PI 1.3 and Offset Calibration Tool

I've seen this tool mentioned only once in the forums, but nowhere in the documentation [that I could find searching via Google and on Cisco site]. And, invoking that command in PI does not help me at all -- e.g., I don't see any of the "red" items to be dragged, much less what basis I would use to drag them to the "correct location".
Is there any help on this somewhere?
Thanks in advance.

Please refer to this discussion , I found it as related to yours
https://supportforums.cisco.com/thread/2224748

Similar Messages

Does Elements have the Photoshop Exposure adjustments for Gamma, Exposure and Offset, and where? Is Gamma missing?

I have been a photoshop user since version 3, and am considering switching to Elements 13, as I am not a professional, but do this for home pictures. I found that the Exposure Adjustments setting is fabulous, where I can adjust Gamma, Exposure and Offset, and the the Shadow and Highlight is also great. Does Elements have an EXPOSURE (Gamma, Exposure and Offset) adjustment tool, or something close, and if not the same, how inferior? Same Question for Shadow/Highlights.

As to saving edited items in ACR Edited formats or as a JPEG, unless I Open Image and save the file as a JPG, the edited RAW image is not a portable file, as only Photoshop or Elements will compile the edits from the embedded information. I do see that moving from RAW to Elements Normal mode, I can save the files and do other forms of editing, but I may have to give up a 16bit image for an 8 bit image to do any editing in normal Elements.
When you are using only the 'Done' button with a jpeg without opening and saving in the editor, you have written the settings to the metadata without altering the pixel values. In my own case, That's enough for 80% of my shots. That means: non-destructive editing (the original is still available), parametric editing, the settings are saved, can be used for the next picture and take minimal disk space. You don't need to keep a version set. On the other hand, only Adobe software can read it. Those edits in ACR are calculated in 16 bits even if jpeg is only 8 bits.
On the other hand, if you open the file in the editor, you have the choice to open the converted version in either 8 or 16 bits. Of course, if you want to save it in 16 bits, you'll save in psd or tiff.
What do you know about Photoshop's ImageReady. It appears to offer simpler interfaces to normal Photoshop.
Sorry, I don't know anything abut ImageReady...
As to Elements, it appears that many of the more sophisticated image adjustments that exist in Photoshop are there, but in an 8 bit depth, buried in their different menus.
There are a lot of discussions about 8 or 16 bits depth in Elements. The main idea is that you can't use layers in 16 bits (except with a clunky workaround) and that you can't use local tools in 16 bits. On the other hand, nearly all global edits are available in 16 bits, including many filters and plugins. And with ACR, you can open jpegs in 16 bits... For me, even if I know that I can do nearly everything I need in 16 bits in the editor, I must say that first editing in ACR makes that unnecessary most of the time.

Calibration tools missing

-
I have just noticed the lens and camera calibration tools are completely absent from my copy of lightroom. I have the latest version. I have tried to reinstall using the disk image I downloaded without success. Any suggestions about how to proceed?

Try Ctl/Right-clicking on one of the heades in the Develop panel and re-check the hidden element Lens COrrection. You can hide/unhide any of them this way in any panel.
Don
Don Ricklin, MacBook 2Ghz Duo 2 Core running 10.5.1 & Win XP, Pentax *ist D
See LR Links list at my
Blog for related sites.

HT1880 Is there a calibration tool foor iPhoto and the printing of books (dark results)

Hi, Not satisfied with the result of a very expensive and therefore unusable iPhoto Book, due to the dark prints of the images, I am looking for a calibration tool. Does anyone know of its existence? Or is it just aquestion of lowering the color density of your photo's before, with iPhoto? And, if yes, at what rate do they have to adjusted?
Thank you for an answer, sicerely, Jos

Don't know if you can set the camera to use a different RGB profile for future photos.
To convert existing files to sRGB you can download and use this Automator workflow application, Convert to JPG anbd Embed sRGB profile, on the original files. However, you would have to export the orignals out of iPhoto, run the app on them and reimport them. You can download the app from Toad's Cellar.
For future photos you can upload them to a folder on the Desktop and run the app on them there before importing.
Contact Apple, tell them about the problem and they probably will refund the purchase price. If you reorder then you're on your own from then on. Be sure to create a PDF of the book as described in this Apple document, iPhoto '11: Preview a book, card, or calendar before you order or print it, before you order it and save the pdf for comparison to the printed version after you receive it.

