6_synapses
pssh 参数
pssh 参数`pssh` 是 Parallel SSH 的缩写,它是一个用于并行执行 SSH 命令的工具。
`pssh` 允许你同时向多个主机执行相同的命令,而不需要为每个主机单独执行命令。
以下是 `pssh` 的一些常见参数:1. `-h` 或 `--hosts`:指定要连接的主机列表。
你可以提供主机名或 IP 地址列表,用逗号分隔。
2. `-l` 或 `--user`:指定用于连接主机的用户名。
3. `-p` 或 `--password`:使用密码进行身份验证。
4. `-i` 或 `--identity_file`:指定用于身份验证的私钥文件的路径。
5. `-o` 或 `--output_file`:将输出写入指定的文件。
6. `-t` 或 `--timeout`:设置连接超时时间(以秒为单位)。
7. `-b` 或 `--batch_mode`:以批处理模式运行命令,不要求用户输入密码或确认连接。
8. `-r` 或 `--remote_command`:指定要在远程主机上执行的命令。
9. `-D` 或 `--dump_output_to_debug_file`:将输出写入调试文件。
10. `-e` 或 `--error_file`:指定错误消息的输出文件。
11. `-u` 或 `--update_hosts_file`:更新主机文件以包含新连接的主机。
12. `-k` 或 `--keep_alive_interval`:设置保持连接的间隔时间(以秒为单位)。
13. `-v` 或 `--verbose`:启用详细输出。
14. `-s` 或 `--ssh_options`:指定 SSH 命令的选项。
这些参数可以组合使用,以满足你的特定需求。
你可以通过运行`pssh --help` 来查看完整的参数列表和说明。
什么是SYN包与SYN攻击原理
什么是SYN包与SYN攻击原理什么是SYN包与SYN攻击原理.txt-//⾃私,让我们只看见⾃⼰却容不下别⼈。
如果发短信给你喜欢的⼈,他不回,不要再发。
看着你的相⽚,我就特冲动的想P成⿊⽩挂墙上!有时,不是世界太虚伪,只是,我们太天真。
什么是SYN包?SYN包是什么意思?TCP连接的第⼀个包,⾮常⼩的⼀种数据包。
SYN攻击包括⼤量此类的包,由于这些包看上去来⾃实际不存在的站点,因此⽆法有效进⾏处理。
当两台计算机在TCP连接上进⾏会话时,连接⼀定会⾸先被初始化。
完成这项任务的包叫作SYN。
⼀个SYN包简单的表明另⼀台计算机已经做好了会话的准备。
只有发出服务请求的计算机才发送SYN包。
所以如果你仅拒绝进来的SYN包,它将终⽌其它计算机打开你计算机上的服务,但是不会终⽌你使⽤其它计算机上的服务,如果它没有拒绝你发送的SYN包的话。
SYN攻击最近对SYNFlood特别感兴趣,看到⼀个关于SYNcookiefirewall的⽂章,在google搜了⼀下,没中⽂的,翻译他⼀下本⽂介绍了4个概念⼀:介绍SYN⼆:什么是SYN洪⽔攻击三:什么是SYNcookie四:什么是SYNcookie防⽕墙C=client(客户器)S=Server(服务器)FW=Firewall(防⽕墙)⼀:介绍SYNSYNcookie是⼀个防⽌SYN洪⽔攻击技术。
他由D.J.Bernstein和EricSchenk发明。
现在SYN COOKIE已经是linux内核的⼀部分了(我插⼀句,默认的stat是no),但是在linux系统的执⾏过程中它只保护linux系统。
我们这⾥只是说创建⼀个linux防⽕墙,他可以为整个⽹络和所有的⽹络操作系统提供SYNCOOKIE保护你可以⽤这个防⽕墙来阻断半开放式tcp连接,所以这个受保护的系统不会进⼊半开放状态(TCP_SYN_RECV)。
当连接完全建⽴的时候,客户机到服务器的连接要通过防⽕墙来中转完成。
enbass恩倍思拼接处理器软件说明(一)
enbass恩倍思拼接处理器软件说明(一)enbass恩倍思拼接处理器软件说明1. 简介enbass恩倍思拼接处理器软件是一款专业的音频拼接处理工具,旨在提供高效、便捷的音频处理体验。
2. 主要特性•高效拼接:enbass恩倍思拼接处理器软件采用先进的算法,能够快速、精确地将多个音频文件进行拼接。
•多格式支持:软件支持多种常见音频格式,包括MP3、WAV、FLAC 等,用户无需转换格式即可进行拼接处理。
•自动修正:软件具备自动修正功能,能够智能识别音频文件的不匹配之处并进行自动修复,提升音频质量。
•音频剪辑:除了拼接功能,enbass恩倍思拼接处理器软件还提供音频剪辑功能,用户可以方便地裁剪音频文件,满足个性化需求。
•预览与调整:用户可以在软件中实时预览拼接结果,并进行音量调整、淡入淡出等效果的调节。
•批量处理:软件支持批量处理功能,用户可以同时拼接、裁剪多个音频文件,提高工作效率。
3. 使用方法以下是使用enbass恩倍思拼接处理器软件的基本步骤:1.下载并安装软件:从官方网站下载软件安装包,根据安装向导进行安装。
2.打开软件:双击桌面图标或在开始菜单中找到软件并点击打开。
3.导入音频文件:点击软件界面上的”导入”按钮,选择要进行拼接处理的音频文件。
4.调整拼接顺序:将导入的音频文件按照需要的顺序拖拽到软件界面上的拼接列表中,并调整顺序。
5.预览与调整:点击软件界面上的“预览”按钮,可以实时预览拼接结果,根据需要进行音量调整、淡入淡出等效果的调节。
6.拼接处理:点击软件界面上的”拼接”按钮,软件将自动开始处理拼接,处理完成后保存文件。
7.音频剪辑:如果需要进行音频剪辑,可以在拼接处理之前或之后点击软件界面上的”剪辑”按钮,对音频进行裁剪操作。
8.批量处理:如需批量处理多个音频文件,点击软件界面上的”批量处理”按钮,按照提示添加要处理的音频文件即可。
9.导出文件:处理完成后,点击软件界面上的”导出”按钮,选择保存路径并导出拼接后的音频文件。
synapse初步总结
Apache Synapse一、术语ESB : 全称为Enterprise Service Bus,即企业服务总线。
ESB的出现改变了传统的软件架构,可以提供比传统中间件产品更为廉价的解决方案,同时它还可以消除不同应用之间的技术差异,让不同的应用服务器协调运作,实现了不同服务之间的通信与整合。
Apache Synapse:是一个轻量级和高性能的ESB。
XSLT:扩展样式表转换语言(Extensible Stylesheet Language Transformations)的简称,这是一种对XML文档进行转化的语言,XSLT中的T代表英语中的“转换”(transformation)SOAP :简单对象访问协议。
简单对象访问协议是交换数据的一种协议规范,是一种轻量的、简单的、基于XML(标准通用标记语言下的一个子集)的协议,它被设计成在WEB上交换结构化的和固化的信息。
webService三要素:SOAP、WSDL (Web Services Description Language)、UDDI( Universal Description Discovery and Integration )之一。
SOAP 是一种通用的、传输方法独立的消息传递格式。
REST:REpresentational State Transfer,表述性状态转移。
是一种针对网络应用的设计和开发方式,可以降低开发的复杂性,提高系统的可伸缩性。
REST指的是一组架构约束条件和原则。
是一种针对网络应用的设计和开发方式,可以降低开发的复杂性,提高系统的可伸缩性。
REST提出了一些设计概念和准则:1.网络上的所有事物都被抽象为资源(resource);2.每个资源对应一个唯一的资源标识(resource identifier);3.通过通用的连接器接口(generic connector interface)对资源进行操作;4.对资源的各种操作不会改变资源标识;5.所有的操作都是无状态的(stateless)。
高考英语组合演练 阅读理解+七选五+完形填空 组合演练(二) Word版含解析
组合演练(二)[阅读理解+七选五]Ⅰ.阅读理解A(2017·湖南邵阳大联考)Owning a pet makes us healthier and happier,but for many of us,long hours at work,tight budgets and small flats means it’s just not practical.But there’s good news for animal lovers;you can now cozy up with a cup of tea while spending time with furry friends,as the global movement of animal cafes has reached the UK.The international phenomenon originated in Taipei,where the world’s first cat cafe,Cat Flower Garden,opened in 1998.Curious tourists soon discovered the pet paradise and brought the concept over to Japan.The first Japanese cat cafe opened in Osaka in 2005,and now there are said to be nearly 40 in Tokyo alone.Japan has now gone far beyond the original concept,and some of the trendiest(时髦的) places to visit nowadays have owls,rabbits and goats hanging around.Tokyo’s Fukuro no Mise,which means the “Shop of Owls”,has full guest lists for up to two months.Lady Dinah’s Cat Emporium was the first of its kind to open up in East London in 2014.The successful cat cafe takes bookings 50 days ahead and usually about 90% of them book out about 5-6 weeks in advance,Though the business has been a success,the owner Lauren Pears worries a little bit about the sudden rise of cat cafes everywhere.“Cat cafes are still in their beginnings here and we’ve seen a very recent cautionary tale springing up in Singapore with the sudden burst of cat cafes in the city.Earlier this year,one of them was closed down after serious animal welfare issues resulted in the deaths of several cats.”She emphasizes that even though the job is fun and rewarding,it also comes with serious responsibility.语篇解读本文主要讲了猫咪咖啡馆的出现,使得很多人可以很轻易地接触宠物,但是,过多的猫咪咖啡馆也带来了很多问题。
