Difference in Mode

I'm having a hard time tell the difference between the diferent models of the X-fi line. I know that the Fataity has X-ram, but whats the difference between the Xtreme music and X-fi Platinum. Is the only difference that the Platinum comes with a remote and front connection? Is there any difference in performance between the two? Thanks.

this question has been addressed before
http://forums.creative.com/creativelabs/board/message?board.id=soundblaster&message.id=796
but here it is again:
X-Fi ExtremeMusic/Platinum: identical cards, a good single 8-channel dac: Cirrus Logic CS4382 D/A converter (92 kHz, 4 dB), quite good Wolfson adc: Wolfson WM8775 A/D(96 kHz, 02 dB), mediocre JRC/NJR opamp for front channels, el cheapo ST opamps for other channels, Platinum comes with front bay module and remote.
X-Fi Fatalty FPS: card almost identical (= same dac & adc, same opamps!) with ExtremeMusic/Platinum except for 64 instead of just 2 MByte ram and additional leds, comes with front bay module and remote just like the Platinum.
X-Fi Elite Pro: different card, 4 very good stereo dacs: Cirrus Logic CS4398 D/A converters (92 kHz, 20 dB), good AKM adc: AKM AK5394 A/D converter (92 kHz, 23 dB), juicier ok JRC/NJR opamp for front, ok JRC/NJR opamps for other channels, also has 64 MByte ram and additional leds, comes with remote and big external module, which additionally sports 3 nice Burr-Brown PCM804 A/D converters (92 kHz, dB)for the analogue inputs and for the headphone jack there's a Cirrus Logic CS4392 D/A converter (92 kHz, 4 dB).

Similar Messages

  • Differenti​al mode and CB68LP board

    Hi:
    I have a question on differential mode on CB68LP board. Attached is a diagram of op am with a differential stage circuit digram. I got from the link here.
    http://zone.ni.com/devzone/conceptd.nsf/webmain/D5​9654FA44D2F9FA86256F4A006064F3?opendocument#4
    As you see. The gound of Vs looks the same as RL ground. As I see the ground of RL. It is a AIGND. Am I see the way correct? If not, please verify me?
    That is the first thing.
    The second thing is I have a test fixtuer. The attached block digram at the bottom which show current meter is the output to put a resistor across AI+ and AI- in CB68LP board to measure voltage.
    You also see the test fixture ground after the current meter. I use the DMM to test the AIGND and the test fixture ground. They are not connected. But how come the first diagram, Vs ground looks like the same ground as RL. Could you explain to me? I don't understand here. Also, I would like to ask if the current go through AI+ to AI- and then from AI- to back to the ground of the test fixture.
    Could you please verify me here.
    At last,if I have a case where AI- is at the AIGND (the same wire), I don't have to put bias resistor. why do I not afraid of removing common voltage and common noise? Could you pls explain?
    Many thank if you can replay to me promply. I am in an urgent.
    Regards,
    John  
    Attachments:
    Block diagram of the fixture.pdf ‏43 KB
    Op amp.jpg ‏49 KB

    Hi:
    Is there anyone that can answer my question? I have been waiting for three days. I am in a very urgent. Thanks!
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  • Input Impedance in Differenti​al Mode

    Hello everyone,
    When I bought the USB 6212 card, I was impressed with the high input impedance stated for it - 10 GOhm.
    In the specification, this is stated to be for between AI+ and AIGND.
    So what is the input impedance under differential connection?
    Solved!
    Go to Solution.

    Hi Navneet,
    The question you have posted is actually a Multifunction DAQ question. You should post these questions in Multifunction DAQ Forums. You would get much faster responses to questions that are posted in the correct forums. 
    The input impedance, in differential mode is a little less then twice the impedance of AI referenced to ground. What this means is that it will be ~20 to 19 GOhms. The actual value is not available because it is such a high input impedance.
    Best Regards,
    Jignesh

  • Signal acquisitio​n in differenti​al mode

    Hi everybody..
    I have a Lab-PC 1200 A/I board and a CB-50 conector block. I want to
    to acquire small voltage signals (less than 1 volt) in differential mode
    because this mode is more suitable to do this. I want to know if I need
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    resistor.
    Note: The board manual is wrong. The fig. 3-5 and 3-4 are the same.
    Thanks
    Ricardo.

