![]() The versatile DigiFlex 1000 frame can also accommodate AES/EBU Digital Audio distribution (using the DigiFlex 1652) as well as Analog and Digital Video distribution.īacked by a 10-year warranty, the 1651 will provide years of outstanding performance. A switch on the front of the module places the audio signal on the frame buss. ![]() An audio buss runs the full length of the frame to allow monitoring of any of the resident audio distribution amplifiers by a single monitoring amplifier, model 1626. This rugged 2RU frame can house up to 11 modules. The 1651 is designed to reside in Link's DigiFlex 1000 frame. The front panel features a DC power supply monitor LED. Plug-in terminal blocks are available on the 1021 Rear Cell. The rear panel module with build-out resistors and fixed terminal blocks is the model 1014. The LINK 1651 has a unique signal presence indicator on the rear panel. The 16 are identical with one exception: the 1651 has logarithmic bar graph level meters for the left and right channel signal indication. In addition, extreme care has been taken in the printed circuit board design to reduce noise and improve channel isolation. Today we continue to use digital displays with bar graph in audio. Both the input buffer and output driver offer noise figures of <7nV/Hz 1/2. Digital indicators with bar charts are used in radios and tapes to adjust the sound. Ultra low-noise components (including metal-oxide resistors) are used throughout the audio signal path. Its wide bandwidth (>120KHz) will allow for the distribution of SMPTE Time Code or BTSC Baseband Stereo. The output amplifier is capable of driving low impedance (150Ω) loads and is compensated for load capacitance of up to 10,000pF. The front end is high-impedance, balanced, with high commonmode rejection. Link Electronic's DigiFlex 1651 Stereo Audio Distribution Amplifier takes advantage of the latest in Operational Amplifier technology.
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The game’s system requirements are pretty high, though, so check before you buy.Īs you plunge into the main game, you can create your farmer character (with a variety of gender and ethnicity options available) and start your first farm in one of three different locations around the US and Europe. There are also some good expansion packs available, such as the After Dark pack that lets you develop your town’s night-life, and the recent Natural Disasters, which will see how you manage to cope when the town is hit by a tidal wave or even a meteor strike from the sky. But if you’re already a fan of city-sim games then you’ll find that the sheer detail and control provided by Cities: Skylines will provide a real challenge. Our only real complaint is that the game could use a more thorough tutorial to help complete beginners. ![]() You can even put roads underground to avoid spoiling an area of natural beauty – although you’ll need to make sure your underground roads don’t collide with metro trains down there as well. Larger roads can cause pollution, and lower property values, so you have to think carefully about where you build them. As people arrive you’ll need to start ‘zoning’ the town, allocating areas for housing and businesses, and also providing essential services such as water and power.Īdmittedly, the format of the game isn’t drastically different to that of SimCity, but Cities: Skylines puts a lot of detail into systems such as transport as you’re building things up. 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If a transcript for your video is available, you can import it from other sources (F4 / F5 / Transana) or create one in ATLAS.ti directly. ![]() It only allows you the basic segmentation of the video without permitting in-depth analysis of the video material directly. That program allows you to roughly code interesting segments but does not allow you to fine-tune your selection or modify it. The possibility of coding video data in MAXQDA is very limited. In MAXQDA and NVivo, the logic of working with video data is mainly based on preparing a transcript. ![]() As you code, quotations are automatically created. It is also easy to code video data directly. As such, when working with video data, it is quite useful to start with the quotation as a first unit of analysis, then enter short titles for each segment you think is relevant, and finally describe and interpret the segment before you code it. Video data is complex – it is sometimes difficult to immediately decide how to code a segment. The same unique architecture of ATLAS.ti that lets you start building a project based on quotations also works when it comes to coding video data. Quotations are a tremendous QDA resource because they invite discrete interaction with text or multimedia segments in a way that’s only available in ATLAS.ti.” Read more: The Life Of An ATLAS.ti Quotation/Maietta_2009-05_6-3.pdf. If you asked him why he likes to use ATLAS.ti for his own qualitative research work, his response is: “The power of the quotation. The following paper, written by Trena Paulus and Jessica Lester (2014), offers an example for how the Quotation Manager in ATLAS.ti was used for a discourse analysis: /opus4-tuberlin/frontdoor/index/index/docId/4426.