Native Instruments MASCHINE MK3 用户手册说明书
The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu-ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru-ments GmbH.ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH.All other product and company names are trademarks™ or registered® trademarks of their re-spective holders. Use of them does not imply any affiliation with or endorsement by them.Document authored by: David Gover and Nico Sidi.Software version: 2.8 (02/2019)Hardware version: MASCHINE MK3Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product.NATIVE INSTRUMENTS GmbH Schlesische Str. 29-30D-10997 Berlin Germanywww.native-instruments.de NATIVE INSTRUMENTS North America, Inc. 6725 Sunset Boulevard5th FloorLos Angeles, CA 90028USANATIVE INSTRUMENTS K.K.YO Building 3FJingumae 6-7-15, Shibuya-ku, Tokyo 150-0001Japanwww.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp StreetLondon EC2A 4NUUKNATIVE INSTRUMENTS FRANCE SARL 113 Rue Saint-Maur75011 ParisFrance SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 5F, Shenzhen Zimao Center111 Taizi Road, Nanshan District, Shenzhen, GuangdongChina© NATIVE INSTRUMENTS GmbH, 2019. All rights reserved.Table of Contents1Welcome to MASCHINE (25)1.1MASCHINE Documentation (26)1.2Document Conventions (27)1.3New Features in MASCHINE 2.8 (29)1.4New Features in MASCHINE 2.7.10 (31)1.5New Features in MASCHINE 2.7.8 (31)1.6New Features in MASCHINE 2.7.7 (32)1.7New Features in MASCHINE 2.7.4 (33)1.8New Features in MASCHINE 2.7.3 (36)2Quick Reference (38)2.1Using Your Controller (38)2.1.1Controller Modes and Mode Pinning (38)2.1.2Controlling the Software Views from Your Controller (40)2.2MASCHINE Project Overview (43)2.2.1Sound Content (44)2.2.2Arrangement (45)2.3MASCHINE Hardware Overview (48)2.3.1MASCHINE Hardware Overview (48)2.3.1.1Control Section (50)2.3.1.2Edit Section (53)2.3.1.3Performance Section (54)2.3.1.4Group Section (56)2.3.1.5Transport Section (56)2.3.1.6Pad Section (58)2.3.1.7Rear Panel (63)2.4MASCHINE Software Overview (65)2.4.1Header (66)2.4.2Browser (68)2.4.3Arranger (70)2.4.4Control Area (73)2.4.5Pattern Editor (74)3Basic Concepts (76)3.1Important Names and Concepts (76)3.2Adjusting the MASCHINE User Interface (79)3.2.1Adjusting the Size of the Interface (79)3.2.2Switching between Ideas View and Song View (80)3.2.3Showing/Hiding the Browser (81)3.2.4Showing/Hiding the Control Lane (81)3.3Common Operations (82)3.3.1Using the 4-Directional Push Encoder (82)3.3.2Pinning a Mode on the Controller (83)3.3.3Adjusting Volume, Swing, and Tempo (84)3.3.4Undo/Redo (87)3.3.5List Overlay for Selectors (89)3.3.6Zoom and Scroll Overlays (90)3.3.7Focusing on a Group or a Sound (91)3.3.8Switching Between the Master, Group, and Sound Level (96)3.3.9Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.973.3.9.1Extended Navigate Mode on Your Controller (102)3.3.10Navigating the Software Using the Controller (105)3.3.11Using Two or More Hardware Controllers (106)3.3.12Touch Auto-Write Option (108)3.4Native Kontrol Standard (110)3.5Stand-Alone and Plug-in Mode (111)3.5.1Differences between Stand-Alone and Plug-in Mode (112)3.5.2Switching Instances (113)3.5.3Controlling Various Instances with Different Controllers (114)3.6Host Integration (114)3.6.1Setting up Host Integration (115)3.6.1.1Setting up Ableton Live (macOS) (115)3.6.1.2Setting up Ableton Live (Windows) (116)3.6.1.3Setting up Apple Logic Pro X (116)3.6.2Integration with Ableton Live (117)3.6.3Integration with Apple Logic Pro X (119)3.7Preferences (120)3.7.1Preferences – General Page (121)3.7.2Preferences – Audio Page (126)3.7.3Preferences – MIDI Page (130)3.7.4Preferences – Default Page (133)3.7.5Preferences – Library Page (137)3.7.6Preferences – Plug-ins Page (145)3.7.7Preferences – Hardware Page (150)3.7.8Preferences – Colors Page (154)3.8Integrating MASCHINE into a MIDI Setup (156)3.8.1Connecting External MIDI Equipment (156)3.8.2Sync to External MIDI Clock (157)3.8.3Send MIDI Clock (158)3.9Syncing MASCHINE using Ableton Link (159)3.9.1Connecting to a Network (159)3.9.2Joining and Leaving a Link Session (159)3.10Using a Pedal with the MASCHINE Controller (160)3.11File Management on the MASCHINE Controller (161)4Browser (163)4.1Browser Basics (163)4.1.1The MASCHINE Library (163)4.1.2Browsing the Library vs. Browsing Your Hard Disks (164)4.2Searching and Loading Files from the Library (165)4.2.1Overview of the Library Pane (165)4.2.2Selecting or Loading a Product and Selecting a Bank from the Browser (170)4.2.2.1[MK3] Browsing by Product Category Using the Controller (174)4.2.2.2[MK3] Browsing by Product Vendor Using the Controller (174)4.2.3Selecting a Product Category, a Product, a Bank, and a Sub-Bank (175)4.2.3.1Selecting a Product Category, a Product, a Bank, and a Sub-Bank on theController (179)4.2.4Selecting a File Type (180)4.2.5Choosing Between Factory and User Content (181)4.2.6Selecting Type and Character Tags (182)4.2.7List and Tag