Question about pattern brushes

I want to use a detailed color photograph as a pattern brush, what is the best way to do it?
I have rasterized the photo, then used image trace high quality photo, then creates the new pattern brush and used it. But this makes the illustration super heavy and slows down my computer. Ia there a way to vectorize photos with high quality without having that many points in the vector?
Or is there another way to use photos as pattern brushes?

isanavland,
An Image Traced photo will be heavy with Anchor Points.
You may create a cleaner/leaner version using the Pen Tool, with the almost inevitable decisions about simplifications.
Does it make a difference if you turn the Image Traced photos into a Symbol?

Similar Messages

Question about naming brushes

I customized an existing brush (i.e., I specified a list of settings), then used the Brush>Create New Brush button to save the preset. The dialogue box offered the name Double01.jpg as the name of the new brush, which I changed to BullFur_1. In the Brush Presets panel, the new brush does appear as BullFur_1. However, in the Brush panel's matrix of Brush Tip Shapes, the new brush appears as Double01.jpg. This is just a duplicate of the original brush, which was customized to make the new brush. I would think every instance or representation of the new brush would have the name BullFur_1. Does Photoshop distinguish between naming the brush and naming the brush tip shape? Not that this is a big problem, but duplicating the original brush tip shape as Double01.jpg just adds clutter to the matrix of brush tips. I'd like to keep that as clean as possible.

If you connect your brush-stroked line to a basic non-brushed line, it
will change to the non-brushed line appearance. Maybe set up a graphic
style so it will be easier to switch back to the desired look.
-JM

Pattern Brushes- steps to print

I am using AI CS2, and am designing a logo for a restaurant to be used as a neon sign in addition to menus, t-shirts, etc. this is my first real design job (i'm nervous!). so, as i developed the logo i used a pattern brush to create a rope, which the client loves. i realize that this is a bit of a no-no. how can i make the pattern brush printable?
thanks in advance!

Not to be preachy, but just a little more friendly advice, since you say this is your first real design job, and that you are nervous:
> Never send editable native AI files for someone downstream to edit unless they assume responsibility for any errors.
To elaboate: If there are errors in your file, you need to not only know about them, but you need to know how to correct them and how to avoid them in the future. Therefore, corrections should be made by you.
It necessarily follows that a beginner should especially avoid getting himself into projects with "crisis" deadlines. Leave yourself time to accommodate a round or two of edits if they become necessary.
If you are not already using Acrobat Professional, get it and get friendly with its settings. When you save your AI file as press-ready PDF, all that "live" stuff gets "normalized" to things a PostScript printer (and some other programs, like InDesign) can understand. Acrobat also has tools that Illustrator does not, like preflight checks and the ability to preview color separations to check for errors.
Do not automatically assume that everyone working at a printing house cannot / will not wreck your file. Printers hire entry-level workers, too, just like anyone else. Some of them even hire them into the pre-press room. Even an experienced pre-press worker may be less familiar with the application-specific design commands of the native program than you are.
Errors are inevitable. When disputes arise, the question invariably comes down to "who's error is it?" Work toward the day when you can confidently disallow anyone to modify your native files downstream. Correcting your own mistakes is the only way you will learn to avoid them.
Seek relationships with responsible and respected local output houses. A good printing house may not have time to give you free coaching on every project, but many are more than willing to help you understand their processes to help streamline workflows in future work you may bring them. Find one printer like that and most of the real-world knowledge you gain there will apply to other printing houses, too (even less friendly ones).
If at all possible, find opportunity to smell the ink, touch the paper, and understand the repro processes you design for. In other words, find an opportunity to spend some time in a press room, a pre-press room, and (although they are far and few between these days) a litho darkroom. If that means taking night courses at the local tech school, do that.
Understand that "the repro processes you design for" includes more than just offset commercial printing. Even in this post, you mentioned signage and t-shirts (silkscreen). There's also flexography, still used in packaging and labels. The best way to build your AI files can differ radically depending upon the target repro method.
Example: Although that "logo" (which I suspect is CMYK, correct?) may look great when prepared for offset printing, it may very well be quite disappointing when screen printed on a T-shirt. The best and "punchiest" screen printing is often not what we consider "normal" 4-color process, but leverages a wide range of possibilities inherent in screen printing, but not available in offset. One common and obvious example: Normal CMYK process assumes tranlucent inks, even in screen printing. Translucent inks look like crap on dark substrates. The best screen printing designs can be printed on colored substrates. (No one wants to
only wear white T-shirts.)
Another example: The sign industry actually
fabricates things. So it often involves devices (vector plotters--routers, cutters, engravers) entirely different from any kind of printing process. Those devices often require continuous vector paths, free of overlaps and crosscuts, not just artwork that "looks right" on screen.
A real logo (a true corporate or product identity graphic) usually has to be designed to properly accomodate all those repro disciplines.
JET

