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Figure 3.2 A frame relay network. Public network standards typically spend a lot of time detailing exactly what should happen in terms of the software and what the hardware arrangements from the CPE to the network switch port should be. The CPE to switch interface defines the UNI and is clearly a key part of any network architecture. Without firm and complete UNI specifications, CPE devices could not be a varied as they are in terms of vendors and optional capabilities, and service providers could only support a small subset of all possible CPE configurations. The frame relay UNI allows this interoperability to take place. But the frame relay network node interface is another story. Normally, the network node interface can be abbreviated NNI, but this is not a wise idea when speaking of frame relay networks. The acronym NNI does in fact exist in frame relay, but means network-to-network interface. So the frame relay NNI means something entirely different than the acronym NNI does in other technologies, such as ATM. Actually, ATM was the first major network architecture to define a standard network node interface. Most other network architectures, especially public network architectures, never bothered to define a standard network node (switch-to-switch interface). The reason is very simple: Such a standard interface on public networks was not felt to be in the best interests of the network.

Unlike the program in this chapter, this isn t a program whose execution you need to schedule simply include the URL they supply in your page, and content updates occur automatically. One downside to this service, however, is that it does not support Atom feeds as of this writing.

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The specific options that are available in the Sound Settings dialogs are always related to the compression, or audio-encoding scheme, selected in the Compression drop-down menu That s because different compression technologies support different functionalities: Disable: This option turns off all sounds that have been assigned in the Sound panel to Sync as either Audio Stream or Audio Event If this option is selected, no sound of that Sync type will be exported when the SWF movie is published There are no further options for this setting ADPCM: With ADPCM selected in the Compression menu, the following options are available: Convert Stereo to Mono: Mixes the right and left channel of audio into one (mono) channel In sound engineer parlance, this is known as bouncing down Sample Rate: Choose from sampling rates of 5, 11, 22, or 44 kHz.

The potential energy of interaction between dipole moment, 1 , and point charge, q2 , can be expressed by modifying Equation (1.1) to give V= 1 q 2 1 4 0 r 2 (1.4)

(Increasing the sample rate of an audio file to something higher than the native sample rate of the imported file simply increases file size, not quality For example, if you import 22 kHz sounds into the Flash movie, selecting 44 kHz will not improve the sound quality For more information on sample rates, see 14, Understanding Sound for Flash ) ADPCM Bits: Set the number of bits that ADPCM uses for encoding You can choose a rate between 2 and 5 The higher the ADPCM bits, the better the audio quality Flash s default setting is 4 bits MP3: If you select MP3 in the Compression menu, you can set the following options: Convert Stereo to Mono: Mixes the right and left channel of audio into one (mono) channel This is disabled at rates below 20 Kbps, because the lower bit rates don t support stereo.

Therefore, not only is col useful for specifying the number of columns, it s also quite useful for specifying the width of a given column. Even better, you can also specify other attributes for a given column, as demonstrated in the following example and shown in Figure 8-15:

Bit Rate: MP3 measures compression in kilobits per second (Kbps) The higher the bit rate, the better the audio quality Because the MP3 audio compression scheme is very efficient, a high bit rate still results in a relatively small file size Refer to Table 16-1 for a breakdown of specific bit rates and the resulting sound quality..

nless you re going to totally abandon all pretense of having anything to do with Web page graphics and hand all that mysterious stuff over to someone else, you need to have some notion of what needs to be done to make your Web pages work. Even if you don t ever touch an image yourself, you d better be aware of what is going on under the hood so that you have an idea of what can and can t be done. It is impossible to do more than scratch the surface of such a complex topic in a single chapter. Thus, this is an overview.

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