Overlays in the Browser (186)4.2.8Performing a Text Search (188)4.2.9Loading a File from the Result List (188)4.3Additional Browsing Tools (193)4.3.1Loading the Selected Files Automatically (193)4.3.2Auditioning Instrument Presets (195)4.3.3Auditioning Samples (196)4.3.4Loading Groups with Patterns (197)4.3.5Loading Groups with Routing (198)4.3.6Displaying File Information (198)4.4Using Favorites in the Browser (199)4.5Editing the Files’ Tags and Properties (203)4.5.1Attribute Editor Basics (203)4.5.2The Bank Page (205)4.5.3The Types and Characters Pages (205)4.5.4The Properties Page (208)4.6Loading and Importing Files from Your File System (209)4.6.1Overview of the FILES Pane (209)4.6.2Using Favorites (211)4.6.3Using the Location Bar (212)4.6.4Navigating to Recent Locations (213)4.6.5Using the Result List (214)4.6.6Importing Files to the MASCHINE Library (217)4.7Locating Missing Samples (219)4.8Using Quick Browse (221)5Managing Sounds, Groups, and Your Project (225)5.1Overview of the Sounds, Groups, and Master (225)5.1.1The Sound, Group, and Master Channels (226)5.1.2Similarities and Differences in Handling Sounds and Groups (227)5.1.3Selecting Multiple Sounds or Groups (228)5.2Managing Sounds (233)5.2.1Loading Sounds (235)5.2.2Pre-listening to Sounds (236)5.2.3Renaming Sound Slots (237)5.2.4Changing the Sound’s Color (237)5.2.5Saving Sounds (239)5.2.6Copying and Pasting Sounds (241)5.2.7Moving Sounds (244)5.2.8Resetting Sound Slots (245)5.3Managing Groups (247)5.3.1Creating Groups (248)5.3.2Loading Groups (249)5.3.3Renaming Groups (251)5.3.4Changing the Group’s Color (251)5.3.5Saving Groups (253)5.3.6Copying and Pasting Groups (255)5.3.7Reordering Groups (258)5.3.8Deleting Groups (259)5.4Exporting MASCHINE Objects and Audio (260)5.4.1Saving a Group with its Samples (261)5.4.2Saving a Project with its Samples (262)5.4.3Exporting Audio (264)5.5Importing Third-Party File Formats (270)5.5.1Loading REX Files into Sound Slots (270)5.5.2Importing MPC Programs to Groups (271)6Playing on the Controller (275)6.1Adjusting the Pads (275)6.1.1The Pad View in the Software (275)6.1.2Choosing a Pad Input Mode (277)6.1.3Adjusting the Base Key (280)6.1.4Using Choke Groups (282)6.1.5Using Link Groups (284)6.2Adjusting the Key, Choke, and Link Parameters for Multiple Sounds (286)6.3Playing Tools (287)6.3.1Mute and Solo (288)6.3.2Choke All Notes (292)6.3.3Groove (293)6.3.4Level, Tempo, Tune, and Groove Shortcuts on Your Controller (295)6.3.5Tap Tempo (299)6.4Performance Features (300)6.4.1Overview of the Perform Features (300)6.4.2Selecting a Scale and Creating Chords (303)6.4.3Scale and Chord Parameters (303)6.4.4Creating Arpeggios and Repeated Notes (316)6.4.5Swing on Note Repeat / Arp Output (321)6.5Using Lock Snapshots (322)6.5.1Creating a Lock Snapshot (322)6.5.2Using Extended Lock (323)6.5.3Updating a Lock Snapshot (323)6.5.4Recalling a Lock Snapshot (324)6.5.5Morphing Between Lock Snapshots (324)6.5.6Deleting a Lock Snapshot (325)6.5.7Triggering Lock Snapshots via MIDI (326)6.6Using the Smart Strip (327)6.6.1Pitch Mode (328)6.6.2Modulation Mode (328)6.6.3Perform Mode (328)6.6.4Notes Mode (329)7Working with Plug-ins (330)7.1Plug-in Overview (330)7.1.1Plug-in Basics (330)7.1.2First Plug-in Slot of Sounds: Choosing the Sound’s Role (334)7.1.3Loading, Removing, and Replacing a Plug-in (335)7.1.3.1Browser Plug-in Slot Selection (341)7.1.4Adjusting the Plug-in Parameters (344)7.1.5Bypassing Plug-in Slots (344)7.1.6Using Side-Chain (346)7.1.7Moving Plug-ins (346)7.1.8Alternative: the Plug-in Strip (348)7.1.9Saving and Recalling Plug-in Presets (348)7.1.9.1Saving Plug-in Presets (349)7.1.9.2Recalling Plug-in Presets (350)7.1.9.3Removing a Default Plug-in Preset (351)7.2The Sampler Plug-in (352)7.2.1Page 1: Voice Settings / Engine (354)7.2.2Page 2: Pitch / Envelope (356)7.2.3Page 3: FX / Filter (359)7.2.4Page 4: Modulation (361)7.2.5Page 5: LFO (363)7.2.6Page 6: Velocity / Modwheel (365)7.3Using Native Instruments and External Plug-ins (367)7.3.1Opening/Closing Plug-in Windows (367)7.3.2Using the VST/AU Plug-in Parameters (370)7.3.3Setting Up Your Own Parameter Pages (371)7.3.4Using VST/AU Plug-in Presets (376)7.3.5Multiple-Output Plug-ins and Multitimbral Plug-ins (378)8Using the Audio Plug-in (380)8.1Loading a Loop into the Audio Plug-in (384)8.2Editing Audio in the Audio Plug-in (385)8.3Using Loop Mode (386)8.4Using Gate Mode (388)9Using the Drumsynths (390)9.1Drumsynths – General Handling (391)9.1.1Engines: Many Different Drums per Drumsynth (391)9.1.2Common Parameter Organization (391)9.1.3Shared Parameters (394)9.1.4Various Velocity Responses (394)9.1.5Pitch Range, Tuning, and MIDI Notes (394)9.2The Kicks (395)9.2.1Kick – Sub (397)9.2.2Kick – Tronic (399)9.2.3Kick – Dusty (402)9.2.4Kick – Grit (403)9.2.5Kick – Rasper (406)9.2.6Kick – Snappy (407)9.2.7Kick – Bold (409)9.2.8Kick – Maple (411)9.2.9Kick – Push (412)9.3The Snares (414)9.3.1Snare – Volt (416)9.3.2Snare – Bit (418)9.3.3Snare – Pow (420)9.3.4Snare – Sharp (421)9.3.5Snare – Airy (423)9.3.6Snare – Vintage (425)9.3.7Snare – Chrome (427)9.3.8Snare – Iron (429)9.3.9Snare – Clap (431)9.3.10Snare – Breaker (433)9.4The Hi-hats (435)9.4.1Hi-hat – Silver (436)9.4.2Hi-hat – Circuit (438)9.4.3Hi-hat – Memory (440)9.4.4Hi-hat – Hybrid (442)9.4.5Creating a Pattern with Closed and Open Hi-hats (444)9.5The Toms (445)9.5.1Tom – Tronic (447)9.5.2Tom – Fractal (449)9.5.3Tom – Floor (453)9.5.4Tom – High (455)9.6The Percussions (456)9.6.1Percussion – Fractal (458)9.6.2Percussion – Kettle (461)9.6.3Percussion – Shaker (463)9.7The Cymbals (467)9.7.1Cymbal – Crash (469)9.7.2Cymbal – Ride (471)10Using the Bass Synth (474)10.1Bass Synth – General Handling (475)10.1.1Parameter Organization (475)10.1.2Bass Synth Parameters (477)11Working with Patterns (479)11.1Pattern Basics (479)11.1.1Pattern Editor Overview (480)11.1.2Navigating the Event Area (486)11.1.3Following the Playback Position in the Pattern (488)11.1.4Jumping to Another Playback Position in the Pattern (489)11.1.5Group View and Keyboard View (491)11.1.6Adjusting the Arrange Grid and the Pattern Length (493)11.1.7Adjusting the Step Grid and the Nudge Grid (497)11.2Recording Patterns in Real Time (501)11.2.1Recording Your Patterns Live (501)11.2.2The Record Prepare Mode (504)11.2.3Using the Metronome (505)11.2.4Recording with Count-in (506)11.2.5Quantizing while Recording (508)11.3Recording Patterns with the Step Sequencer (508)11.3.1Step Mode Basics (508)11.3.2Editing Events in Step Mode (511)11.3.3Recording Modulation in Step Mode (513)11.4Editing Events (514)11.4.1Editing Events with the Mouse: an Overview (514)11.4.2Creating Events/Notes (517)11.4.3Selecting Events/Notes (518)11.4.4Editing Selected Events/Notes (526)11.4.5Deleting Events/Notes (532)11.4.6Cut, Copy, and Paste Events/Notes (535)11.4.7Quantizing Events/Notes (538)11.4.8Quantization While Playing (540)11.4.9Doubling a Pattern (541)11.4.10Adding Variation to Patterns (541)11.5Recording and Editing Modulation (546)11.5.1Which Parameters Are Modulatable? (547)11.5.2Recording Modulation (548)11.5.3Creating and Editing Modulation in the Control Lane (550)11.6Creating MIDI Tracks from Scratch in MASCHINE (555)11.7Managing Patterns (557)11.7.1The Pattern Manager and Pattern Mode (558)11.7.2Selecting Patterns and Pattern Banks (560)11.7.3Creating Patterns (563)11.7.4Deleting Patterns (565)11.7.5Creating and Deleting Pattern Banks (566)11.7.6Naming Patterns (568)11.7.7Changing the Pattern’s Color (570)11.7.8Duplicating, Copying, and Pasting Patterns (571)11.7.9Moving Patterns (574)11.7.10Adjusting Pattern Length in Fine Increments (575)11.8Importing/Exporting Audio and MIDI to/from Patterns (576)11.8.1Exporting Audio from Patterns (576)11.8.2Exporting MIDI from Patterns (577)11.8.3Importing MIDI to Patterns (580)12Audio Routing, Remote Control, and Macro Controls (589)12.1Audio Routing in MASCHINE (590)12.1.1Sending External Audio to Sounds (591)12.1.2Configuring the Main Output of Sounds and Groups (596)12.1.3Setting Up Auxiliary Outputs for Sounds and Groups (601)12.1.4Configuring the Master and Cue Outputs of MASCHINE (605)12.1.5Mono Audio Inputs (610)12.1.5.1Configuring External Inputs for Sounds in Mix View (611)12.2Using MIDI Control and Host Automation (614)12.2.1Triggering Sounds via MIDI Notes (615)12.2.2Triggering Scenes via MIDI (622)12.2.3Controlling Parameters via MIDI and Host Automation (623)12.2.4Selecting VST/AU Plug-in Presets via MIDI Program Change (631)12.2.5Sending MIDI from Sounds (632)12.3Creating Custom Sets of Parameters with the Macro Controls (636)12.3.1Macro Control Overview (637)12.3.2Assigning Macro Controls Using the Software (638)12.3.3Assigning Macro Controls Using the Controller (644)13Controlling Your Mix (646)13.1Mix View Basics (646)13.1.1Switching between Arrange View and Mix View (646)13.1.2Mix View Elements (647)13.2The Mixer (649)13.2.1Displaying Groups vs. Displaying Sounds (650)13.2.2Adjusting the Mixer Layout (652)13.2.3Selecting Channel Strips (653)13.2.4Managing Your Channels in the Mixer (654)13.2.5Adjusting Settings in the Channel Strips (656)13.2.6Using the Cue Bus (660)13.3The Plug-in Chain (662)13.4The Plug-in Strip (663)13.4.1The Plug-in Header (665)13.4.2Panels for Drumsynths and Internal Effects (667)13.4.3Panel for the Sampler (668)13.4.4Custom Panels for Native Instruments Plug-ins (671)13.4.5Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) (675)13.5Controlling Your Mix from the Controller (677)13.5.1Navigating Your Channels in Mix Mode (678)13.5.2Adjusting the Level and Pan in Mix Mode (679)13.5.3Mute and Solo in Mix Mode (680)13.5.4Plug-in Icons in Mix Mode (680)14Using Effects (681)14.1Applying Effects to a Sound, a Group or the Master (681)14.1.1Adding an Effect (681)14.1.2Other Operations on Effects (690)14.1.3Using the Side-Chain Input (692)14.2Applying Effects to External Audio (695)14.2.1Step 1: Configure MASCHINE Audio Inputs (695)14.2.2Step 2: Set up a Sound to Receive the External Input (698)14.2.3Step 3: Load an Effect to Process an Input (700)14.3Creating a Send Effect (701)14.3.1Step 1: Set Up a Sound or Group as Send Effect (702)14.3.2Step 2: Route Audio to the Send Effect (706)14.3.3 A Few Notes on Send Effects (708)14.4Creating Multi-Effects (709)15Effect Reference (712)15.1Dynamics (713)15.1.1Compressor (713)15.1.2Gate (717)15.1.3Transient Master (721)15.1.4Limiter (723)15.1.5Maximizer (727)15.2Filtering Effects (730)15.2.1EQ (730)15.2.2Filter (733)15.2.3Cabinet (737)15.3Modulation Effects (738)15.3.1Chorus (738)15.3.2Flanger (740)15.3.3FM (742)15.3.4Freq Shifter (743)15.3.5Phaser (745)15.4Spatial and Reverb Effects (747)15.4.1Ice (747)15.4.2Metaverb (749)15.4.3Reflex (750)15.4.4Reverb (Legacy) (752)15.4.5Reverb (754)15.4.5.1Reverb Room (754)15.4.5.2Reverb Hall (757)15.4.5.3Plate Reverb (760)15.5Delays (762)15.5.1Beat Delay (762)15.5.2Grain Delay (765)15.5.3Grain Stretch (767)15.5.4Resochord (769)15.6Distortion Effects (771)15.6.1Distortion (771)15.6.2Lofi (774)15.6.3Saturator (775)15.7Perform FX (779)15.7.1Filter (780)15.7.2Flanger (782)15.7.3Burst Echo (785)15.7.4Reso Echo (787)15.7.5Ring (790)15.7.6Stutter (792)15.7.7Tremolo (795)15.7.8Scratcher (798)16Working with the Arranger (801)16.1Arranger Basics (801)16.1.1Navigating Song View (804)16.1.2Following the Playback Position in Your Project (806)16.1.3Performing with Scenes and Sections using the Pads (807)16.2Using Ideas View (811)16.2.1Scene Overview (811)16.2.2Creating Scenes (813)16.2.3Assigning and Removing Patterns (813)16.2.4Selecting Scenes (817)16.2.5Deleting Scenes (818)16.2.6Creating and Deleting Scene Banks (820)16.2.7Clearing Scenes (820)16.2.8Duplicating Scenes (821)16.2.9Reordering Scenes (822)16.2.10Making Scenes Unique (824)16.2.11Appending Scenes to Arrangement (825)16.2.12Naming Scenes (826)16.2.13Changing the Color of a Scene (827)16.3Using Song View (828)16.3.1Section Management Overview (828)16.3.2Creating Sections (833)16.3.3Assigning a Scene to a Section (834)16.3.4Selecting Sections and Section Banks (835)16.3.5Reorganizing Sections (839)16.3.6Adjusting the Length of a Section (840)16.3.6.1Adjusting the Length of a Section Using the Software (841)16.3.6.2Adjusting the Length of a Section Using the Controller (843)16.3.7Clearing a Pattern in Song View (843)16.3.8Duplicating Sections (844)16.3.8.1Making Sections Unique (845)16.3.9Removing Sections (846)16.3.10Renaming Scenes (848)16.3.11Clearing Sections (849)16.3.12Creating and Deleting Section Banks (850)16.3.13Working with Patterns in Song view (850)16.3.13.1Creating a Pattern in Song View (850)16.3.13.2Selecting a Pattern in Song View (850)16.3.13.3Clearing a Pattern in Song View (851)16.3.13.4Renaming a Pattern in Song View (851)16.3.13.5Coloring a Pattern in Song View (851)16.3.13.6Removing a Pattern in Song View (852)16.3.13.7Duplicating a Pattern in Song View (852)16.3.14Enabling Auto Length (852)16.3.15Looping (853)16.3.15.1Setting the Loop Range in the Software (854)16.4Playing with Sections (855)16.4.1Jumping to another Playback Position in Your Project (855)16.5Triggering Sections or Scenes via MIDI (856)16.6The Arrange Grid (858)16.7Quick Grid (860)17Sampling and Sample Mapping (862)17.1Opening the Sample Editor (862)17.2Recording Audio (863)17.2.1Opening the Record Page (863)17.2.2Selecting the Source and the Recording Mode (865)17.2.3Arming, Starting, and Stopping the Recording (868)17.2.5Using the Footswitch for Recording Audio (871)17.2.6Checking Your Recordings (872)17.2.7Location and Name of Your Recorded Samples (876)17.3Editing a Sample (876)17.3.1Using the Edit Page (877)17.3.2Audio Editing Functions (882)17.4Slicing a Sample (890)17.4.1Opening the Slice Page (891)17.4.2Adjusting the Slicing Settings (893)17.4.3Live Slicing (898)17.4.3.1Live Slicing Using the Controller (898)17.4.3.2Delete All Slices (899)17.4.4Manually Adjusting Your Slices (899)17.4.5Applying the Slicing (906)17.5Mapping Samples to Zones (912)17.5.1Opening the Zone Page (912)17.5.2Zone Page Overview (913)17.5.3Selecting and Managing Zones in the Zone List (915)17.5.4Selecting and Editing Zones in the Map View (920)17.5.5Editing Zones in the Sample View (924)17.5.6Adjusting the Zone Settings (927)17.5.7Adding Samples to the Sample Map (934)18Appendix: Tips for Playing Live (937)18.1Preparations (937)18.1.1Focus on the Hardware (937)18.1.2Customize the Pads of the Hardware (937)18.1.3Check Your CPU Power Before Playing (937)18.1.4Name and Color Your Groups, Patterns, Sounds and Scenes (938)18.1.5Consider Using a Limiter on Your Master (938)18.1.6Hook Up Your Other Gear and Sync It with MIDI Clock (938)18.1.7Improvise (938)18.2Basic Techniques (938)18.2.1Use Mute and Solo (938)18.2.2Use Scene Mode and Tweak the Loop Range (939)18.2.3Create Variations of Your Drum Patterns in the Step Sequencer (939)18.2.4Use Note Repeat (939)18.2.5Set Up Your Own Multi-effect Groups and Automate Them (939)18.3Special Tricks (940)18.3.1Changing Pattern Length for Variation (940)18.3.2Using Loops to Cycle Through Samples (940)18.3.3Using Loops to Cycle Through Samples (940)18.3.4Load Long Audio Files and Play with