PL/SQL web service: question about stub

hello,
I'm currently learning how to work with PL/SQL Web Services.
I have a question about stubs. The point is, I can deploy a web service to the OC4J server and it works. It also works when I create a stub following the WSDL I made with creating the PL/SQL web service. If I go to the endpoint in my webbrowser, the functionality is the same, with or without using a stub.
My question is: what is the function of the stub?

A stub is leveraged by a client application to communicate with a corresponding server side object (in this case, the web service implementation). If you think back to CORBA or RMI applications they follow a similar pattern.
In the case of a web service you would use the stub to write a client application that could invoke the methods of the remote service and return the responses as java data types. The methods the stub class offers are the same as the methods of the web service interface. It's a common way for providing RPC like functionality.

A question about some of the features

I have Vista so therefore am unable to use the trial version of photoshop elements. Before I go ahead and purchase the software, I had a few questions about its features.
I'll mainly be using photoshop to create digital scrapbooks. I know that photoshop comes equipped with themes and images, but I would like to know if I can use my own backgrounds and images. If I am able to use my own backgrounds, can they tile?
Another thing I would like to know is if I can create my own projects with custom dimensions.
Lastly, I'll be using photoshop to sprite. Is elements well suited for spriting? More specifically, does it have a color selection/replacement tool?

I use PSE for digital scrapbooking. Instead of using the "built in"
creations and albums, just create your own PSD files with layers of
whatever images/embellishments/background papers you want. You can
specify whatever size of creation you want when you create your PSD file
(you only have the choice of certain sizes when you use the built in
stuff).
Not sure about what you mean about making your backgrounds tile, but I
think it is possible. You can take a "background" paper, do a selection,
and then define a pattern and fill it. Or, if you mean layer your
background papers - yes you can do that too. (Here is my online
scrapbook pages, all of which were done in PSE 4 or 5:
http://www.scrappersguide.com/forums/gallery/showgallery.php?cat=500&ppuser=413)
You can select by color (using the magic wand tool) and you can replace
color, but it may not work exactly as you expect. (I also don't know
what spriting is.) But, many people just use a hue/saturation adjustment
layer to change colors.
-Trish

Question about sql batch process in java app

hi all
i have few questions about using batch process in the java.sql package. the addBatch method can take sql statements like inserts or updates. can we use a mixture of insert and update then? can we use prepared statement for this? it's just for performance consideration. thanks in advance.

hi all
i have few questions about using batch process in the
java.sql package. the addBatch method can take sql
statements like inserts or updates. addBatch() is a method that has no parameters. It doesn't 'add' sql statements.
can we use a
mixture of insert and update then? can we use
prepared statement for this? it's just for
performance consideration. thanks in advance.The point of batching is that you take something that is invariant and then 'add' a variant part.
Thus a single insert has an invariant part (the table and specific columns) and a variant part (the data for each row by column.)
You can use anything that is valid SQL (for jdbc, driver, database) and use it presuming your database allows that particular usage in batching. But that does require some regular pattern - it won't work if your usage is random. Nor will it work if some statements need to be executed only some of the time. Finally also note that transaction processing will often require smaller chunks - you can't insert a million rows in one batch.

