Question about preparing CMYK colours for print

hey guys, Im preparing some artwork in CMYK to go on a CD cover
on the printers site they say that if you have up to 400% colour (so 100% in C,M,Y, and K) it can get too thick and start cracking and falling off.
"We recommend that you stick to a total of 230% wherever possible for any colour (i.e. the combined % of C, M, Y, and K add up to less than 230%)."
now I notice in my image the black areas are indeed up to 400% ink, is there a way I can reduce the colours correctly so nothing goes over 230%, without losing my lighter colours or blacks? thankyou

But black ink by it self should suffice.
Mainly for text and cartain graphic elements, in my opinion, or in completely b&w compositions.
Additionally it might cause registration issues when black objects overlap colored elements.
Spaciousmind, please provide a screenshot or lores of your layout, so that we can provide relevant advice.
And how did you arrive at 400% Total Area Coverage (TAC) in the first place?
Basically I would recommend
• to edit photographic and painterly images in their original RGB-spaces (which can be contained as Smart Objects in CMYK-files) and
• create only graphical and text elements in the seprataed CMYK-file.
230% TAC seems very low, as for example newspaper print requires that low a number (and probably some other processes that are not offset-print).
Please ask your printer to specify their CMYK-space by way of an ICC-profile.
Edit: By the way, even if the printer should provide an ICC-profile simply converting your CMYK-file to that will probably not be the best way to go.

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Question about lead in music for podcasting.
I listen to many other podcasts and there are those which play lead in music with bit of music inside their podcast. The music are songs we all know and enjoy. I have notice that they only play short small clips of these songs and are not royalty free songs.
My Question would be is there a limit of time which you can play any song with out paying for it and use it in a podcast legally.
Thanks Mike

Legally you cannot use copyright music without written permission or a licence from a recognized authority, no matter how short the clip. Many people do this and get away with it (and for full tracks too) and it's debatable how much notice anyone is likely to take, or whether they would be bothered about a short clip. But the legal position is, it's not legal.

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Hello all,
I have moved this question from the Windows
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Mr. Justin Gu wrote:
> You create a Data Collector Set for the trace provider "Microsoft-Windows-Kernel-File" and finish completely, then you > can right click it and select Properties.
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What
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Need advise on preparing .ai files for print house for labels design

Greetings!
I just got a freelance job to do label design for commercial products (cleaning, food products, etc).
Its a huge task as the company have lots of products in the market and they decided to drop the design
company that were doing the labels for them and hire me to be the main designer.
Since my main work with Illustrator and Photoshop is been for Web Design and screen graphics,
I am not sure how to use Illustrator CS5 the best way for preparing the final files to send to a print house
according to European or US norms, I would like to have some help from other users that maybe are experience with this kind of job.
My main concerns for now are:
1. Should I send .ai or .eps?
2. Pantones or CMYK ? And how to create the artboards that show the measures of the labels and the pantone colors palette
    (I have seen examples on some prints that have show me ), but have no idea if Illlustrator already have a template/tools for that.
3. About the size of the labels, if its a straight shape, like a square, you make the artboard on that size and just put some bleed,
    but since most products labels come in many shapes, how do you work around it?
   Since the artboard can´t have the same shape as the labels , will the white background being print?
4. When using effects like highlights, reflections, especially in Titles, how do you create the pantones for that ?
Hoping to have some help from the community here, you can send me some links, tuts,
everything that can help me to understand all this kind of process, I will be much appreciate.
Thanks!

