Need advise for processing DAQmx waveform array

Hello All,
I am using following code to continuously acquire data from 2 channels, then export to a text file for analysis with Execel or Origin. The data file should contain four columns:
t1   Y1    t2   Y2
I know it is convenient to use Write Measurement File express VI, but since this express VI open and close file in each loop execution, I prefer to use low-level File I/O functions to save computer resources (I need to reserve resources for image acquisition and analyses).
The following attached VI just show the overall frame of the code, but is not executable now. I hope to get some suggestions from this forum to finish it.
Here, I have two main questions, thank you in advance if you can provide hints to any of them.
(1) How to get correct t0 and dt values for the waveform data
 I am using 25Hz pulse signal to externally trigger DAQmx  through PFI0.  I set 100Hz for the rate input of the DAQmx timing VI  since  LabVIEW help  says "If you use an external source for the Sample Clock, set this input to the
maximum expected rate of that clock. " .
 When I use Write Measurement File express VI,  I found in the resulting text file, the dt is 0.01 instead of 0.04, i.e., the value of dt in the waveform data is not determined by external PFI0 signal, but by the rate input for the DAQmx timing VI.  Also, I found t0 does not always start from  zero.  However, from the display of data plot, I am sure the acquisition is at 25Hz.
Some people in this forum ever told me to use Get Waveform Component and Build waveform functions to manually rebuild the waveform data in order to get correct t0 and dt. I tried and no luck to succeed.  Anyone can give me more detailed hints?
(2) How to write data of 'NChan NSample' at one time in a loop
I have two channel DAQmx, and for each channel there are several data points.  I plan to use following method to export data:
Suppose in one loop DAQmx Read VI read 10 samples from each channel, so I assume I will get four arrays of 10 elements:
t_channel_1, Y_channel_1, t_channel_2, Y_channel_2.
Then I use a loop structure of N=10 to concatenate t1, tab,Y1,tab, t2,tab, Y2,return in 'element by element' mode, i.e., do 10 times of string concatenate and write to text file.
I don't know whether above method is effective. Anyone can advise a better one?
(3) Convert from timestamp to elapsed time in milisecond
In the final text file, the time column should be the values of elapsed time in milisecond since the start of acquisition. So, I think I need to get the timestamp of the first data point so that for later data points I can use Elapsed Time express VI  to extract elapsed time in milisecond. However, I don't know how to get the timestamp at the starting of acquisition. Please advise if you know it.
Sincerely,
Dejun
Message Edited by Dejun on 08-30-2007 10:34 AM
Attachments:
code.jpg ‏86 KB
code.vi ‏49 KB

tbob wrote:
Ravens Fan:
Read his post again:
"I am using 25Hz pulse signal to externally trigger DAQmx  through PFI0.  I set 100Hz for the rate input of the DAQmx timing VI  since  LabVIEW help  says "If you use an external source for the Sample Clock, set this input to the maximum expected rate of that clock. " .
 When I use Write Measurement File express VI,  I found in the resulting text file, the dt is 0.01 instead of 0.04, i.e., the value of dt in the waveform data is not determined by external PFI0 signal, but by the rate input for the DAQmx timing VI.  Also, I found t0 does not always start from  zero.  However, from the display of data plot, I am sure the acquisition is at 25Hz."
He says in the 1st paragraph that he sets theDAQmx timing to 100Hz because that is his maximum expected clock rate.  In the 2nd paragraph he says that in his measurement file dt is 0.01 instead of 0.04.  This indicates that the dt value is determined by the DAQmx timing rate, not the PFI0 clock rate.  I am thinking that he should set the DAQmx timing to match the PFI0 timing, 25Hz.
Maybe this would work.
You're right, I did misread what he said. But, I still have questions about what he said.  " I set 100Hz for the rate input of the DAQmx timing VI  ".  The code shows a rate input of 25 to the timing VI.  And nowhere else do I see a setting of 100Hz.  I ran his code (used a simulated device) and put an indicator on the to dt's in the clusters.  The came up as .04 which is what i would expect.  It is hard to comment what is going on in the file since there is nothing being send to the write text file VI.
Message Edited by Ravens Fan on 08-31-2007 12:18 PM