    Manuel,
    I'd be interested to hear how you did :  "How do I configure MATLAB so that MATLAB know that TWO channels together form an Input? I see only the option/command to add one channel. How can I "link" two channels together in MATLAB?  Or is this done somehow automatically?".
    I'd like to do this as well.
    The header shows for AI 0 for instance :
    Pin 68 AI 0 (AI 0+)
    Pin 34 AI 8 (AI 0-)
    Do I just connect an additional input wire from my source to Pin 68 & Pin 34 or do I need to do anything else in addition in Matlab so that it "knows" I'm doing differential input or is that handled by the NI-6259 card ?
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  • ¿How to make a difference keyer or matte using Motion?

    Hi
    Photo Booth can do it so I think Motion should do it. The problem it is that I don't find the right tool for this. I have got two street recorded shots. One just the street and the other one with one guy walking along the same street. I would like to remove te street of the guys'shot using this tool. ¿Can I do it using Motion?
    Thank you

    Probably a few ways to go about this. One would be to apply the Difference blend mode to the two clips in order to knock out the background, then use levels and/or threshold to try to create a white matte of the guy, and then use the whole group as an image mask applied to another copy of the video of him to mask him out.

  • Difference between two date columns

    Dear professionals,
    how to get different between two columsn (sati_do-sati_od) in format hh24:mi:
    select to_char(sati_od,'hh24:mi') "hh:mi format",
    to_char(sati_do,'hh24:mi') "orginal_value_col2",
    sati_od "original_value_col1",
    sati_do "original value",
    sati_do-sati_od "Difference"
    from accbtp_pliskljucenjaodobrenja
    where idplisklj= 22999;where result is:
    hh:mi format orginal_value_col2 original_value_col1       original value            Difference            
    09:00        15:00              01.12.10                  01.12.10                  0,25                  
    09:00        15:00              01.12.10                  01.12.10                  0,25                  
    09:00        15:00              01.12.10                  01.12.10                  0,25                  
    09:00        15:00              01.12.10                  01.12.10                  0,25                   Thx in advance, Adnan

    Mahanam wrote:
    select trunc( mod( (e-j)*24, 24 ) ) ||':'||trunc( mod( (e-j)*24*60, 60 ) )  "Hr:Mi"
    from (
    select t.*,
    trunc(sysdate,'y')+jd+jh/24+jm/24/60 j,
    trunc(sysdate,'y')+ed+eh/24+em/24/60 e
    from t
    ) t
    http://asktom.oracle.com/pls/asktom/f?p=100:11:0::::P11_QUESTION_ID:96012348060
    Thx for answering, this works now !
    select to_char(sati_od,'hh24:mi') "hh:mi format",
    to_char(sati_do,'hh24:mi') "orginal_value_col2",
    sati_od "original_value_col1",
    sati_do "original value",
    sati_do-sati_od "Difference",
    trunc( mod( (sati_do-sati_od)*24, 24 ) ) ||':'||trunc( mod( (sati_do-sati_od)*24*60, 60 ) )  "Hr:Mi"
    from accbtp_pliskljucenjaodobrenja
    where idplisklj= 22999;result is
    hh:mi format orginal_value_col2 original_value_col1       original value            Difference             Hr:Mi                                                                            
    09:00        15:00              01.12.10                  01.12.10                  0,25                   6:0                                                                              
    09:00        15:00              01.12.10                  01.12.10                  0,25                   6:0                                                                              
    09:00        15:00              01.12.10                  01.12.10                  0,25                   6:0                                                                              
    09:00        15:00              01.12.10                  01.12.10                  0,25                   6:0                                                                              

  • Mode Se

    What is the best way to tweak a setting so you know if its better suited? For example, I hear some people saying they tell a huge difference between ent mode and game mode when doing respected apps, so if they had ent mode on in a game, it sounds worse than if it was game mode. However, I notice that having it on game mode all the time gives me the best sound. Game mode sounded better watching FF VII: Advent Children than using Ent mode. More bass, and its not because the sliders were different, they were the same. All settings where basically the same, but game mode sounded better. How can i set up ent mode to give me the best movie experience?

    the_One wrote:
    cryogenic wrote:
    All Three-Stupid-Modes gives the same sound. None of them sounds different from others.
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  • Understanding Cut-Through Switching Mode