Some of the following (but not all) repeats, but elaborates on or clarifies what others have said.
First, though: While I certainly don't mean to discourage you, you will be far better off getting started if you realize this:
Designing for commercial-quality print is a hugely different world from designing for the web. You are now dealing with characteristics and limitations of real-world, physical machines, inks, substrates, and many-step workflows. The most tragic (and potentially disasterous) error web-only designers (and their clients) make is naively thinking that moving from web design to print design is a simple lateral move involving nothing more than a few quick answers to a bullet list of questions (CMYK vs. spot, etc., etc.) If you fall into that camp, you are asking for serious and costly trouble.
A user forum like this is a very poor place to educate yourself. Forums like this are populated by more beginners than experts, many of whom are far too eager to post answers. More often than otherwise, answers are--if not downright wrong--not best-practice.
You need to gain a working knowledge of the printing processes with which you wll be dealing. Take a class at the local tech school. Visit the printing houses (and don't carry a designer's chip on your shoulder). Look for any opportunity to get your fingers dirty; offer to do some grunt-work in a press room to gain exposure. Read authoritative books on the subject.
function(){return A.apply(null,[this].concat($A(arguments)))}
f1. Should I send .ai or .eps?
Nowadays, PDF is the preferred delivery format for whole documents. If the printing house is placing the artwork in a program that cannot place PDF as a spot graphic, it is conceivable that they may need EPS. Depends on the printing house's workflow. In print work, you need to communicate with the printing house--and you need to learn to speak their language.
function(){return A.apply(null,[this].concat($A(arguments)))}
2. Pantones or CMYK ?
Don't say "Pantones." Pantone is a company. Say "spot color." Pantone makes both process and spot inks. Pantone is not the only source for spot color. Your question is "spot color or CMYK process." The answer depends on the specific project.
Labels may involve CMYK process, spot colors, or a combination of the two. You can't just add colors to your design willy-nilly. You have to plan and design for it. It depends on the printing budget, the printing capabilitites of the printing house, the printing method, and even the design (which may affect the substrate, which may not be suitable for process).
When designing for print, don't think in terms of colors. Always think in terms of inks, because that's what you're really dealing with. Each time you add an ink, you add a workflow process, and therefore cost. As soon as you add a number of inks in the design that exceeds the number of inkwells on the press on which it will be run, you have just necessitated another press pass.
Labels also commonly involve clear or translucent inks (varnishes), liquid lamination (flood or spot), metallic inks, and/or foils. Each of those count as an additional ink or even a different work process. Sometimes certain inks require drying time after previously-laid inks, which also affects costs.
function(){return A.apply(null,[this].concat($A(arguments)))}
And how to create the artboards that show the measures of the labels and the pantone colors palette
Again, best practice depends on the printing house and its workflow. For example, it can be a no-brainer labor (i.e.; money) savings to gang multiple instances of a label design onto a design page (Artboard) set up to the size of the press sheet.
It can be advantageous to draw die cuts on a separate Layer, also ganged to match the artwork layout. Same may apply to foils, varnishes, and embosses. It's often advantageous to draw trim and fold marks in the bleed area of the page layout. It's often advantageous to add registration marks in a press-sheet layout.
Again, best-practice depends on the project--but the economical and turn-around advantages can be significant.
function(){return A.apply(null,[this].concat($A(arguments)))}
(I have seen examples on some prints that have show me ), but have no idea if Illlustrator already have a template/tools for that.
Whenever you catch yourself thinking "I have no idea if Illustrator..."--read the instructions.
Most graphics programs (including Illustrator) provide options for including basic "printer marks" (trim and registration marks, separation labels) outboard of the page size. That doesn't mean it isn't often advantageous to add your own. For example, the auto printer marks setting will only add one set of trim marks for the whole page. That's pretty useless in a multi-up layout, which is quite common in label design.
function(){return A.apply(null,[this].concat($A(arguments)))}
...but since most products labels come in many shapes, how do you work around it?
Pages (Artboards in Illustrator) are rectangular. One typically provides die cuts (and/or varnishes, foils, embosses, etc., etc.) as elements drawn accurately on a Layer dedicated to the purpose.
function(){return A.apply(null,[this].concat($A(arguments)))}
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.)
function(){return A.apply(null,[this].concat($A(arguments)))}
4. When using effects like highlights, reflections, especially in Titles, how do you create the pantones for that ?
Illustrator is primarily a vector based drawing program. Vector graphics are by nature and even by definition sharp edged. When vector programs try to provide "soft & fuzzy" features, they do it in either of two ways: either by programmatically creating additional vector paths and parameters (blends, grads, mesh grads), or by resorting to creation of non-vector "effects" (raster images). Whether such features correctly handle spot colors depends on the feature, and even on the version of the program.
So whenever working with spot color--in any program--you have to stay consciously aware of what you are actually doing (what kind of objects you are creating) when you apply such features. That's why it does no good in a user forum to speak of nebuous designerly terms like "highlights" when you ask technical questions. In order to get a correct answer, you ultimately have to state the kind of objects you are dealing with (and feature, and version, etc.).
function(){return A.apply(null,[this].concat($A(arguments)))}
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.
function(){return A.apply(null,[this].concat($A(arguments)))}
...what I was mention is to be able create like a table where you list the pantones use, same time to put measures guides on the artboard itself, is this possible to do in illustrator?
Again, separation names are included in the Printer Marks option of the Print Dialog. See the documentation. Depending upon your delivery format and workflow, the printing house may not even use Illustrator's printer marks; they may use those in one of their prepress programs.
But you should always check the seps before sending a press-ready file. You can do this in AI's print dialog, or in Acrobat Pro. Regardless, it's your job to make sure the project color-separates correctly. It is very common to "finish" a job thinking you have been very careful and everything is right. It is just as common to preview the seps and find an object on the wrong separation plate, or knocking out something it shouldn't, or overprinting something it should knock out.
(There's also the whole matter of trapping, which this thread has yet to mention.)
function(){return A.apply(null,[this].concat($A(arguments)))}
...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.
function(){return A.apply(null,[this].concat($A(arguments)))}
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