Newbie question about loading servlets on tomcat

I have what is probably a very basic question about loading simple servlets on to tomcat to test its installation. I have followed instructions from numerous tutorials to the letter but still I can't get it to work.
I have installed tomcat on win2k in c:\tomcat. I set up the jdk, environment vars (JAVA_HOME, CATALINA_HOME, TOMCAT_HOME) which all point at the correct dirs. I can compile a servlet without errors. I can also place a test jsp and html file into the root directory and they both work fine.
However, now I am trying a test servlet and no matter what I do it gives me a 404. I have a servlet class file called "HelloServlet.class" which I placed into the %install_dir%\webapps\ROOT\WEB-INF\classes directory. I try to reference it using this url:
http://localhost/servlet/HelloServlet
Tomcat is configured to use port 80 and has been restarted after adding the servlet class file. Does anyone have a clue why this is not working for me?
Many thanks
Marc

You have to add in the web.xml file that it is in the WEB-INF dir, the information about your servlet. An example:
<web-app>
<servlet>
<servlet-name>HelloServlet</servlet-name>
<servlet-class>HelloServlet</servlet-class>
</servlet>
<servlet-mapping>
<servlet-name>HelloServlet</servlet-name>
<url-pattern>/HelloServlet</url-pattern>
</servlet-mapping>
</web-app>

Question about using new battery in old Powerbook

I have a pre-intel Powerbook G4, and the battery is pretty much toast (lasts about 15 minutes now). I have ordered a new battery for it, and I have this question about using it:
Am I smarter to keep the new strong battery out of the PB most days (as I usually work with it plugged in at home) and just pop it in when I know I will be out surfing on batteries? Or is it just as good living in my laptop 24/7 and only occasionally being called upon to do its job?
Current bad Battery Information below:
Battery Installed: Yes
First low level warning: No
Full Charge Capacity (mAh): 1144
Remaining Capacity (mAh): 1115
Amperage (mA): 0
Voltage (mV): 12387
Cycle Count: 281
thanks folks, Shereen

Hi, Shereen. Every Powerbook battery wants to be used — drained and then recharged — at least every couple of weeks. If you've always used your Powerbook on AC power nearly all the time, and not followed that pattern of discharging and recharging the battery every week or two, it's possible that your use habits have shortened the lifespan and prematurely diminished the capacity of your old battery. Of course it's also possible that your battery is merely old, as a battery's capacity also diminishes with age regardless of how it's used. You didn't say how old the battery is in years, so this may or may not be an issue. I mention it only because it can be an issue.
For general information on handling a battery for the longest possible lifespan, see this article. My advice on the basis of that article and long experience reading these forums is that it would be OK to do as you propose, but I doubt that you'd derive any significant benefit from it. You would still want to be sure of putting the new battery through a charge/discharge cycle every week or two, even if you didn't have a reason to use the Powerbook away from home or your desk, because sitting unused outside the computer is just as bad for a battery as sitting unused inside it. And you should never remove the battery from your computer when it's completely or almost completely discharged and let it sit that way any longer than a day or two.
Message was edited by: eww

Pattern brush alignment for a circle.

Here are my two attempts at this simple pattern:
The example on the left clearly shows the alignment that I want to correct.
Is there a way to adjust this alignment? Playing with the scale and fit options (of the pattern brush) didn't seem to help.
Would you suggest another method for creating this circular border?
Thanks!
Windows 7 | Ai CS5

Thanks all.
scott w:
Sigh, I forgot all about it needing to fit inside of a rectangle.
I looked at some of my old patterns
and remembered that I was making the lines with the rectangle tool instead of the pen tool,
so that the pattern's "lines" could be aligned to the inside of grid lines.
Using this method doesn't seem to produced any alignment gaps.
Now that you have introduced the idea of using a defining rectangle,
I made two versions. One using my original rectangle tool / grid method,
and the other using a defining rectangle and the pen tool for the lines.
Rectangle tool method:
Rectangle tool method result:
As you can seen it slightly expands the rectangles, thereby eliminating the gap.
However, these "lines" don't look as clean as the alternative method.
Defining rectangle (invisible) / Pen tool:
Result:
Now we could use 'flip across' in the pattern options to eliminate the gaps,
but this produces a slight misalignment, which only the nuttiest of nit-pickers would even notice:
Unfortunately, I appear to be one of these nit-pickers.
So we are back to your method of the protruding path.
I need some details.
It seems like you didn't use the grid at all.
Did you create the defining rectangle first?
How did you align the path to the inside of the rectangle?
How did you determine the necessary protrusion length on each side?
Thanks!