Offset path Tool versus Object menu and Effect menu

After a strugle with the ofset path tool I find the solution...
Offset Path in the effects menu acts totally different thean ofset Path in the Object menu WHY?
What happened;
Offset path in the effects menu gives you a centerline with offset path which isn't modifiable..
for in stance in my kind of work i want to create a paralell road on one side of the main road.
the offset path in object menu gives me the right result, an offseth path which I can cut and modify.
It should have been easier if the different behavior was in an offset Path tool menu...

Offset Path in the effects menu acts totally different thean ofset Path in the Object menu WHY?
Because the command in the Object menu is a straightforward path-modifying command. You select something, apply the command, and the result is a new path.
Everything in the Effect menu is, in Illustrator parlance, rendered as a "live" effect. That is, the program creates the modified version sort of "behind the scenes." That lets you continue to modify the original path, and the Effects that you have applied automatically re-apply on-the-fly. So instead of Offset Path giving you an new path that you can no longer manipulate as if it is one stroked path, Effect>Path>Offset Path lets you continue to work with the single path without having to start over every time you want to change it.
An Effect can be "nailed down" to "literal" new objects by using an Expand command.
Offset path in the effects menu gives you a centerline with offset path which isn't modifiable..
The offset path is "modifiable" in that you can change the attributes of the Effect any time you want. The offset path is also "modifiable" in that you can re-shape the path to which the effect is applied, and the offset path updates automatically. That's a good thing.
for in stance in my kind of work i want to create a paralell road on one side of the main road.
So when you're done manipulating the orginal path, and you now want to "nail down" the offset path as a separate path that you can modify, select Object>Expand Appearance.
the offset path in object menu gives me the right result, an offseth path which I can cut and modify.
Yes. But it's frankly rather lame. That is, if you now need to bend the whole road in another direction, or alter one of its curves, how are you going to do that for both sides of the road at the same time? With Offset Path applied as a live effect, you can. With Offset Path already Expanded, or applied as the older...uh...dead...command, you can't.
So it's your choice. The interface is needlessly awkward and confused, because when Adobe adds new features it seldom does a good job of integrating them with the existing features. So you end upon with both the older and newer features which essentially do the same thing. That's the nature of Illustrator--it becomes increasingly inelegant, cluttered, and confused over time.
One example to the contrary: CS4 finally did away with the separate Filters menu, which was just the old, "literal" versions of most things in the later "live" Effects menu (all of which can be turned into "literal" versions by an Expand command). It was hideously confusing for newcomers to Illustrator to see the same things listed in two menus, one labeled "Filters" and the other labeled "Effects." On the face of it, what's the difference between a "filter" and an "effect" in most people's minds?
One case-in-point example: The Effects menu has a list of Pathfinder Effects that mirror the names of the command that reside in the Pathfinder Panel. But they do different things; they are meant to be applied to different kinds of objects.
Such is the nature of Illustrator. It's a hodge-podge, grab-bag collection of scattered features which are often redundant and often poorly integrated with each other.
It should have been easier if the different behavior was in an offset Path tool menu...NO! The last thing this program needs is more off-the-cuff, willy-nilly, ad-hoc palettes. It needs a thorough interface overhaul, with a dedicated and careful eye toward concise elegance and organizational efficiency. That would be a very ambitious undertaking because the program has been allowed to become such a rat's nest of disarray.
JET

Does the cRIO Scan Engine Support Offset and Shunt Calibration on the 9237 module

Thanks.