Need advice on "best" way to prepare book cover for printing

This newbie has created a front cover, back cover, and spline in Photoshop Elements with multiple layers consisting of a background image of a mountain, text, and on the front cover, an airplane. I've combined the three parts into a wraparound cover within a single indd file, which I've exported to PDF for upload to Amazon's CreateSpace (CS) for a print-on-demand book.
CS instructions say to "flatten" the cover. I've researched the term and found forum discussions that mention "raster" and "vector" and the pros and cons of different options for preparing a layered image for printing. I'm aware of the cautions about flattening being an irreversible process, and to never do that to a master copy. Beyond that, to say I'm confused would be an understatement.
I realize this is an InDesign forum, but I'm seeking advice on whether there are actions I should take in Elements before placing the three parts of the cover into the InDesign document for converting to PDF. For example, should I flatten them within Elements before placing them in the InDesign document, then convert to PDF? Or is it better to do that on the complete cover within InDesign?
Any assistance on clearing up this fog would be appreciated.

The print-on-demand site's instruction to flatten really has no direct relationship to InDesign, Peter. They don't say anything about what application you should use prior to creating the pdf, and that's what generated my original plea for help as to whether it would be best to flatten the individual images within PSE before placing them into InDesign, wait until they are combined and then do it, or if it is even necessary to do that at all.
I've been doing some additional reading on the CreateSpace forum and found a couple of very detailed (translation: too detailed for me) discussions on the differences in the output based on how you tell Adobe to create the pdf. I also found the following buried in the Help section:
                  Check the PDF settings that will be used to create your PDF file. If available, select "PDF/X-1a," "High-Quality Print" or "Press Quality" from the list of presets. If your system allows, make sure the following settings are chosen. Any other settings should be left to default in most cases.
                  Fonts and images are embedded.
                  Bookmarks, annotations, and comments are disabled.
                  Document security (any type) is not used.
                  PDF/X format is used. PDF/X is preferred, but if you are submitting non-PDF/X files (for example, PDF/A), any comments, forms, or other non-printing objects could be removed during our review process.
                  Transparent objects are flattened.
                  Spreads and printer's marks are disabled.
                  Downsampling, or decreasing resolution, of images is disabled.
                  Bleeds are enabled (if applicable).
                  Click "Export" or "OK" in the export dialog box.
                  Once created, make sure to open the PDF file to see that it appears as you intended. Otherwise, make the necessary adjustments in the native document and re-create the PDF file.
The mention of "High Quality Print" in the first line and the fact that it was InDesign's default setting for export left me with the impression that I didn't need to do anything other than export the cover and it would be in compliance with the requirements. Then when I read on the other forum about what each of the settings does to output, and all this discussion about which setting is best, I wasn't sure if the comment about flatttening applied to my output pdf or not.
As for bleed, yes, and I hope my math is correct in calculating the spline width for cream b&w paper, 374 total pages, trim size of 5.25x8, and a bleed of .125" all the way around, which increases the InDesign document by .25" in width and height over the trim size. I fully expect to have to do all that again, but such is life in the fast lane.