Ī more technical take on the topic can be found in an article in our library written by Ray C. If appropriate for the chosen methodological approach, you can even begin to code the data to analyze it on a different level. Based on these you can begin to create network views as a way to visualize your data interpretation and the connections that you identified in the data. These are the above mentioned hyperlinks. You can even begin to link segments to each other within or across documents. This allows you to enter a short title for each quotation and write a longer descriptive comment or interpretation. This allows you to work on the data level before you move on to a more abstract conceptual level. In ATLAS.ti, the smallest unit is called a quotation – a selected data segment. To learn how to put ATLAS.ti to good use in YOUR research, visit our Research HubĪnother major difference between programs come in the unit of analysis. This flexible work flow cannot be found in any other software package. This is also the case for dragging code from other places like the navigator on the left hand side, or from the Code Manager. If you drop one code on top of another, the two will be exchanged. By holding down the Ctrl-key, you can copy the code while still leaving it attached to the segment it is associated with. You can easily grab it and drag it to another segment, thereby moving the code. However, there is more you can do with codes in the margin. If you click on a code, the corresponding data segment is displayed the same way in all programs. This hyperlink feature is unique to ATLAS.ti. Jump directly to the linked segment and even open linked documents side-by-side. If you click on a hyperlink, the linked data segment is displayed (or even played, in case of audio and video data). And all objects in the margin area are interactive and have their own context menus. links between data segments) and attached memos in addition to codes. The margin area is a significant part of ATLAS.ti – not merely a display for coding stripes, as found in NVivo. If you start ATLAS.ti and load a document, one immediate visible difference is the ATLAS.ti margin area. ![]() Fixed: Windows: when running on multiple monitors with different font sizes per monitor, text could be displayed at the wrong size, or cut off. ![]() Fixed: possible error 'Assertion Failed' when excluding a source image by right clicking in the Panorama Editor.Fixed: a subtle color change could occur when stitching images with specific ICC profiles on macs with an Apple M1 or M2 processor.The Panasonic Lumix G 8mm f/3.5 Fisheye is now recognized automatically from the EXIF data.Much improved German translation by Michael Göricke (vielen Dank!).Some updates to the German translation (thanks Michael Göricke!).Beware though, even with this lens profile, images from this camera will stitch badly due to the large parallax. Added lens profile for the Insta360 Titan camera.Fixed: 'Fit Panorama' could result in a panorama size a few pixels too small.Fixed: If the project consisted of a single set of bracketed images, with individual (unlinked) yaw/pitch/roll, the 'Generate Control Points' menu item was incorrectly greyed out.Fixed: Errors 'could not open file for writing' or 'Assertion Failed' could occur when running PTGui under different user accounts on the same computer.Fixed: The numbered control point markers in the Control Points tab could disappear.New projects will use the PTGui 11 algorithm by default. But the difference is small and this can be compensated for by a small adjustment of the curve in the Post Processing tab.įor backwards compatibility the algorithm of PTGui Pro 12.0 to 12.20 remains available, so projects created with previous versions will still look the same. PTGui Pro 12 is unaffected by this, it will produce the same results regardless of the source images' ICC profile. Subtle differences between version 11 and 12 may remain, due to the fact that PTGui 11 was not color managed: the exposure fused results in PTGui Pro 11 would depend on the color space (in particular, the gamma curve) of the source images. To fix this, the exposure fusion algorithm from PTGui Pro 11 has been backported to PTGui Pro 12. But users reported they were not able to get the same results as in PTGui Pro 11 and we agree that the results in PTGui Pro 12 were indeed inferior. This also changed the exposure fusion process. In PTGui 12 the stitching pipeline was changed in order to support new HDR functionality and color management. Based on feedback from users, the exposure fusion algorithm is reverted to the algorithm that was used in PTGui Pro 11. |