Architectural question for CCM failover WAN best practices

I have a client that has a large CCM cluster in Texas. Approx 2000 phones register here over the wan from branch offices, HQ, etc. In Milwaukee, there is a call center that is going to go in for about 200 agents 24/7 operations. We are looking at the architecture of this design and are wondering if it would be wise to setup another cluster in Milwaukee just for the Call Center, then use Intercluster trunking between the two clusters.
Or, could we just place a (2)subscribers at the Milwaukee location for a DR between the two sites? (Texas and Milwaukee).
The WAN backbone is MPLS, so we could configure multiple T's back to the data center, etc. The problem we see is if what the Texax CCM cluster falls down... what happens then? Will the CallCenter be able to function?
Any good advice, simple is better.
Thanks much!

What type of callcenter is it? IPCC Enterprise or Express?

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Support , This is Thamer mohammad ,I can't remember my security question answers , so Please help me to Create new Security Question for my Account . Best wishes

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UCCE for CCM failover with DNS SRV.

we are testing UCCE for CCM failover with Local DNS SRV. We have enabled the "Use DNS SRV type query:YES"&"Resolve SRV records locally:1" on CVP Call server configuration SIP tab.
The srv.xml file updated with CCM IP addrs in this path \Cisco\CVP\conf\srv.xml
On testing, the agent state moved to reserved state, but call is not delivered. Static Route is added for Phone Extension as "500>,proxy.ipcc.com".
What will be the issue? Kindly let me know what needs to be done.
Thanks & Regards
JP.

So, as Markus already figured out, you need to make sure that your CUCM actually understands that it is the intended recipient for these SIP INVITEs. I.e. if you define the static route to point to cucm.cisco.com you have to specificy the specify the Custer FQDN to be cucm.cisco.com under the 'Cluster Wide Domain Settings' in the CUCM Enterprise Parameters.
A second thing to watch out for the CUCM Group assigned to your SIP Trunks. Each SIP Trunk, like any CUCM device, has a Device Pool, the device pool has a UCM Group defining on which UCM nodes that device 'exists'. For phones that typically means : which UCM nodes can I register to ?
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Cheers,
Kris

Reason for creating New Version Best practice

Hello SAP Gurus,
We know we are creating new version of the DIR when it is required to make a change in the original keeping in tact the Older file also for reference,
we want to know when a new version of the document is getting created how can we specify, why and what made us to create this new Version, we would like to capture this reason in SAP so the user can easily come to know why this Version is created,
can you please let us know, where actually are we capturing this details while creating the new version,
i know there are lot of free entry fields like Generic object Text field, Long text field, change the description, place the text in the WR log field of the new Version,
which is the best practice so that the user can easily come to know the reason why this new version has been created,
may be they should see this reason details in CV04N search as well, or immediately when opening the new version.
Thanks and regards
Kumar

Hello Kumar
Hope following explanation will clarify your questions
We have to classify our documents broadly in two category 1) Controlled document --means which under goes various level of / Inspection / review / approval etc with in Organisation e.g. Engg Drawing , Standard Operating Procedure for business purpose, best way for this is use Engineering Change Management (ECM)Functiuon and when you make any up versions, you can track / write key docu ment history in ECM
also when you do up version let say in Micosoft word , you can maintain simple table to track what is purpose of change, in what location you are making chnage and its justification.
For Engineering drawing of 2D /3D we can use Redlining functions to createt the Lawyers to know reviwers observation so that next version thopse are taken care
2) Uncontrolled Document---Generally they are less significant from document Change Control point of view
Hope this is useful
Regards
GIRISH

ITunes Accounts - 1 account for multiple iPads? Best Practices?

I'm setting up a small deployment of 5 iPads for use in my company. Could anyone share some tips / best practices as far as iTunes accounts are concerned?
We would like to use one iTunes account to activate all of the iPads and set up / link to each one's AppleCare Protection Plan. Any apps purchased on any of the 5 iPads need to be billed to one account if possible.
Are there any disadvantages to doing it this way, or would setting up an iTunes account (or some other strategy) for each iPad be a more advantageous route?