Question about required workshop classes for OCP

Im working on finishing up my OCP in a few months. Quick question about the workshop class. Is there a test at the end of the week?
Also how do most people pay for these classes? They are pretty steep and my company doesnt pay for stuff like this for me. Im paying totally out of my own pocket. Also why is the online class the same amount as the instructor lead class? Its not like im in a room at some building that Oracle has to lease for use or something.

RedDeuce wrote:
Im working on finishing up my OCP in a few months.What Certificate exactly are you working towards?
Also how do most people pay for these classes? They are pretty steep and my company doesnt pay for stuff like this for me. Im paying totally out of my own pocket.Then talk to your employer again or maybe look for other jobs that support your plan better.
Also why is the online class the same amount as the instructor lead class? Its not like im in a room at some building that Oracle has to lease for use or something.They know that you might save on expenses for travel and hotel etc.

Question about source system copy for BW

Dear all,
I have a quick question about copying a source system for BW.
We have two clients in the source ERP:
100 Customizing
200 Testing
Our BW is only linked to client 200, so when we now delete client 200 and make a copy from 100 to 200, are we then still able to restore the source system connection so that our extraction will work, or will it fail, as in client 100 I have no BW related (except the cross-client-objects like datasource) information, that can be used for a possible restore of this connection.
What is the procedure in this case?
Thanks,
Andreas

Unfortunately, you will lose your source connection and need to create a new one in R/3. You can use the same source system name in BW, but check the source system connection after the copy (SM59). Also, I would "Restore" the source system (in BW, right-click on Source system in RSA1, and click "Restore") to insure the datasources get replicated from R/3 to BW.
Depending on how much you want your BW and R/3 systems to be in synch, you will need to rebuild all your data providers (cubes/ODS's) from your R/3 system. This means deleting all the data and running the initializations from scratch. At the very least, you will need to rebuild the delta queues.
Curious, if 100 is just for customizing, is there any data in it? Are you just creating a new blank client 200?

Texture filter in Rgb mode to cmyk - safe for print job?

I want to apply the texture filter to a photo for a print job but the texture filter only works in rgb. Can the rgb file be SAFELY converted to cmyk for print?

In what way do you think a conversion from RGB to CMYK after the application of the filter will not be safe? What do you expect to go wrong?
...or if you have tried it, what has gone wrong?