the Start Point (940)19Troubleshooting (941)19.1Knowledge Base (941)19.2Technical Support (941)19.3Registration Support (942)19.4User Forum (942)20Glossary (943)Index (951)1Welcome to MASCHINEThank you for buying MASCHINE!MASCHINE is a groove production studio that implements the familiar working style of classi-cal groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instru-ment, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.Creating beats is often not very intuitive with a computer, but using the MASCHINE hardware controller to do it makes it easy and fun. You can tap in freely with the pads or use Note Re-peat to jam along. Alternatively, build your beats using the step sequencer just as in classic drum machines.Patterns can be intuitively combined and rearranged on the fly to form larger ideas. You can try out several different versions of a song without ever having to stop the music.Since you can integrate it into any sequencer that supports VST, AU, or AAX plug-ins, you can reap the benefits in almost any software setup, or use it as a stand-alone application. You can sample your own material, slice loops and rearrange them easily.However, MASCHINE is a lot more than an ordinary groovebox or sampler: it comes with an inspiring 7-gigabyte library, and a sophisticated, yet easy to use tag-based Browser to give you instant access to the sounds you are looking for.What’s more, MASCHINE provides lots of options for manipulating your sounds via internal ef-fects and other sound-shaping possibilities. You can also control external MIDI hardware and 3rd-party software with the MASCHINE hardware controller, while customizing the functions of the pads, knobs and buttons according to your needs utilizing the included Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go-ing!—The MASCHINE team at Native Instruments.MASCHINE Documentation1.1MASCHINE DocumentationNative Instruments provide many information sources regarding MASCHINE. The main docu-ments should be read in the following sequence:1.MASCHINE Getting Started: This document provides a practical approach to MASCHINE viaa set of tutorials covering easy and more advanced tasks in order to help you familiarizeyourself with MASCHINE.2.MASCHINE Manual (this document): The MASCHINE Manual provides you with a compre-hensive description of all MASCHINE software and hardware features.Additional documentation sources provide you with details on more specific topics:▪Controller Editor Manual: Besides using your MASCHINE hardware controller together withits dedicated MASCHINE software, you can also use it as a powerful and highly versatileMIDI controller to pilot any other MIDI-capable application or device. This is made possibleby the Controller Editor software, an application that allows you to precisely define all MIDIassignments for your MASCHINE controller. The Controller Editor was installed during theMASCHINE installation procedure. For more information on this, please refer to the Con-troller Editor Manual available as a PDF file via the Help menu of Controller Editor.▪Online Support Videos: You can find a number of support videos on The Official Native In-struments Support Channel under the following URL: https:///NIsupport-EN. We recommend that you follow along with these instructions while the respective ap-plication is running on your computer.Other Online Resources:If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help:▪Knowledge Base▪User Forum▪Technical Support▪Registration SupportYou will find more information on these subjects in the chapter Troubleshooting.1.2Document ConventionsThis section introduces you to the signage and text highlighting used in this manual. This man-ual uses particular formatting to point out special facts and to warn you of potential issues. The icons introducing these notes let you see what kind of information is to be expected:This document uses particular formatting to point out special facts and to warn you of poten-tial issues. The icons introducing the following notes let you see what kind of information can be expected:Furthermore, the following formatting is used:▪Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software and paths to locations on your hard disk or other storage devices is printed in italics.▪Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in the software is printed in blue. Whenever you see this formatting applied, you will find the same text appearing somewhere on the screen.▪Text appearing on the displays of the controller is printed in light grey. Whenever you see this formatting applied, you will find the same text on a controller display.▪Text appearing on labels of the hardware controller is printed in orange. Whenever you see this formatting applied, you will find the same text on the controller.▪Important names and concepts are printed in bold.▪References to keys on your computer’s keyboard you’ll find put in square brackets (e.g.,“Press [Shift] + [Enter]”).►Single instructions are introduced by this play button type arrow.