One thing comes immediately to mind, if you leave the billing account active on the individual devices ( without, say IPCU restrictions on App or movie Purchases) the device users could bill stuff like movies, apps etc. to the central billing account. We don't setup the devices with iTunes ( though we don't use Apple Care, so I'm not sure if this is important with Apple Care Protection), and just let the users enter their own iTunes account info. You could distribute Apps using the new Volume Purchase Program; apps could be centrally deployed to the various devices, billed to one account, and the end user wouldn't be able to individually bill the centralized account. We also tell users they can put on the device whatever they want, but must perform any iTunes backups on home computers. If something goes wrong, we just reset the device to factory and start over; the user must restore whatever they had on the device from their backup. This way we also manage to avoid having to manage iTunes stores on work computers. We do require encryption of iTunes backups via IPCU policy.

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is it worth to turn the wifi off at all, or can i just leave it on?
the reason i ask is because it would be nice to just power on and have it set up without taking the extra (5 seconds) to turn it on.
thoughts? what do you all do? what is considered best practice here?

Radium88 wrote:
007, i was talking about my MBP not the actual router.
thanks for the reply
Well in your first post you say, "I shut down my MBP during the night", and then say, and turn my WIFi off as well".
If you shut down your MBP then the WiFi in the MBP is off to begin with. No power to the MBP is No power to the WiFi card in the MBP. So I assumed you were talking about your WiFi router.

How do I prepare my iMac for sale? And best practice for transferring media to a new system.

This is my first time posting in a forum, so I will apologize in advance if I'm doing something wrong. I've tried to search for a very clear answer to my questions in the existing discussions, but have not had much luck.
I ordered a Macbook Pro today and would like to sell my current iMac to supplement some of the cost. I purchased my iMac in March of 2011 with OS X Snow Leopard preinstalled. I've since updated to Mountain Lion. When my computer came in it did not have OS DVDs, so I am not sure exactly how to take it back to factory default and remove ALL of my information safely in order to prepare it for sale. I'm afraid to tell it to format if I am going to need a boot disc/drive to reinstall the OS. I've been trying to research all day and have learned that I will not be able to sell it with the current OS, only the one that came with the computer at the time of purchase (to the best of my understanding).
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Thanks in advance!

Whoever said you can't sell you iMac with the current Mac OS X is wrong, I believe.
Unfortunately, it is not wrong.
Any OS purchased/obtained at the app store - as is the case here - is not transferable. The license is tied forever to the Apple ID used to obtain it. The SLA states that the seller needs to erase the drive and reinstall the original system.
@ Kamikazwe:
You can call Apple and give them your serial number and they will send you copies of your original disks at a nominal charge.
You do need to use your original Snow Leopard disk, boot from it, erase the drive, and reinstall Snow Leopard. The buyer of the machine will need to purchase his/her own copy of Lion or Mountain Lion with their own Apple ID or they will never be able to reinstall or update the OS.
SLA Excerpt:
3. Transfer.
A. If you obtained the Apple Software preinstalled on Apple-branded hardware, you may make a one-time permanent transfer of all of your license rights to the Apple Software (in its original form as provided by Apple) to another party, provided that: the Apple Software is transferred
together with your Apple-branded hardware; (ii) the transfer must include all of the Apple Software, including all its component parts, printed materials and this License; (iii) you do not retain any copies of the Apple Software, full or partial, including copies stored on a computer or
other storage device; and (iv) the party receiving the Apple Software accepts the terms andcconditions of this License. For purposes of this License, if Apple provides an update (e.g., version 10.8 to 10.8.1) to the Apple Software, the update is considered part of the Apple
Software and may not be transferred separately from the pre-update version of the Apple Software.
B. If you obtained your license to the Apple Software from the Mac App Store, it is not transferable. If you sell your Apple-branded hardware to a third party, you must remove the Apple Software from the Apple-branded hardware before doing so, and you may restore your system to the version of the Apple operating system software that originally came with your Apple hardware (the “Original Apple OS”) and permanently transfer the Original Apple OS together with your Apple hardware, provided that: the transfer must include all of the Original
Apple OS, including all its component parts, printed materials and its license; (ii) you do not retain any copies of the Original Apple OS, full or partial, including copies stored on a computer or other storage device; and (iii) the party receiving the Original Apple OS reads and agrees to
accept the terms and conditions of the Original Apple OS license.