Question about "Native ISO" and Color Grading in PP

I have a question about "Native ISO" in the real world and how it relates to color grading. I was shooting 35mm film before all these digital cameras became flat-out amazing practically overnight. Then the goal was always to shoot with the lowest ISO possible to achieve the least amount of grain (unless you were making an artistic decision to get that look). If I was shooting outside plus had a nice lighting package I'd shoot 5201/50 ASA (Daylight) and 5212/100 ASA (Tungsten) 99 times out of 100.
I've recently been shooting a lot with the Blackmagic 4K and have read that its "Native ISO" is 400. Because of my film background this seems counter-intuitive. Yesterday I was shooting for a client and had the camera at an f16 with a 200 ISO. Because of what I'd read, I was tempted stop down to an f22 and change my ISO to 400... but the "little film voice in my head" just wouldn't let me do it. It kept telling me "Higher ISO means more noise... stay at 200 and you will get a cleaner image".
So how does it work with "Native ISO"? Should I really shoot at a 400 ISO every chance I get in order to capture the best image for how the camera is calibrated? Will it really give me more latitude when color grading? Or would I still get a cleaner image staying at ISO 200? I've Googled around quite, but haven't found any articles that answer specifically this question. Would love to hear from someone who knows a bit more on the subject or has a link that could point me in the right direction.
Thanks much.

Hey, shooter ... yea, interesting discussion and always nice to learn. Great pic, too!
jamesp2 ...
Great answer. I've followed quite a bit of the discussion about the BM cams as well, one does feel a need to check out the possibilities for that next beastie one will need to acquire. But ... which one?
I've always been a bit of a hard-case about testing testing testing. For instance, what happens with dome down or use of a flat diffuser vs. dome in the up position in metering? Back in the film days, we had our own lab and did our own printing as well as the um ... difficult images ... from other studios. I needed to know how to get exactly the same diffuse highlight no matter whether it was a "standard" light 3:1 studio shot, or a near-profile with no fill that needs dark shadows. I tested & burned through boxes of medium-format polaroid & 120 film and a lot of color paper. Finding? To get the same print time no matter the contrast or lighting style, needed to be metered either with the flat disc (Minolta) or dome-down (Sekonic) and held at the highlight-location pointed at the main light source. I could meter and nail the exposure every time. Ahh no, insist so many ... one must have the dome on/up and pointed at the camera! Right. Do that, change the contrast, and see what happens to your diffuse forehead highlight on a densitometer ... and see how your printing exposure times change. Oh, and you've just moved your center-of-exposure up or down on the film's H&D curve, which will also change the way the shadows & highlights print. In truth, though it was subtle, we had realistically no matter latitude for a best-case image with pro neg film as one had with chromes. You could probably get away with being "off" easier, but it still wasn't dead-on.
So wading into video ... oi vey, you may have noticed the things claimed here there & everywhere ... this setting is God's Gift to Humanity but no, it's total crap ... this sensor is totally flawed but someone else is certain it's the finest piece out there. Yes, opinions will be all over ... but ... in film, it was the densitometer. In video, it's the scopes. Truth. And getting to that can be a right pain. I've seen quite a few contradictory comments about using the BM cams in film mode and also at ISO 200. Yours above gives the most ... comforting? ... explanation (for me) because of your reference to your scopes & the waveform patterns. Thank you.
Love to learn ...
Neil

Sluggish pattern brush performance in PS CS5

Hi,
I'm having some performance problems with pattern brushes in Photoshop CS5. It seems like just about any pattern besides the plain circular ones lag behind my cursor when drawing quickly. A couple of especially bad ones are Round Angle and Round Fan brushes.
I'm running Windows 7 64-bit. I have plenty of RAM, and my CPU is a Core 2 Duo E6600. I wouldn't think PS brushes should choke on this system, so what else could be wrong? I've tried tweaking the OpenGL rendering settings but that didn't help at all. Someone also suggested uninstalling my tablet drivers, but that didn't do anything. I also tried the 32-bit version of Photoshop, but no luck. Any ideas?

To say it more precisely, If you get the performance hit when you use larger window and it gets faster on smaller window it is mostly the video card but if you get the performance hit when you increase the resolution and gets faster on low resolution images it is the processor. Other than that it also depends on how streamlined is your whole system is. If you have a lot of processes and background activities running all the time obviously they will affect the overall performance. Also If you work with very large images that require frequent access to the scratch disks, the performance of your hard drive may affect the speed too.