Some question about Toshiab reocvery disk for Satellite P300-133

Hello guys ,
I got some questions about unpleasant recovery surprises :
*1)* I just made recovery DVD using Toshiba Recovery Disk Creator and it initially asked for 2 DVDs - but when the first one was done it didn`t require a second blanc DVD . Is it possible all system files of Windows Vista to be written on 1 DVD ?
*2)* Could I reinstall Windows Vista using the HDD Recovery option ( by pressing F8 ) without using recovery DVD ?
*3)* Which HDD partitions`ll be formatted ( just system C: or both C: and E: ) using HDD recovery ?
*4)* What is recovery DVD - Image of the hard drives or Vista installation files ?
Its pretty bad idea not to include OS on DVD when I have paid for it.
Thanks for all the problems to Toshiba :(

1. I think the recovery disk creator means 2 CDs. I have a Portege M700 with Windows Vista and one DVD too. I recovered it and after this I have a clean Vista installation with all drivers and tools from Toshiba. Nothing is missing.
2. Yes, you can reinstall Vista using the HDD Recovery option when you press F8 at startup. You dont need the recovery DVD but you should create one when your HDD get some errors or something else. If you need a new Recovery DVD, you have pay for one.
3. The complete HDD and partitions will be formatted, so backup your data first on a DVD, external HDD, USB stick or something else.
After the reinstallation you have the factory settings.
4. The recovery DVD is an image of the HDD about the factory settings. If you make a recovery, there are all drivers and tools already installed. Of course on the disk are the installations files of Vista, but you can only use this DVD on your Satellite P300. The disk can not be used on an other Satellite or on a PC.
When you have more questions, have a look in the user manual. There are a many in formations about the recovery. Its in chapter 3.

Question about preparing iPod for selling on eBay

Hello. I am selling my 3G iPod on eBay to help pay for my 5G iPod. I am going to restore the iPod s/w to remove my files. Do I need to do anything else before I sell it? I know a computer would need to be "deauthorized", but is there a similar procedure for the iPod itself?
Thanks for any assistance. I'm just trying to make sure I have my bases covered. (And my apologies if I missed this in a previous post - I performed a search before posting but may not have had the right search terms.)
Brian

All you need to do is restore the iPod back to its factory settings.

Preparing a brochure for print

Hi all,
I've been preparing a fold-out brochure within illustrator; a lot of the brochure has required unique artwork, so InDesign has been out of the question, despite it being the norm to prepare within that program. I can understand the benefits of InDesign, though Illustrator works for me for now - one thing withstanding.
I need to place 'fold marks' for the printer, but I'm unsure of how to go about this, as there doesn't appear to be a dialog/tick box specifically for this. I've read that a dashed line, or 'dye mark' would do the trick, but my reaction to that is "surely that would print out" (though I'm not sure how to create a 'dye mark'...)~ What are my options here?
Many thanks in advance

I very often build such documents thusly:
1. Set up the artboard to the trim size plus a .25" bleed. (Ex: a trifold or z-fold brochure that trims to 9 x 12 would have an artboard measuring 9.5 x 12.5)
2. Posittion horizontal and vertical ruler guides .25" inboard of the artboard edges.
3. Use the Line Tool to draw my own trim and fold marks in the .25" "bleed" area. I also often put 6 pt. textual notes in that area. I color bleed area marks with Registration, and color the text labels and notes according to the seps I want them to appear on.
4. Deliver the file as a press-ready PDF.
This is a cheap imitation of the way FreeHand displays and prints a proper bleed area (similar to the way InD now does). But I find it less cumbersome than messing with Illustrator's Crop Area, and trying to remember how to coax its settings into retaining the bleed area when creating the PDF. Plus, it lets me put my own marks (such as fold marks) where I want them.
JET

How do I use mono and 1 spot colour for print, where the spot colour applies to an element, rather than the whole image?

I am struggling to work with spot colours, using scanned images edited in Photoshop for use in InDesign to then go to print.
We print to two plates to save money for our publication. In this case magenta and black.
I could use the spot colour mode but that works with curves and I only want a certain part magenta. Imagine a business card with a gloss finish where I only want to apply it to certain part ie the name of the employee, using a curve would match a certain shade therefore this method would be unsuitable.
I have also tried using channels, one grayscale and one magenta, but using the file types either InDesign bugs or it comes out in mono.
It isn't possible to recreate the logo in InDesign, if only it was this easy...
If someones already discussed this, I can't find it, but if someone could point me in the right direction—I'd be very grateful!
Using Photoshop CS4, InDesign CS4. Access to Adobe Cloud at home...