Sachsm,
The documentation for the Set Shunt Calibration (Scan Interface).vi should have been in the VI help but it looks like it didn't make it so I'll make sure it gets updated. I'll double check my understanding tomorrow morning but the documentation should be the following for the inputs of this VI:
slot - Specifies the chassis slot of the strain module (9237, 9235, 9236 ). Valid values are 1 through N, where N is the number of slots in the chassis.
channel - Specifies the channel to be affected. Valid values are 0-N where N is the channel for shunt calibration.
value - Turns Shunt calibration on or off. Valid values are 0 or 1 where a value of 1 will turn shunt calibration on for the given slot and channel.
Now, for your orginal question about offsets on the AI inputs, here are my addtional thoughts:
Unlike our SCXI products, the NI 9237 does not have an internal hardware nulling circuitry because its input range is sufficiently wide so that the inputs will not saturate even with a very large initial bridge offset. Since the 9237 does not have any hardware nulling circuitry, you have to perform offset nulling with software compenstation, and save the value to use later in the application as you mentioned. For example, when an offset null is performed in DAQmx, the entire offset is stored in the Initial Bridge Voltage property and is stored in software. You should see the same offset if you used the module from DAQmx, FPGA Interface, or in the Scan Interface. With that being said, I believe what your seeing is really just the resting measurement of the module and transducer together and you should be able to zero out your measurement by performing Software Compensation.
Regarding, Offset Calibration, I think its important to make clear exactly what it is providing as the name is a little misleading. The Offset Cal feature of the 9237 is really more like an Auto Zero used for eliminating offsets generated by an amplifier stage and doesn't provide the same behavior as offset nulling. In Auto Zero Mode, the 9237 shorts the input channel to ground and subtracts the obtained measurement from all subsequent samples. Performing an auto zero is a quick calibration technique that takes place at the beginning of a scan. A typical use of the Offset calibration feature would be to set it true at the begining of acquiring data and then leaving it on indefinitely.
Personally, I do not bother enabling offset cal in my FPGA applications because the measurement of the sensor at rest takes into account all sensor and module offsets.
And finally, if your looking for some information on how to perform shunt calibration, I like to refer to the example VI located here:
C:\Program Files\National Instruments\LabVIEW 8.6\examples\CompactRIO\Module Specific\NI 9235\NI 9235 Getting Started
As it has walks through the programming steps of setting up Shunt cal and applying the Gain Factors. Its written for LabVIEW FPGA but it should be easy to use with Scan Interface.
Hope that helps a little bit,
Let me know if you have questions and I'll help where I can or bug the right engineer.
Basset Hound

PXI 2527 & PXI 4071 -Questions about EMF considerations for high accuracy measurements and EMF calibration schemes?