    Hello
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    Disclaimer
    The Author of this posting offers the information contained within this posting without consideration and with the reader's understanding that there's no implied or expressed suitability or fitness for any purpose. Information provided is for informational purposes only and should not be construed as rendering professional advice of any kind. Usage of this posting's information is solely at reader's own risk.
    Liability Disclaimer
    In no event shall Author be liable for any damages whatsoever (including, without limitation, damages for loss of use, data or profit) arising out of the use or inability to use the posting's information even if Author has been advised of the possibility of such damage.
    Posting
    I mean, as part of the cut-through processing, the VLAN tag needs to be analyzed.  If the ingress port is configured to support VLAN tags, then the cut-through needs to wait to see that portion of the frame.  Likewise, if the egress port is VLAN tagged, the frame will need to held until the frame's VLAN tag can be constructed.
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    Some cut-through swtiches support "fragment-fee", which means that look at more of the header.  Some (at least years ago), would use fragment-free dynamically (based on loading).  So, again, it's really up to the device vendor.  (BTW, "basic" cut-though assumes the whole frame will be received, but that's not always a valid assumption.)

  • No difference between High and Normal output sharpening

    I was going to post a topic about how small is difference between screen output sharpening settings, when some tests revealed that in fact the difference is nil.
    b Can anyone see any difference between Normal and High screen sharpening in applied at export?
    I even stacked the two versions in Photoshop with the Difference blending mode on and a Levels adjustment layer amplifying the difference, and even the histogram was showing that I'be got big plain black rectangle.
    Sharpening for paper seems to work fine.
    Lightroom 2.3 Windows.

    Just took the time to test this on my 'calibration' image and there is indeed no difference in Standard and High sharpening for screen.
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  • Creating a film from different sources

    Hi Everybody
    I am fairly new to this so please forgive any stupidity.
    I have 3 versions of a movie
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  • Different results of color space conversion

    I am converting a raw image.
    1. First in ProPhoto, passing it to PS CS3, accepting ProPhoto (against the working color space), and then I convert it in sRGB in Edit.
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    3. Third, I change the color sapace in ACR to sRGB and pass the image to CS3.
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    1 and 3 are almost identical (a difference layer does show differences, but I don't see them on the results without huge boosting, and that shows quite random, noise-like difference).
    However, 1 and 2 are *vastly* different. The difference, boosted by 2 EV clearly shows the original texture, which is determined by a pecularity in the blue channel.
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    > I played around a bit with your samples and I could get close to your "Converted when receiving" version by using the Microsoft ICM engine (other options like Dither and Black point comp didn't produce big differences that I could see). Is it possible that is what you have as the engine in Edit>Color Settings?
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  • Why Levels mid-point slider and Exposure Gamma Correction slider not the same?

    Both the mid-point slider in Levels and the Gamma Correction slider in Exposure adjustment appear to modify Gamma.  They even use the same numeric scale.
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    The differing gamma adjustment results also occur in the OS X version of Ps 13.0.1
    The situation is worse than you realize, Dennis. Test with a linear grayscale gradient in 16-bit or 8-bit RGB mode instead of arbitrary images. Remember to view at 100% zoom for an accurate display.
    Gamma adjustments of less than 1 performed by Levels adjustment layer and Exposure adjustment layer do differ but to a less obvious extent than when the adjustment is greater than 1. Differences can be seen in histograms, and low level differences when differencing layers can be made more obvious by adding an Exposure adjustment layer with the exposure increased.
    You'll get further different results by using the gamma adjustment in the "Exposure and Gamma" method of Image > Adjustment > HDR Toning. Notice that the gamma value there has to be specified as the inverse of that in Levels and Exposure.
    I haven't bothered to calculate which, if any, of the three gamma adjustment controls gives correct results because that is Adobe's responsibility.
    It's quite ridiculous that a common routine giving consistent and correct results isn't being used for all these gamma adjustments. Code re-use makes software more robust, simpler to test, simpler to correct, leaner and overall easier to manage. But what do I know.