Conceptual questions on the SDK: Dev Best Practices

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As I am not a master in development, I have interrogations on many things regarding how I should do my development in the SDK.
First, for my first question I will take an example:
BO Extensions:
- Imagine you already have extended one of your Business Object (Purchase Order) with error messages, a new field in one screen, etc.. for a specific solution.
- Now, you need to do another work for the same customer in the same Business Object
* What should we do?:
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Second issue:
Where the changes will apply when we extend a Business Object contained in various screens?
My second issue is that I have problems understanding how all the screens in ByD are separated according to the BO in the Repository explorer. Finding the screens in the UI designer is easy, but I have problems understanding how the repository is working sometimes.
- Imagine you want to make a field mandatory in a specific screen, the Product Category ID in Purchase Order for example. So you go and you write your scripts in the Purchase Order Extension BO created. And you choose the ProductCategoryID which is in the PurchaseOrder BO from the repository explorer
- How are we sure that the ProductCategoryID becomes mandatory only in the Purchase Order creation screen and not in other screens as we never specify for which screen we want this message? This is the concept I have the more problem getting into. How my Business Logic developed in the SDK only affects some screens and not others?
- Finally, can we assume that this PurchaseOrder.Item.ProductCategoryID (not the real path just for example) is a different element that PurchaseRequest.Item.ProductCategoryID? So as if we make changes to the PO.ProductCategoryID, it won't affect the PR.ProductCategoryID.
Thank you very much for your help and for your guidance to improve my understanding.
Best regards!
Jacques-Antoine

Hello Jacques-Antoine,
Your first question: "another work for the same customer in the same Business Object"
If this belongs to the same project it should be part of the same solution.
If this is a new project then create a new solution
You can create as many solutions as you want and expand in these solutions the same BO again and agin.
Second question: "extend a Business Object contained in various screens"
If you extend the BO it si valid in all screens where this BO is used.
So setting a element as mandatory will be applied to all UIs.
If you want to have this only for a specific UI, you must enhance this UI
HTH,
   Horst

Configuration settings for applications ... best practices?

Hi!
We're currently developing applications for WebLogic (ADF Faces RC, EAR deployment).
Now we arrived at a point where we need some simple configuration settings/properties on the server or the domain. The applications should be able to read these settings, the mechanism should be as simple as possible.
An administrator at the server should be able to update the settings and the applications should pick up the changed values the next time the settings are accessed, without server or application restart.
I wonder what the best way would be to handle this?
- put them into the database, but then all apps would need DB access to those settings?
- System env. variable on the server, but how to pick up changes without restart?
- Property file? Where do I put that so that an admin can easily find and edit it?
What are you guys using? I was kind of hoping that WebLogic would provide some UI in the console app, that enables an admin to set some properties, but I couldn't find one. Is there one?
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Thanks.
Sascha