→Results of actions are introduced by this smaller arrow.Naming ConventionThroughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer.The term “effect” will sometimes be abbreviated as “FX” when referring to elements in the MA-SCHINE software and hardware. These terms have the same meaning.Button Combinations and Shortcuts on Your ControllerMost instructions will use the “+” sign to indicate buttons (or buttons and pads) that must be pressed simultaneously, starting with the button indicated first. E.g., an instruction such as:“Press SHIFT + PLAY”means:1.Press and hold SHIFT.2.While holding SHIFT, press PLAY and release it.3.Release SHIFT.Unlabeled Buttons on the ControllerThe buttons and knobs above and below the displays on your MASCHINE controller do not have labels.。
外研版选择性必修第一册Unit 5 Using language同步练习
外研版(2019)选修一 unit 5 using language 学校:___________姓名:___________班级:___________考号:___________一、单词拼写1.There is sound _____(科学的) evidence of what certain gases do to the atmosphere.2.The panda's natural _____(栖息地) is the bamboo forest.3.This is the most _____(令人信服的) evidence that I can find to prove my point.4.His books have sold more than 20 million copies _____(遍及全世界).5.A _____(特征) of this animal is its ability to live for a long time without water.二、翻译题6.这些会谈卓有成效, 但还有很多事情要解决。
The talks had been fruitful, but many things _____ _____ _____ _____.7.他刚开始演讲, 听众就打断了他。
_____ had he begun to speak _____ the audience interrupted him.8.我本打算去看你的, 但没能去成。
(intend)I _____ _____ to call on you, but was prevented from doing so.9.她说自从到这儿以来她已取得了很大的进步。
She said she _____ _____ _____ _____ since she came here.10.约翰和简在结婚前就已经彼此认识很长时间了。
syntcp 用法
syntcp 用法syntcp 是一个网络工具,用于在计算机网络中进行 TCP 连接的测试和诊断。
它可用于验证 TCP/IP 网络配置、检测网络延迟和丢包、以及分析网络连接的性能。
下面是使用 syntcp 的一些基本用法。
1. 安装 syntcp 工具。
你可以在官方网站或第三方软件仓库中找到适用于你的操作系统的 syntcp 版本,并按照指示进行安装。
2. 启动 syntcp。
一旦安装完成,你可以打开终端或命令提示符窗口,并输入"syntcp" 命令来启动 syntcp 工具。
3. 创建 TCP 连接。
使用 "syntcp" 命令加上目标服务器的 IP 地址和端口号来创建一个 TCP 连接。
例如,"syntcp 192.168.0.1 80" 将尝试连接到 IP 地址为192.168.0.1、端口号为 80 的服务器。
4. 检测网络延迟和丢包。
在建立连接后,syntcp 将会显示连接的详细信息,包括连接时间、往返时间(RTT)和丢包率等。
这些指标可以帮助你评估网络的性能和稳定性。
5. 分析连接性能。
通过监控 syntcp 的输出,你可以获得连接的吞吐量、带宽和错误率等信息。
这些数据有助于诊断网络连接中的问题和瓶颈,并进行性能优化。
6. 退出 syntcp。
当你完成测试或诊断后,可以按下 Ctrl + C 组合键来退出syntcp 工具。
总之,syntcp 是一个强大的工具,可用于 TCP 连接的测试和分析。
通过了解syntcp 的用法,你可以更好地评估和优化计算机网络的性能。
记得在使用 syntcp 进行测试时,尽量选择合适的环境,避免对生产环境造成不必要的干扰。
NXP SCM-i.MX 6 Series Yocto Linux 用户指南说明书
© 2017 NXP B.V.SCM-i.MX 6 Series Yocto Linux User'sGuide1. IntroductionThe NXP SCM Linux BSP (Board Support Package) leverages the existing i.MX 6 Linux BSP release L4.1.15-2.0.0. The i.MX Linux BSP is a collection of binary files, source code, and support files that can be used to create a U-Boot bootloader, a Linux kernel image, and a root file system. The Yocto Project is the framework of choice to build the images described in this document, although other methods can be also used.The purpose of this document is to explain how to build an image and install the Linux BSP using the Yocto Project build environment on the SCM-i.MX 6Dual/Quad Quick Start (QWKS) board and the SCM-i.MX 6SoloX Evaluation Board (EVB). This release supports these SCM-i.MX 6 Series boards:• Quick Start Board for SCM-i.MX 6Dual/6Quad (QWKS-SCMIMX6DQ)• Evaluation Board for SCM-i.MX 6SoloX (EVB-SCMIMX6SX)NXP Semiconductors Document Number: SCMIMX6LRNUGUser's GuideRev. L4.1.15-2.0.0-ga , 04/2017Contents1. Introduction........................................................................ 1 1.1. Supporting documents ............................................ 22. Enabling Linux OS for SCM-i.MX 6Dual/6Quad/SoloX .. 2 2.1. Host setup ............................................................... 2 2.2. Host packages ......................................................... 23.Building Linux OS for SCM i.MX platforms .................... 3 3.1. Setting up the Repo utility ...................................... 3 3.2. Installing Yocto Project layers ................................ 3 3.3. Building the Yocto image ....................................... 4 3.4. Choosing a graphical back end ............................... 4 4. Deploying the image .......................................................... 5 4.1. Flashing the SD card image .................................... 5 4.2. MFGTool (Manufacturing Tool) ............................ 6 5. Specifying displays ............................................................ 6 6. Reset and boot switch configuration .................................. 7 6.1. Boot switch settings for QWKS SCM-i.MX 6D/Q . 7 6.2. Boot switch settings for EVB SCM-i.MX 6SoloX . 8 7. SCM uboot and kernel repos .............................................. 8 8. References.......................................................................... 8 9.Revision history (9)Enabling Linux OS for SCM-i.MX 6Dual/6Quad/SoloX1.1. Supporting documentsThese documents provide additional information and can be found at the NXP webpage (L4.1.15-2.0.0_LINUX_DOCS):•i.MX Linux® Release Notes—Provides the release information.