Question about the animated Pen tool

Hi,
ive a question about the animated pen-tool.
i draw a word, but my hand isnt very calm, so the result is what you see on the screenshot.
Is there a possibility to reduce the points on the animated pen tool like in illustrator?
i know in illustrator its possible, but i didnt found anything in after effects to do it.
thanks for your help

If you are using the Paint tools those options don't exist in After Effects. The only work around is to set a keyframe for the brush path, copy the keyframe, then go to Illustrator and in a blank document the same size as your layer paste. Once in Illustrator you can simplify the path, select it, copy it, then go back to After Effects and select the same keyframe then paste. If you get a mask instead of a new path delete the mask path, make sure you have only the original brush path keyframe selected, then go to Edit>Paste from the menu.
It doesn't look like you're drawing a mask path. That might be a better way to go.

Question about UltraBeat

Hi. I am concidering jumping from Ableton Live to Logic Pro in my home studio. Live has been a great learning software for me in the beginning of my audio endeavours. However, I feel I am ready to take on Logic in the studio and keep Live for, well, live performances.
Anyway, one instrument I am excited about is Ultrabeat. Ultrabeat's oscillators as well as sample playback combined into one interface specificly for drums seems extremely useful. This is one area where my workflow has been struggling lately. I am tired of always sampling as well as using monster synths to make a simple kick.
My question about Ultrabeat is, once you make a hit with an oscillator, do you save it as a sample and load it in another area of the instrument for playback? Or, does it playback entirely from the oscillator? If it always remains in the oscillator, are you able to make several differnt settings with the oscillators and jump between them as you select voices, as well as playback all of them at once? That seems unlikely.
Please enlighten me on Ultrabeat a bit. I tried to download the express demo to toy around with it a bit myself but the link is broken on Apple's site.
Also, if you have an extra moment, please share your feelings of Logic. If I make the jump, will I ever look back?
Thanks for your time!

Wow. Thanks for your helpful reply.
Sounds like I have all I need at the moment and just need to learn to use it to it's full potential first.
I was looking to Logic for:
A: Ultrabeat seems inspiring and useful with the built in oscillators, pattern sequencer, and user interface. I currently have Battery 3 and have been attempting to utilize it well with Live but I can't stand not having a drum map editor to sequence it. I asked for a feature to have the option to choose either a drum map editor or standard piano map editor per midi track. This would be a cozy workflow helper for me. Maybe Live will listen and add this in 7.
B: Surround sound capabilities. I have the Presonus FireStudio and MSR remote so I plan to add rear, center and sub channels in the semi-near future. This may be coming in Live 7 also!
C: Ability to link CPU's for extra DSP.
D: I felt once I really got into Logic that it would likely be more professional quality overall.
F: I have a new Mac Pro Dual 2.66 Intel Core Duo arriving today. I thought Logic would utalize it's power best. I know Live, since 6, is multi-processor aware. However, I'm not sure about the dual core part.
E: Apple has me hypnotized.
Now, since purchasing Live I have also obtained Operator and Sampler. I also have every Native Instrument plug including Massive via Komplete 4.
I also have Wave Arts PowerSuie 5 which gives me sidechaining. I wondered how the Trackplug 5 compressors compared to Logic's.
I was considering selling my PowerSuite 5 and Komplete 4 if I was happy with Logic's instruments. I felt making the switch may be smarter in the long run for studio use. There are certain features in automation drawing that I want that Live does not have as well. I was thinking Logic being considered "pro app" may address some details that Live doesn't today. However, I agree that Live is bug-free and constantly updated. Live may grow as I need it to as I grow as a producer.
Bottom line, I should wait a few months and see what Live 7 offers before i make a final decision.
Thanks for your reply!
I still wouldn't mind more opinions either.

A question about Xapp524 written by Marc Defossez

Hi Marc Defossez,
I have a question about Xapp524. Pls check the figure below. I find the frame pattern should be "00001111". But in the source code AdcFrame.vhd, I find the frame pattern is IntPatternA, IntPatternB, IntPatternC or IntPatternD which donot include "00001111". I cannot understand why. Could you explain it to more detail?
Thanks
Rgds
Orange