Hi!
I need to perform an in-depth analysis of the overall system accuracy for a proposed system. I'm well underway using the extensive documentation in the start-menu National Instruments\NI-DMM\ and ..\NI-Switch\ Documenation folders...
While typing the question, I think I partially answered myself while cross-referencing NI documents... However a couple of questions remain:
If I connect a DMM to a 2 by X arranged switch/mux, each DMM probe will see twice the listed internal "Differential thermal EMF" at a typical value of 2.5uV and a max value of less than 12uV (per relay). So the total effect on the DMM uncertainty caused by the switch EMF would be 2*2.5uV = 5uV? Or should these be added as RSS: = sqrt(2.5^2+2.5^2) since you can not know if the two relays have the same emf?
Is there anything that can be done to characterize or account for this EMF (software cal, etc?)?
For example, assuming the following:
* Instruments and standards are powered on for several hours to allow thermal stability inside of the rack and enclosures
* temperature in room outside of rack is constant
Is there a reliable way of measureing/zeroing the effect of system emf? Could this be done by applying a high quality, low emf short at the point where the DUT would normally be located, followed by a series of long-aperture voltage average measurements at the lowest DMM range, where the end result (say (+)8.9....uV) could be taken as a system calibration constant accurate to the spec's of the DMM?
What would the accuracy of the 4071 DMM be, can I calculate it as follows, using 8.9uV +-700.16nV using 90 days and 8.9uV +- 700.16nV + 150nV due to "Additional noise error" assuming integration time of 1 (aperture) for ease of reading the chart, and a multiplier of 15 for the 100mV range. (Is this equivalent to averaging a reading of 1 aperture 100 times?)
So, given the above assumptions, would it be correct to say that I could characterize the system EMF to within 8.5uV+- [700.16nV (DMM cal data) + 0.025ppm*15 (RMS noise, assuming aperture time of 100*100ms = 10s)] = +-[700.16nV+37.5nV] = +- 737.66nV? Or should the ppm accuracy uncertainties be RSS as such: 8.5uV +- sqrt[700.16nV^2 + 37.5nV^2] = 8.5uV +-701.16nV??
As evident by my above line of thought, I am not at all sure how to properly sum the uncertainties (I think you always do RSS for uncertainties from different sources?) and more importantly, how to read and use the graph/table in the NI 4071 Specifications.pdf on page 3. What exactly does it entail to have an integration time larger than 1? Should I adjust the aperture time or would it be more accurate to just leave aperture at default (100ms for current range) and just average multiple readings, say average 10 to get a 10x aperture equivalent?
The below text includes what was going to be the post until I think I answered myself. I left it in as it is relevant to the problem above and includes what I hope to be correct statements. If you are tired of reading now, just stop, if you are bored, feel free to comment on the below section as well.
The problem I have is one of fully understanding part of this documenation. In particular, since a relay consists of (at least) 2 dissimilar metal junctions (as mentioned in the NI Switch help\Fundamentals\General Switching Considerations\Thermal EMF and Offset Voltage section) and because of the thermo-couple effect (Seebeck voltage), it seems that there would be an offset voltage generated inside each of the relays at the point of the junction. It refeers the "Thermocouple Measurements" section (in the same help document) for further details, but this is where my confusion starts to creep up.
In equation (1) it gives the expression for determining E_EMF which for my application is what I care about, I think (see below for details on my application).
What confuses me is this: If my goal is to, as accurately as possible, determine the overall uncertainty in a system consisting of a DMM and a Switch module, do I use the "Differential thermal EMF" as found in the switch data-sheet, or do I need to try and estimate temperatures in the switch and use the equation?
*MY answer to my own question:
By carefully re-reading the example in the thermocouple section of the switch, I realized that they calculate 2 EMF's, one for the internal switch, calculated as 2.5uV (given in the spec sheet of the switch as the typical value) and one for the actual thermocouple. I say actual, because I think my initial confusion stems from the fact that the documenation talks about the relay/switch junctions as thermocouples in one section, and then talks about an external "probe" thermocouple in the next and I got them confused.
As such, if I can ensure low temperatures inside the switch at the location of the junctions (by adequate ventilation and powering down latching relays), I should be able to use 2.5uV as my EMF from the switch module, or to be conservative, <12uV max (from data sheet of 2527 again).
I guess now I have a hard time believeing the 2.5uV typical value listed.. They say the junctions in the relays are typically an iron-nickel alloy against a copper-alloy. Well, those combinations are not explicitly listed in the documenation table for Seebeck coefficients, but even a very small value, like 0.3uV/C adds up to 7.5uV at 25degC. I'm thinking maybe the table values in the NI documentation reffers to the Seebeck values at 25C?
Project Engineer
LabVIEW 2009
Run LabVIEW on WinXP and Vista system.
Used LabVIEW since May 2005
Certifications: CLD and CPI certified
Currently employed.