I'm assuming at least some people on here must have experience of the Scintilla control for creating a Notepad++ type application. I'd like to use this control, unfortunately there is very little in the way of documentation or working examples
around
>unfortunately there is very little in the way of documentation
Have you read all of this?
Scintilla Documentation
http://www.scintilla.org/ScintillaDoc.html
>or working examples around
Have you examined this project in detail?
SciTE is a SCIntilla based Text Editor.
http://www.scintilla.org/SciTE.html
SciTE Documentation
http://www.scintilla.org/SciTEDoc.html
- Wayne

Thunderbolt / USB3 questions about external backup drives for my new MacBook Pro

I have a new MacBook Pro retina 13". It has two USB3 and two Thunderbolt2 ports.
Until now on my iMac I've kept two backups on two WD USB2 drives. I have never had any problems with any of my WD Passport drives. One for Time Machine and one for CCC (a complete bootable clone incrementally created at 3:30 am every day).
I'd like to get new portable drives for my MBP for these backups going forward and have a few very basic questions, since this is the first time to have a device with a USB3 port, and the first time I even heard about Thunderbolt.
If I get a USB3 drive and need to use it to restore things on my older iMac, which just has USB2, will it generally connect and run with USB2 at a slower speed? Or would I have to get a drive with both USB2 and USB3 ports?
Is Thunderbolt just an Apple thing? Or is it a new standard widely used by peripherals now? I just never heard of it before. Is it faster than USB3?
Is it common for drives to have both Thunderbolt and USB2 connections?
Are there "hubs" for Thunderbolt like there are for USB? Considering the limited number of ports, I'm wondering the best way to connect 2 external drives. My iMac has 4 USB2 ports on the back, and I connect one drive separate to each of those ports, rather than going through a hub.
Is USB3 like USB2 in that if you have even 1 USB2 device (e.g. my Logitech headset) connected to a USB3 hub it will slow down everything on that hub to USB2?
Any recommendations for good, portable backup drives?
Thanks,
Doug

Hi Doug,
Lets see if we can address some of these:
If I get a USB3 drive and need to use it to restore things on my older iMac, which just has USB2, will it generally connect and run with USB2 at a slower speed? Or would I have to get a drive with both USB2 and USB3 ports?
USB3 is "backwards compatible" with USB2 so plugging a USB3 drive into a USB2 port should work, but at USB2 speeds.
Is it common for drives to have both Thunderbolt and USB2 connections?
Drives sold as Thunderbolt often (not always) have USB as well, drives sold as USB never (in my experience) have Thunderbolt connections.
Are there "hubs" for Thunderbolt like there are for USB? Considering the limited number of ports, I'm wondering the best way to connect 2 external drives. My iMac has 4 USB2 ports on the back, and I connect one drive separate to each of those ports, rather than going through a hub.
Yes there are (but don't expect them to be comparable in price to a USB hub) e.g. see here: http://www.belkin.com/uk/p/P-F4U055/
Is Thunderbolt just an Apple thing? Or is it a new standard widely used by peripherals now? I just never heard of it before. Is it faster than USB3?
I'ts an Apple technology (like firewire) and is far from widely used on peripherals. There ARE Thunderbolt drives etc by companies such as LaCie, WD etc but they are still very expensive (3 or 4x the price of an equivalent sized USB drive). For some this was a worthwhile expense since Thunderbolt is many times faster than USB2. But the arrival of USB3 has, in my opinion, changed the landscape. Yes, Thunderbolt is theoretically faster than USB3 (up to twice as fast) but benchmark tests have shown that in real world situations, the speed difference varies from no difference to Thunderbolt being 25 or 30% faster. When you take into account that USB3 drives are more common than Thunderbolt and are only a little more expensive than USB2 drives at present, then it's a "no brainer" as far as I am concerned.
Hope this helps.
Jon