Hi Sascha,
If you place the properties files in %WEBLOGIC_HOME%/user_projects/domains/[your_domain] then the properties file should be picked up, without having to be placed in a jar file, and in a location that will be easy to find for the WebLogic administrator.
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So, here's the question, in two parts:
1) Is it true that, say you have 10 wireless devices connected to a wireless .11n router, 9 of them .11n and 1 of them .11g, and the whole network bogs down to the .11g speed? and;
2) Why is my danged network so slow reaching he internet??? Using Speakeasy I usually only get 7Mbs to my MBP from the internet.
Yes, there's a lot going on in my network, but I can isolate everything (by physically turning everything off) and I still only get 7Mbs wirelessly to my MBP. I can connect my MBP directly to my cable modem (without rebooting or resetting the modem) and always get my advertised 25Mbs using the same Speakeasy test. However, I run a Time Capsule, in .11n only (2.4Ghz), off that cable modem. On the other end of the house, I extend my network using an AE whose ethernet port is connected to the WAN input of a D-Link wireless router in the .11g only mode. Both g and n are supposed to operate well above 25Mbs, so what's the deal?
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JMS architecture question for fat client/server.

Hi. Is JMS suitable for fat client-server architecture where a certain number of fat client applications (like a few hundreds) open connections directly to the JMS provider? Is it going to have scalability problem when the number of connections grow?

Depending on your JMS provider, this may be a very suitable architecture. The Sun MQ JMS Cluster was architected exactly for this problem. If the number of connections onto a single broker becomes too much of a burden for this broker, it can be put into an MQ cluster and share the number of connections. Of course, the number of connections a broker can handle will be totally dependent on the resources available to it. OS, CPU, memory, other applications running on the same machine, etc....
TE

Timing beats for music video - workflow best practices?

Hi all,
I am currently working on a short video that needs to be timed to music. Obviously in some respects, a tool like Final Cut or Premier would be more suited to the task in certain ways, but for reasons of the technical specification of the output, it has to be done in After Effects.
So I am trying to nail down a good workflow for timing various elements of the project to the beat of the soundtrack. What I'm doing so far is, I have expanded the waveform of the soundtrack so I can get some rough visual on where obvious changes happen. See the screenshot to the left. I placed a marker on the exact frame where the drum kick happens, where I would want to do something cool with the video.
This is obviously of limited utility, because although the beat does coincide with one of the peaks of the waveform, it's not apparent from looking at it which one it would be. It's also not quite possible to ascertain the exact frame on which the beat happens using this method, as each peak is several frames long and includes several elements of the audio.
So the next thing I tried is simply listening to the track with RAM-preview, and pressing the * key to place markers on the soundtrack on the beat. Maybe some of you are better at rhythm games than I could hope to be, but I find that while this lets me put down a lot of markers quickly, it's very inexact.
Which, alright, is to be expected - I might not get every marker on the exact frame on the first try, but I can go back and slide them a few frames, right? But the problem here is with scrubbing audio, and with visual feedback with the playhead. When you RAM preview, the playhead does not update on every frame - it updates only every seven or eight frames or so. Which means that if I watch the timeline to see if my markers are in the right place, I can't tell when the playhead passes over them.
So instead, I hold down the Ctrl button and scrub. This kinda works, but the playback of the audio is quite choppy and discontiguous. As such it's hard to get a sense of each frame as part of the song, and even if I do hear a beat it's hard to recognize it as such (this technique works better in Final Cut somehow, for some reason it manages to scrub while sounding less discontiguous). So then what I do is I stop on a frame I think might possibly be the beat, and I hold Ctrl and Left Click on the playhead, which loops a short segment (five frames?) of the audio. Then I do the same for a few frames before and afterward, just to make sure I targeted the right frame. Now, finally, I have the marker in the right place for a single beat.
There's got to be a better way.
I wonder if anyone who has been faced with this problem has figured out a more effective workflow? I am thinking there might be a separate piece of software I might use that lets me go through the audio and place markers better - and then allows me to somehow export marker data to After Effects? Or maybe another workflow I haven't thought of.
Your thoughts?