Seebeck EMV needs temperature gradients , in your relays you hopefully have low temperature gradients ... however in a switching contact you can have all kind diffusions and 'funny' effects, keeping them on same temperature is the best you can do.
Since you work with a multiplexer and with TCs, you need a good Cold junction ( for serious calibrations at 0°C ) and there is the good place for your short cut to measure the zero EMV. Another good test is loop the 'hot junction' back to the cold junction and observe the residual EMV. Touching (or heating/cooling) the TC loop gives another number for the uncertainty calculation: the inhomogeneous material of the TC itself..
A good source for TC knowledge:
Manual on the use of thermocouples in temperature measurement,
ASTM PCN: 28-012093-40,
ISBN 0-8031-1466-4
(Page1): 'Regardless
of how many facts are presented herein and regardless of the percentage
retained,
all will be for naught unless one simple important fact is
kept firmly in mind.
The thermocouple reports only what it "feels."
This may or may not the temperature of interest'
Message Edited by Henrik Volkers on 04-27-2009 09:36 AM
Greetings from Germany
Henrik
LV since v3.1
“ground” is a convenient fantasy
'˙˙˙˙uıɐƃɐ lɐıp puɐ °06 ǝuoɥd ɹnoʎ uɹnʇ ǝsɐǝld 'ʎɹɐuıƃɐɯı sı pǝlɐıp ǝʌɐɥ noʎ ɹǝqɯnu ǝɥʇ'

Calibration tool for 24" LED Display

Greetings, I'm currently using the 24" display with my MacBook Pro and am looking for calibration tool recommendations. I went to the Apple store and they sold me the Huey Pro from Pantone. I haven't opened it yet as I saw it had mixed reviews. It also says it's for CRT's and LCD's. Has anyone tried it on the 24" LED monitor? Successes/failures appreciated.
Thanks.

Brightness and Contrast settings are both dictated by ambient light in the room. There is no set point, and so day and night modes are used for this reason. For this properly setup, you need to use a test pattern which shows the greyscale detail and increments from black to white. Typically "pluge" or blinking patterns are used as well.
After setting those up, you DO NOT want ambient light present when using your meter. Meter's don't have peripheral vision like we do to compensate for room lighting tones... therefore, either work in the dark, or drape something over the sensor & screen.
Here is a free download to get some patterns:
http://spectracal.com/download_HTPC.html
Good luck.

Apple display calibration tool messes everything up?

So I recently had my display clamshell replaced on my mbpr 15" for the bright mura spots that I had. I noticed when I got it back that I must've gotten a samsung display because everything was just a tinge too yellow. I prefer it to the cool bluish whites of the LG display I had before though. I wanted to try the screen calibration tool to try and calibrate the white balance though. When you do this, you also have to calibrate the gamma though. For some reason, the tool ALWAYS messes up the gamma correction, I'm not sure how. The native gamma of the display is 2.2, exactly what it should be. For some reason, when I go through and do all of those apple logo tests where you're supposed to make the logo disappear into the background, it winds up calculating that the native gamma of the display is somewhere around 1.5 to 1.7, which is utterly wrong. I would say no big deal, because I can just tick the checkbox that says "use native gamma of display" and presumably it'd leave the gamma alone, right? So I check the box, and on a graphic I have (zoomed to 100% or actual size) the colors even out at 2.2, which means the display is calibrated to gamma 2.2. So I proceed to adjust the white balance to what I want, just a titch cooler than the native white balance. Then I click continue, and on the very last screen of the calibration tool, it changes the gamma to 2.6. EVERY TIME. Without fail, even if I slide the gamma slider all the way to 1.0 when I reach the last screen it makes it 2.6. How? I have zero ideas. But it's driving me NUTS. All I want to do is adjust the white balance, I don't even want to touch the gamma, but for some reason I can't do that without raising my gamma to 2.6. Anybody? Please, this is going to make me insane.

Can anyone confirm this on their MacBook?

What color calibration tool do I use to calibrate my MacBook Pro screen to get accurate color when I print my my photos?

What color calibration tool do I use to calibrate my MacBook Pro screen in order to get accurate color when I print my photos?

This what I have been trying...... Maybe my eyes are screwed up or don't understand the process....
What I have been trying to do is squint and make the apple disappear by moving the sliders around in each step. Is that correct?

Found a GREAT display Calibration Tool!