Hi, Thanks for your reply. I don't know what version it is. But in the xapp524 “readme.txt” is found
1. REVISION HISTORY
Readme
Date Version Revision Description
=========================================================================
19/08/2012 1.0 Initial Xilinx release.
=========================================================================
So i guess the version may be 1.0.
The code makes me confused is in the AdcFrame.vhd.
-- A std_logic_vector is converted to a string.
function stdlvec_to_str(inp: std_logic_vector) return string is
variable temp: string(inp'left+1 downto 1) := (others => 'X');
begin
for i in inp'reverse_range loop
if (inp(i) = '1') then
temp(i+1) := '1';
elsif (inp(i) = '0') then
temp(i+1) := '0';
end if;
end loop;
return temp;
end function stdlvec_to_str;
-- A string is converted to a std_logic_vector.
function str_to_stdlvec(Inp: string) return std_logic_vector is
variable Temp : std_logic_vector(Inp'range) := (others => 'X');
begin
for i in Inp'range loop
if (Inp(i) = '1') then
Temp(i) := '1';
elsif (Inp(i) = '0') then
Temp(i) := '0';
end if;
end loop;
return Temp;
end function str_to_stdlvec;
-- In two wire mode a 12 bit ADC has 2 channels of 6 bits. The AdcBits stay at 12.
-- In two wire mode a 14 bit ADC has 2 channels of 8 bits. The AdcBits is set at 16.
-- In two wire mode a 16 bit ADC has 2 channels of 8 bits. The AdcBits stay at 16.
function FrmBits (Bits : integer) return integer is
variable Temp : integer;
begin
if (Bits = 12) then
Temp := 12;
elsif (Bits = 14) then
Temp := 16;
elsif (Bits = 16) then
Temp := 16;
end if;
return Temp;
end function FrmBits;
-- Word symmetry check
-- A word (16-bit) is checked for bit pair symmetry
-- Example: In one byte there are 16 possible symmetry positions.
-- 00000000, 00000011, 00001100, 00001111,
-- 00110000, 00110011, 00111100, 00111111,
-- 11000000, 11000011, 11001100, 11001111,
-- 11110000, 11110011, 11111100, 11111111,
-- Bit_7=Bit_6, Bit_5=Bit_4, Bit_3=Bit_2, and Bit_1=Bit_0
function SymChck (Inp: std_logic_vector) return std_logic is
variable Temp : std_logic_vector ((Inp'left-1)/2 downto 0) := (others => '0');
variable Sym : std_logic := '0';
begin
for n in (Inp'left-1)/2 downto 0 loop
Temp(n) := Inp((n*2)+1) xor Inp(n*2);
Sym := Temp(n) or Sym;
end loop;
assert false
report CR & " Pattern XORed/ORed = " & stdlvec_to_str(Temp) & CR
severity note;
return Sym;
end function SymChck;
-- When a symmetric byte, bit pattern is found, make the requested pattern rotate
-- by one bit to become a non-symmetric pattern.
function BitShft(Inp: std_logic_vector; Wire: integer) return std_logic_vector is
variable Temp : std_logic_vector (Inp'range):= (others => '0');
begin
-- Bit shift all bits.
-- Example: 16-bit frame word = 11111111_00000000 or 00000000_11110000
-- After shifting the word returned looks as: 11111110_00000001 and 00000000_01111000
if (SymChck(Inp) = '0') then
if (Wire = 1 ) then -- 1-wire, shift 15-bits
for n in Inp'left downto 0 loop
if (n /= 0) then
Temp(n) := Inp(n-1);
elsif (n = 0) then
Temp(Temp'right) := Inp(Inp'left);
end if;
end loop;
else -- (Wire = 2) -- 2-wire, shift 8-bits
for n in (Inp'left-8) downto 0 loop
if (n /= 0) then
Temp(n) := Inp(n-1);
elsif (n = 0) then
Temp(Temp'right) := Inp(Inp'left-8);
end if;
end loop;
end if;
elsif (SymChck(Inp) = '1') then
-- Don't do anything, return the word as it came in.
Temp := Inp;
end if;
assert false
report CR &
" Pattern Shifted = " & stdlvec_to_str(Temp) & CR &
" Comparator Value A = " & stdlvec_to_str(Temp(15 downto 8)) & CR &
" Comparator Value B = " & stdlvec_to_str(Temp(7 downto 0)) & CR
severity note;
return Temp;
end function BitShft;
-- Bit swap operation:
-- Bit n of the output string gets bit n-1 of the input. ex: out(7) <= In(6).
-- Bit n-1 of the output string gets bit n of the input. ex: out(6) <= In(7).
-- Bit n-2 of the output string gets bit n-3 of the input. ex: out(5) <= In(4).