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    Since the artboard can´t have the are same shape as the labels , will the white background being print?
    There is no "background." This is an object-based program. Where there is no object, there is nothing. By default, even white fills don't mean "white ink"; they mean "no ink." (Remember, think inks, not colors.)
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    4. When using effects like highlights, reflections, especially in Titles, how do you create the pantones for that ?
    Illustrator is primarily a vector based drawing program. Vector graphics are by nature and even by definition sharp edged. When vector programs try to provide "soft & fuzzy" features, they do it in either of two ways: either by programmatically creating additional vector paths and parameters (blends, grads, mesh grads), or by resorting to creation of non-vector "effects" (raster images). Whether such features correctly handle spot colors depends on the feature, and even on the version of the program.
    So whenever working with spot color--in any program--you have to stay consciously aware of what you are actually doing (what kind of objects you are creating) when you apply such features. That's why it does no good in a user forum to speak of nebuous designerly terms like "highlights" when you ask technical questions. In order to get a correct answer, you ultimately have to state the kind of objects you are dealing with (and feature, and version, etc.).
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    1. PDF?? I only use .pdf to show the client the designs before approval but never as final file...also I have heard from some many places that if the print house needs to open the file on a different design program the best is to send them .eps
    PDF is a delivery format. As such, it is very versatile. Design comps is only one of its many uses. But PDF is not meant to be an editable format. When you deliver a PDF that was created by Illustrator and which is fully editable on the receiving end, you are really embedding in the file a full second version of the file as native AI content. Whether this AI-native content is included is controlled by you when you export the PDF.
    Editing PDFs that do not have the AI-native content embedded can be very cumbersome and problematic. Again: PDF is a delivery format, not an editing format. Ideally, the printing house should not have to edit your press-ready files. It is supposed to be up to you to build them correctly. That should be your goal.
    I expressly forbid printing houses from editing my delivery files. If an edit is needed, it comes back to me, and I make the edits. If a printing house chooses to edit one of my files without permission--and a problem result--they eat it; not me.
    Yes, yes, if print-side minor editing (like the afore-mentioned ingredients boilerplate scenario) is part of the established workflow, that's fine; its assumedly been agreed upon as the cost-efficient workflow. But generally speaking, the kind of designer who routinely relies upon the printing house as a "safety measure" to fix his files is...well...exactly the kind of designer I would not hire.
    By the way: Hearing something "from many places" (especially in online user forums) in this business is no indication of correctness or best-practice. Quite often, the most-cited advice is the bad advice. Case-in-point: The ever-cited myth that everything for print should be rasterized to 300 ppi. 300 ppi is usually needless oversampling. This is especially true in reference to mere raster effects like those controlled by Illustrator's Document Raster Effects Resolution setting. 300 ppi is almost never needed for the most common uses of such effects: blurry drop shadows, glows, etc., etc. "Fuzzy" is the very purpose of those effects. All you have to concern yourself about is the potential for visible pixelation, which is directly tied to halftone ruling.
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    ...what I was mention is to be able create like a table where you list the pantones use, same time to put measures guides on the artboard itself, is this possible to do in illustrator?
    Again, separation names are included in the Printer Marks option of the Print Dialog. See the documentation. Depending upon your delivery format and workflow, the printing house may not even use Illustrator's printer marks; they may use those in one of their prepress programs.
    But you should always check the seps before sending a press-ready file. You can do this in AI's print dialog, or in Acrobat Pro. Regardless, it's your job to make sure the project color-separates correctly. It is very common to "finish" a job thinking you have been very careful and everything is right. It is just as common to preview the seps and find an object on the wrong separation plate, or knocking out something it shouldn't, or overprinting something it should knock out.
    (There's also the whole matter of trapping, which this thread has yet to mention.)
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    ...imagine I have a label that is a star with 200x200 px, and the artboard is white background with 300x300px,
    I will add (with as much force as I can muster) my admonition to that which has already been given: when talking about actual, physical measure, forget about the web. Forget about Photoshop's rulers. Forget about pixels. A pixel is not a unit of measure. If you think it is, tell me: How big, in inches, is a pixel? I might as well ask you "how high is up?"
    If you tell a printing house that the trim size of your document is 600 by 1200 pixels, he will (and should) laugh at you.
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    if I print the artboard on my laser printer I get the label with the background also, so how does the print house manage to
    not have the background of the artboard when they print?
    If you print the artboard on your laser printer, you do not "get the background." Think about it: Do you have any white toner in your laser printer? (Think inks, not colors.)
    All the above is offered in a spirit of helpfulness (and some tongue-in-cheek jest). Take it as such. Bottom line, though--and this is not meant to be the least bit insulting--unless the company you have just contracted with is a small mom & pop shop and/or has very basic labeling projects, it really sounds as if you are already in well over your head. I am certainly not saying any of this is rocket science. It isn't. A dedicated person can learn its ins-and-outs in relatively short time if that time is well spent. But an online user forum is a very error-prone, incomplete, inefficient, and therefore poor way to learn it. It doesn't sound like you have that much time to waste.
    JET

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