If you are like me, you are probably not very satisfied with the look of your MBPs display profile out of the box. Apple's COLOR calibration system is pretty lame and it makes it almost impossible to get the screen to look right!
Having just switched over from a Powerbook G4 that had a perfectly calibrated display, I had been struggling for days to get this new MBP 15" to look as good. Something was always not right. Either there was a green or blue tint to the screen, the gamma was not low enough so everything looked washed out etc.
I stumbled upon an EXCELLENT little FREE tool called SuperCal that worked like magic on finally getting my screen to look right. It still took a couple of tries, but unlike the Apple calibration tool, you can EDIT EXISTING PROFILES created in SuperCal, so you can go back and TWEAK your settings until you have everything nailed!
Check it out!
http://www.bergdesign.com/supercal/
I would post a link to my final profile for you to try, but I can't seem to get the file to download right when I try it on here.

I am pretty sure that what I described is not a hardware problem. The whites are white and the blacks are black, but blues and greens were slightly off. They aren't anymore. ;o)
I'm pretty sure that this is standard on all new MBPs.
The display setting out of the box is over-saturated and the GAMMA is set way too low causing a washed out image. I've seen the same thing at the Apple store.
Having owned Macs for the last 25 years, and currently owning two large Cinemas that have been calibrated using a Colortron, I am speaking from experience here. The shift I referred to is subtle and most users would probably never notice it. Especially if they have nothing calibrated to compare it to.
Never the less, I am taking the machine in to an Apple Store on Monday to have this vibrating 7200rpm drive replaced, so I will switch the display back to the "un-calibrated stock setting" and see what the Apple folks have to say. I am pretty sure that they will say it looks fine to them, since most of the display Macs I see at these stores are not calibrated either.
Only displays I see looking right there are the large Cinema displays like the two I own. Probably because Apple wants people to see a HUGE difference between those and a standard laptop display. LOL!
The fact is... With some tweaking using a good software based tool like SuperCal, you can get one of these MBPs to look "almost" as good as a hardware calibrated Cinema display that cost me more than this entire laptop did! ;o)
I haven't priced hardware calibration tools recently. I had my Cinemas done by a shop since at that time the device used on mine was several thousand dollars to purchase.

Aperture and color calibration

I use 17" MacBook pro and a 30" Apple display with my Aperture.
As there're quite a huge difference in the screen output quality of these two, I'd like a little advice.
Do I need to equal out the differences or should I just trust the 30" ?
I'm thinking of getting a calibration tool, but I haven't done that much research.
If I get one, like Pantone Eye 2, will this do the "trick" when using two monitors as different as 30" stand alone and 17" portable screen?

It is always a good idea to calibrate your screen with a hardware device, as it is very difficult to judge color by eye. (A good example of the difficulty of determining color by eye can be found here: http://web.mit.edu/persci/people/adelson/checkershadow_proof.html.) Even your 30" screen should be calibrated.
That being said, laptop LCDs are known to be difficult to calibrate, so the displays may be slightly different after calibration, but they will usually be much closer than without calibration. I calibrate my 23" ACD and my 17" laptop display, as well as a CRT display on a Windows machine.
I use the Gretag MacBeth Eye-One photo, however I believe there are many good choices on the market today. Search the internet for reviews of brands you are considering.
-Karen

Software monitor calibration tool???

Hi,
We are on a photo production right now and I have to work on pictures with my MBP. Bought a 23 Cinema to have more space to work but can't get a calibration tool. Is there any "good" software tool available beside the Apple built in tool??
What would you recommend to do while we are on the road??
Appreciate your feedback.
Thanks
R

I have used several software calibration tools and find that they are not worth the trouble.
IMO you will do better to let color adjust by the numbers. (i.e. R=G=B is white, gray, black). Also if you make an bit of an effort you will adapt to your monitor.
The adaptability of a human viewer is why things don't look green to you in a flourescent lighting environment. It also makes software calibrations very spotty.
The Apple monitors have some limitations in the LUT (look up table). Most calibrations (even hardware calibrations) wind up shifing your white-point to a warmer balance (a good thing) but at the same time they reduce shadow detail visible (a very bad thing) because they reduce the number of shades/colors that the monitor can display.
A really good package won't try to calibrate your Apple monitor (calibrate means to change), instead it will profile your monitor (profile means to describe).
If you want to try software calibration don't spend too much on your package. You probably won't want to use it for long. My advice is stick to the Apple profiles until you can get a good hardware profiling package.
P.S. If you search this forum you will find some early problems that some users had with Aperture not property interpreting some types of profiles. I recall probelms in v1.1 with large profiles from Gretag Macbeth Profile Maker 5. There may be others

