeners when they register. Advertisers are willing to pay a premium for targeted audiences. This is known as controlled-circulation model because it provides sponsors and advertisers access to very specific audiences. Begin by thinking seriously about what kinds of subscription ideas are right for your podcast.
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Mobile communications channelstypically exhibit time-variant channel quality fluctuations [ 131 and hence conventional fixed-mode modems suffer from bursts of transmission errors, even if the system was designed to provide a high link margin. As argued throughout this monograph, an efficient approach of mitigating these detrimental effects is to adaptively adjust the transmission format based on the near-instantaneous channel quality information perceived by the receiver, which is fed back to the transmitter with the aid of a feedback channel [ 151. This scheme requires a reliable feedback link from the receiver to the transmitter and the channel quality variation should be sufficiently slow for the transmitter to be able Cuvers [9] suggested to adapt. Hayes [l51 proposed transmission power adaptation, while invoking a variable symbol duration scheme in response to the perceived channel quality at the expense of a variable bandwidth requirement. Since a variable-power scheme increases both the average transmitted power requirements and level of co-channel interference [ 171 the imposed on other users of the system, instead variable-rate Adaptive Quadrature Amplitude Modulation (AQAM) was proposed by Steele and Webb as an alternative, employing various star-QAM constellations [ 16, 171. With the advent of Pilot Symbol Assisted Modulation (PSAM) [18-201, Otsuki et ul. [21] employed square constellations instead of star constellations in the context of AQAM, as a practical fading counter measure. Analyzing the channel capacity of Rayleigh fading channels [22-241, Goldsmith et al. showed that variable-power, variable-rate adaptive schemes are optimum, approaching the capacity of the channel and characterized the throughput performance of variable-power AQAM [23] . However, they also found that the extra throughput achieved by the additional variable-power assisted adap191
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