Beginner question about prepared statements...PLEASE help! :-)

First let me say thanks for the assistance. This is probably really easy to do, but I'm new to JSP and can't seem to figure it out.
I want to dynamically populate a table that shows whether a particular person has an appointment at a given date and time with a user. To do this, I want to query the MySQL database for the lastname of the person with the appointment that occurs with the user at the year, month, date, and time, in question.
THE CODE BELOW DOESN'T WORK (obviously) BUT SOMEWHAT ILLUSTRATES WHAT I'M TRYING TO ACCOMPLISH:
<%
Driver DriverTestRecordSet = (Driver)Class.forName(MM_website_DRIVER).newInstance();
Connection ConnTestRecordSet = DriverManager.getConnection(MM_website_STRING,MM_website_USERNAME,MM_website_PASSWORD);
PreparedStatement StatementTestRecordSet = ConnTestRecordSet.prepareStatement("SELECT lastname FROM appts_pid1 WHERE user_id='<%=(((Recordset1_data = Recordset1.getObject(user_id))==null || Recordset1.wasNull())?"":Recordset1_data)%>' AND year='<%= yy %>' AND month='<%= months[mm] %>' AND date='<%= dates[dd] %>' AND appttime='16:15:00'");
ResultSet TestRecordSet = StatementTestRecordSet.executeQuery();
boolean TestRecordSet_isEmpty = !TestRecordSet.next();
boolean TestRecordSet_hasData = !TestRecordSet_isEmpty;
Object TestRecordSet_data;
int TestRecordSet_numRows = 0;
%>
The real problem comes in the prepared statement portion. If I build the prepared statement with static values like below, EVERYTHING WORKS GREAT:
PreparedStatement StatementTestRecordSet = ConnTestRecordSet.prepareStatement("SELECT lastname FROM appts_pid1 WHERE user_id='1' AND year='2002' AND month='October' AND date='31' AND appttime='16:15:00'");
But when I try to use dynamic values, everything falls apart. It's not that the values aren't defined, I use the user_id, year <%= yy %>, month <%= months[mm] %>, etc. elsewhere on the page with no problems. It's just that I can't figure out how to use these dynamic values within the prepared statement.
Thanks for reading this far and thanks in advance for the help!!!!

Hi PhineasGage
You are little bit wrong in your
your preparedStatement.
Expression tag within scriptlet tag is invalid.
Whenever you are appending the statement with
expression tag, append it with "+" and remove
expression tag.
Hopefully it will work
ThanksThanks for the response!
I know that the expression tag within scriptlet tag is invalid. I just need a workaround for what I want to do.
I'm unclear what you mean by "Whenever you are appending the statement with expression tag, append it with a "+" and remove expression tag".
Could you give an example?
In the meantime, I've been trying to digest the docs on prepared statements and have changed the code to look like:
PreparedStatement StatementTestRecordSet = ConnTestRecordSet.prepareStatement("SELECT lastname FROM appts_pid1 WHERE user_id= ? AND year= ? AND month= ? AND date= ? AND appttime='13:15:00'");
StatementTestRecordSet.setInt(1,1);
StatementTestRecordSet.setInt(2,2002);
StatementTestRecordSet.setString(3,"October");
StatementTestRecordSet.setInt(4,31);
Again, WITH THE STATIC VALUES, THIS WORKS FINE...but when I try to use expressions or variables like below, things don't work:
StatementTestRecordSet.setInt(2,<%= yy %>);
Obviously, I'm doing something wrong, but there has to be a way to use variables within the prepared statement.
ALSO, the values are being passed to this page via URL in the form:
samplepage?user_id=1&year=2002&month=October&date=31
Based upon this information, is there another way (outside of stored procedures in the db) to do what I want to do? I'm open to ideas.

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