SSO between Portal Application and Portal Admin Tool

Hi All,
We have a requirement for implementing SSO between a Portal application and
Portal admin tool.
We are using WL Portal 8.1 SP4.
Here is the reason for this requirement -
A user logged-into Portal Application needs to login to Portal Admin tool to
do some admin activity. We want to provide a link in the portal application
using which the user can directly login to the Portal Admin tool without
having to enter the credentials again.
If someone has any info on how to implement this, can you please point me in
the right direction.
Thanks,
~Deepak

Hi,
When creating PP you have 2 options
PP used for compiling and PP used for Building
You create PP with all the libraries into Developing/Compiling Other DCs
And another PP with all the libraries into can be packaged into other build results (SDAs).
Once you have these 2 PP in place you add the DC as used DC.
And this should resolve the issue.
Hope this helps.
Cheers-
Pramod

My back button and refresh button and my yahoo tool bar are dimmed a lot when I open up firefox. So as a result, I cannot use the back button nor my refresh button AND my yahoo toolbar disappears a lot. I have tried to get on your chat session but it is a

<blockquote>Locked by Moderator as a duplicate/re-post.
Please continue the discussion in this thread: [/forum/1/688252]
Thanks - c</blockquote>
== Issue
==
I have another kind of problem with Firefox
== Description
==
My back button and refresh button and my yahoo tool bar are dimmed a lot when I open up firefox. So as a result, I cannot use the back button nor my refresh button AND my yahoo toolbar disappears a lot. I have tried to get on your chat session but it is always closed. I need one on one help. Please reply with resolution.
== This happened
==
Every time Firefox opened
== two or three months ago
==
== Firefox version
==
3.6.3
== Operating system
==
Windows XP
== User Agent
==
Mozilla/5.0 (Windows; U; Windows NT 5.1; en-US; rv:1.9.2.3) Gecko/20100401 (BT-canvas) Firefox/3.6.3 GTB7.0 (.NET CLR 3.5.30729)
== Plugins installed
==
*-npdnu
*npdnupdater2
*Coupons, Inc. Coupon Printer DLL
*Coupons, Inc. Coupon Printer Plugin
*The QuickTime Plugin allows you to view a wide variety of multimedia content in Web pages. For more information, visit the QuickTime Web site.
*6.0.12.448
*RealPlayer(tm) LiveConnect-Enabled Plug-In
*RealJukebox Netscape Plugin
*Default Plug-in
*Adobe PDF Plug-In For Firefox and Netscape "9.3.2"
*BrowserPlus -- Improve your browser! -- http://browserplus.yahoo.com/
*Shockwave Flash 10.0 r45
*Yahoo Application State Plugin version 1.0.0.7
*3.0.50106.0
*My Web Search Plugin Stub for 32-bit Windows
*Google Updater pluginhttp://pack.google.com/
*Google Update
*Next Generation Java Plug-in 1.6.0_20 for Mozilla browsers
*Npdsplay dll

* If the menu bar is hidden then press and hold the Alt key down, that should make the Menu bar appear (Firefox 3.6 on Windows) (see [[Menu bar is missing]]).
* Make sure that you have the ''Navigation Toolbar'' and other toolbars visible: View > Toolbars .
* If items are missing then see if you can find them in the View > Toolbars > Customize window.
* If you see the item in the Customize window then drag it back from the Customize window to the Navigation toolbar.
* If you do not see that item then click the Restore Default Set button in the View > Toolbars > Customize window.
See also [[Back and forward or other toolbar buttons are missing]] and [[Navigation Toolbar items]]
See http://kb.mozillazine.org/Toolbar_customization

PI 1.3 and Offset Calibration Tool

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