Cutting music accurately to beats is usually a simple matter of math. Most music, especially music with a strong beat, runs at a specific number of beats per minute. That's usually easy to figure out. There are times when you have a tempos shift or a fermata, acc. or ret. or other change they are usually for a short duration and pretty easy to fix. Figure out the tempo and you're about 90% there.
Another tool, and one that I use quite often is Sound Keys from Trapcode. This is much more versatile than using the built in Convert audio to keyframes.
If I have a fairly long segment that has a bunch of beats quick beats I will sometimes create a small solid, add hue and saturation to the small solid set to colorize, add this expression to colorize hue - index * 140, trim the length of the layer to the length of the beat, then duplicate the layer for as many beats as I want to cover, sequence the layers, and then use that layer sequence as a guide. The setup looks like this:
You could also use a loopOut expression on rotation to rotate a small layer say 45º on every beat. For example, if you had a beat every 20 frames set 3 hold keyframes, one at the first frame for 0º, one at frame 20 for 40º then put one at frame 40 for 0º and simply add the expression loopOut("cycle") to rotation. Now the little cube would snap to a different angle on every beat.
These tricks will help you with some fast cuts right to the beat but let me give you some advice on cutting to music that I learned 42 years ago (yes, I am an old guy) when I was learning to edit to music at my first job in film. My mentor had been in the business since 1952, had worked as an editor on a ton of feature films and a zillion commercials. He told me that if you precisely match the beat, which was pretty easy to find and mark with a wax pencil on mag stock, your cuts will look out of sync. The problem with that precision is that the eye and the ear are not precisely in sync. The lead or lag time depends on the shot, where the shot is taking your eye, where the cut moves your eye, and the mood the music is creating. The best technique is to listen to the music and place markers as you tap out the beat. In the old days I did this by tapping a wax pencil on the mag stock as it ran through the Steenbeck or Moviola, today I do it by tapping the * key, then I cut and adjust the cut point letting the shot dictate when the music and beat line up emotionally. You'll get a better result and your work will go much faster than fussing around trying to precisely match the beat with every cut. I have shifted cuts as many as 4 or 5 frames ahead or behind to beat to get sequence to feel right.
I do use the two techniques I listed above to cut short segments of very tight cuts and they help save time, but setting your comp resolution to auto and your comp Zoom factor to 25%, ram preview to "From current time," and just cutting to the beat by feel will give you a much more pleasing and emotional response to your sequence than precisely and mathematically exactly matching the beat. The final piece of advice I can give you about cutting music is to make the first cut, then walk away for at least a half hour, then come back and look at what you have done. You'll instantly see where you need to make adjustments and it will take you less than half the time to cut your sequence.

Looking for DAM case studies/best practices

I just began working at school and we have a TON of old photos. My advice is just to permanently archive older photographs and begin fresh with Lightroom and a good digital asset management policy.
I know there are resources and tutorials on DAM with Lightroom, but I'm looking for examples of how other institutions, schools, organizations and non-profits are using Lightroom and Bridge. Anyone know if any place where I can find something like this?

Yes, semantically speaking, Lr does not physically house nor is it an actual physical repository for image files. For those uncomfortable with certain terms ... they should request that Adobe address all other troubling terminology in their software so we all can feel a bit more comfortable ... since we don't actually import images into Lr (other than graphic identity plates and graphic watermarks) ... we merely reference those files in Lr. Perhaps Adobe could label that button/action more accurately as a start.
If we do not physically import photos into Lr, then what use is there to have a button for the function of Export? If we didn't actually import any images into Lr ... how is it possible to export an image out of Lr? Or, how about the fact that the Camera Calibration panel does not actually calibrate cameras for another? ... but I digress ...
Indeed, from a physical standpoint, the files we manage using Lr are not actually stored inside the Lr catalog ... however, all the extremely valuable camera generated EXIF and IPTC along with user generated metadata is stored in a repository that is known as the .lrcat file. Of course, one should not confuse that this repository has any actual images stored within.
While it may be preferred, and more comfortable, to be perfectly accurate in discussing such terms, we can also drown in a sea of semantic minutiae if we all insist on picking nits with such phrases used in the discussion as well.

Architectural question for CCM failover WAN best practices

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