-- Bit n-3 of the output string gets bit n-2 of the input. ex: out(4) <= In(5).
-- and etcetera....
-- This: Bit_7, Bit_6, Bit_5, Bit_4, Bit_3, Bit_2, Bit_1, Bit_0.
-- Results in: Bit_6, Bit_7, Bit-$, Bit_5, Bit_2, Bit_3, Bit_0, Bit_1.
function BitSwap(Inp: std_logic_vector) return std_logic_vector is
variable Temp : std_logic_vector (Inp'range);
begin
for n in (Inp'left-1)/2 downto 0 loop
Temp((n*2)+1) := Inp(n*2);
Temp(n*2) := Inp((n*2)+1);
end loop;
assert false
report CR &
" Pattern Bit Swapped = " & stdlvec_to_str(Temp) & CR &
" Comparator Value C = " & stdlvec_to_str(Temp(15 downto 8)) & CR &
" Comparator Value D = " & stdlvec_to_str(Temp(7 downto 0)) & CR
severity note;
return Temp;
end function BitSwap;
function TermOrNot (Term : integer) return boolean is
begin
if (Term = 0) then
return FALSE;
else
return TRUE;
end if;
end TermOrNot;
-- Constants
-- Transform the pattern STRING into a std_logic_vector.
constant IntPattern :
std_logic_vector(FrmBits(C_AdcBits)-1 downto 0) := str_to_stdlvec(C_FrmPattern);
-- Shift the pattern for one bit.
constant IntPatternBitShifted :
std_logic_vector(FrmBits(C_AdcBits)-1 downto 0) := BitShft(IntPattern, C_AdcWireInt);
-- Bit swap the by one bit shifted pattern.
constant IntPatternBitSwapped :
std_logic_vector(FrmBits(C_AdcBits)-1 downto 0) := BitSwap(IntPatternBitShifted);
-- Define the bytes for pattern comparison.
constant IntPatternA : std_logic_vector((FrmBits(C_AdcBits)/2)-1 downto 0) :=
IntPatternBitShifted(FrmBits(C_AdcBits)-1 downto FrmBits(C_AdcBits)/2);
constant IntPatternB : std_logic_vector((FrmBits(C_AdcBits)/2)-1 downto 0) :=
IntPatternBitShifted((FrmBits(C_AdcBits)/2)-1 downto 0);
constant IntPatternC : std_logic_vector((FrmBits(C_AdcBits)/2)-1 downto 0) :=
IntPatternBitSwapped(FrmBits(C_AdcBits)-1 downto FrmBits(C_AdcBits)/2);
constant IntPatternD : std_logic_vector((FrmBits(C_AdcBits)/2)-1 downto 0) :=
IntPatternBitSwapped((FrmBits(C_AdcBits)/2)-1 downto 0);
The intPatternA, intPatternB, intPatternC and intPatternD are used as a trainning pattern for the frameclock. As I think, the training pattern should be C_FrmPattern(C_FrmPattern is "11110000" when adcbits is 16 and the wire is 2). Why do you use intPatternA to intPatternD as the training pattern?
The AdcFrame.vhd is attached.

Question about singleton design

Hi all
i have a question about singleton design. as i understood it correctly, this pattern garantees us a single instance of a class at any time. in a environment of concurrent access(multiple user access at the same time) , does this single instance put a constraint on concurrency(singleton == synchronization)? i have developed a service object that reads in properties and constructs some other objects. the reason i made it singleton is that i only want this service object to load the properties once. and when it is called to create other objects, it always has one copy of the propertis. making this service singleton, will it limit the threads to access it and construct other objects? thanks for your help.

If there's no write access to the HashMap, then
you're thread safe.You were probably typing at the same time as the previous post, which explicitly says there IS write access to the HashMap.
I don't know what it is, but people seem to have this magical view of concepts. Singleton is just what it is. It doesn't have a magical aura that causes other things to behave differently. A singleton is just Java code that can have thread safety problems just like any other Java code. So to the OP: forget about the fact that this is a singleton. That's irrelevant. Ask if a method needs to be synchronized.
(And yes, a method that tests if a variable is null and assigns an object to it if it isn't null does need to be synchronized if it's going to have multiple threads accessing it.)

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