  • Exposure to the right results in different TRC than normal exposure

    Exposure to the right is advocated by most experts to improve tonality and dynamic range. On the Luminous Landscape a photographer noted that ETTR all the way to the right followed by negative exposure correction in ACR produces a different image than is produced by normal exposure, and that he preferred the latter image.
    Luminous Landscape Thread
    Most responders to this post postulated that, since ACR is operating on linear data, underexposure by 1 EV followed by a 1 EV boost in ACR would produce the same results.
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    The ETTR Myth
    ETTR is short for expose to the right. Some folks have promoted it as a replacement for traditional exposure metering. The premise is that you can validate camera metering by simply reading the histogram in the cameras preview window.
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    Any correlation between exposure stops and digital bit levels can only be accidental at best. The total exposure range in a scene or an image is correctly known as the dynamic range. The dynamic range of digital cameras is wider than most folks assumes and usually equal to or better than film or paper. It can be defined in terms of tone density, decibels, or exposure stops. It is a function of the optics and sensor electronics in the camera. The few cases where an accurate range is provided by the vendors, it varies from 8 to 12 f/stops.
    The image data is converted from analog measurements by the analog/digital (A/D) circuits early in the capture. This can wind up as an 8-bit, 12-bit, 14-bit, or even 16-bit digital value depending on the camera and its user settings. It is simply a number that has been digitized. Any correlation between bits and exposure levels is pure speculation, end of subject.
    Second, the digital capture of light is not strictly linear. It is true that the silicon sensor itself will capture light in a very linear fashion. But this ignores reciprocity at the toe and heel of the extremes, the quantum efficiency of the substrate, and most importantly it ignores the optical filters in front of the sensor. If the color filter array were linear it would be impossible to reconstruct colors. And these are not the only optical filters in your camera. Then, the A/D circuits have gain controls based on the current ISO setting. And some A/D circuits perform some pre-processing based on the illuminant color temperature (white balance) and limited noise reduction based on the ISO setting. The point is that there are many steps in the pipeline that can introduce non-linearity.
    Finally, the image in the preview window has been color rendered and re-sampled down to a small size. This is the data shown in the histogram. The camera can capture all colors in the spectrum, but the rendered image is limited to the gamut of an RGB color space. So, in addition to exposure clipping the histogram will include gamut clipping. This is also true for the blinking highlight and shadow tools. This might imply an exposure problem when none exists. There is no practical way to map all the data in a raw image into a histogram that you could use effectively in the preview window.
    If you capture an image of a gray scale chart that fits within the dynamic range of the camera, at the right exposure, you can create a linear graph of the raw data. But if you underexpose or overexpose this same image, the graph will not be linear and it is unlikely that software will be able to restore true linearity. End of subject.
    If you typically shoot JPG format, the histogram will accurately represent the image data. But clipping can still be from either gamut or exposure limits. If you typically shoot RAW format, the cameras histogram is only an approximation of what the final rendered image might look like. There is a significant amount of latitude provided by the RAW image editor. This is probably why you are shooting RAW in the first place.
    So, in closing, I am not saying that histograms are bad. They are part of a wonderful toolkit of digital image processing tools. I am saying ETTR is not a replacement for exposure metering. If you understand what the tone and color range of the scene is, you can evaluate the histogram much better. And if you master traditional photographic metering, you will capture it more accurately more often.
    I hope this clears up my previous statements on this subject. And I hope it explains why I think ETTR and linear capture are based more on technical theology than on technical fact.
    Cheers, Rags :-)

  • Belkin adaptor settings

    My 6500/300 has it graphics chips set to 1024x768, thousands colours.
    I now have a Belkin Mac to VGA adapter which claims it works with all PowerMacs (and all other Macs too).
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    Well, as I promised, I have just checked out Mode 5 settings (146789) instead of Mode 1. Good news. This setting works fine too.
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  • Photoshop - Motion - DVDSP Color Problem

    This message is crossposted in the Motion Forum because I'm not sure where the solution is to be found...
    I'm putting together a dvd and I wanted to create transition animations to go between the menus. I've run into a bit of a color problem, however. To explain:
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    Here's what I've checked and tried:
    -I've exported the motion project as every codec that made any kind of sense (Animation NTSC, Apple Pro Video NTSC, etc).
    -I've brought the Motion project directly into DVD Studio Pro, rather than exporting it.
    -Using the color inspector in both Photoshop and Motion, I can see that all RGB values match exactly as they should.
    -When I exported a frame of the animation and brought it back into Photoshop to create the second layered menu, the color matched exactly. In fact, I did the alignment using the "difference" layer mode, and there was no color shift at all.
    So... any ideas?
    Also: I'm going from these layered menus to a video track (first frame matches the layered menu) to another layered menu (matching the final frame of the video track)... that is the most sensible way to have animated transitions between menus, right?
    Thanks in advance for any insights.
    -W

    Well, I found a solution... DVDSP didn't like the image in NTSC, but it seems to work with Generic RGB, provided I redo all of the animation from scratch using the same Generic RGB PSDs. A bit of a pain, but I suppose that's why I did this test after completing only one of the many animations the project will demand.
    Thanks everyone for the insights.

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