•i.MX Linux® User's Guide—Contains the information on installing the U-Boot and Linux OS and using the i.MX-specific features.•i.MX Yocto Project User's Guide—Contains the instructions for setting up and building the Linux OS in the Yocto Project.•i.MX Linux®Reference Manual—Contains the information about the Linux drivers for i.MX.•i.MX BSP Porting Guide—Contains the instructions to port the BSP to a new board.These quick start guides contain basic information about the board and its setup:•QWKS board for SCM-i.MX 6D/Q Quick Start Guide•Evaluation board for SCM-i.MX 6SoloX Quick Start Guide2. Enabling Linux OS for SCM-i.MX 6Dual/6Quad/SoloXThis section describes how to obtain the SCM-related build environment for Yocto. This assumes that you are familiar with the standard i.MX Yocto Linux OS BSP environment and build process. If you are not familiar with this process, see the NXP Yocto Project User’s Guide (available at L4.1.15-2.0.0_LINUX_DOCS).2.1. Host setupTo get the Yocto Project expected behavior on a Linux OS host machine, install the packages and utilities described below. The hard disk space required on the host machine is an important consideration. For example, when building on a machine running Ubuntu, the minimum hard disk space required is about 50 GB for the X11 backend. It is recommended that at least 120 GB is provided, which is enough to compile any backend.The minimum recommended Ubuntu version is 14.04, but the builds for dizzy work on 12.04 (or later). Earlier versions may cause the Yocto Project build setup to fail, because it requires python versions only available on Ubuntu 12.04 (or later). See the Yocto Project reference manual for more information.2.2. Host packagesThe Yocto Project build requires that the packages documented under the Yocto Project are installed for the build. Visit the Yocto Project Quick Start at /docs/current/yocto-project-qs/yocto-project-qs.html and check for the packages that must be installed on your build machine.The essential Yocto Project host packages are:$ sudo apt-get install gawk wget git-core diffstat unzip texinfo gcc-multilib build-essential chrpath socat libsdl1.2-devThe i.MX layers’ host packages for the Ubuntu 12.04 (or 14.04) host setup are:$ sudo apt-get install libsdl1.2-dev xterm sed cvs subversion coreutils texi2html docbook-utils python-pysqlite2 help2man make gcc g++ desktop-file-utils libgl1-mesa-dev libglu1-mesa-dev mercurial autoconf automake groff curl lzop asciidocThe i.MX layers’ host packages for the Ubuntu 12.04 host setup are:$ sudo apt-get install uboot-mkimageThe i.MX layers’ host packages for the Ubuntu 14.04 host s etup are:$ sudo apt-get install u-boot-toolsThe configuration tool uses the default version of grep that is on your build machine. If there is a different version of grep in your path, it may cause the builds to fail. One workaround is to rename the special versi on to something not containing “grep”.3. Building Linux OS for SCM i.MX platforms3.1. Setting up the Repo utilityRepo is a tool built on top of GIT, which makes it easier to manage projects that contain multiple repositories that do not have to be on the same server. Repo complements the layered nature of the Yocto Project very well, making it easier for customers to add their own layers to the BSP.To install the Repo utility, perform these steps:1.Create a bin folder in the home directory.$ mkdir ~/bin (this step may not be needed if the bin folder already exists)$ curl /git-repo-downloads/repo > ~/bin/repo$ chmod a+x ~/bin/repo2.Add this line to the .bashrc file to ensure that the ~/bin folder is in your PATH variable:$ export PATH=~/bin:$PATH3.2. Installing Yocto Project layersAll the SCM-related changes are collected in the new meta-nxp-imx-scm layer, which is obtained through the Repo sync pointing to the corresponding scm-imx branch.Make sure that GIT is set up properly with these commands:$ git config --global "Your Name"$ git config --global user.email "Your Email"$ git config --listThe NXP Yocto Project BSP Release directory contains the sources directory, which contains the recipes used to build, one (or more) build directories, and a set of scripts used to set up the environment. The recipes used to build the project come from both the community and NXP. The Yocto Project layers are downloaded to the sources directory. This sets up the recipes that are used to build the project. The following code snippets show how to set up the SCM L4.1.15-2.0.0_ga Yocto environment for the SCM-i.MX 6 QWKS board and the evaluation board. In this example, a directory called fsl-arm-yocto-bsp is created for the project. Any name can be used instead of this.Building Linux OS for SCM i.MX platforms3.2.1. SCM-i.MX 6D/Q quick start board$ mkdir fsl-arm-yocto-bsp$ cd fsl-arm-yocto-bsp$ repo init -u git:///imx/fsl-arm-yocto-bsp.git -b imx-4.1-krogoth -m scm-imx-4.1.15-2.0.0.xml$ repo sync3.2.2. SCM-i.MX 6SoloX evaluation board$ mkdir my-evb_6sxscm-yocto-bsp$ cd my-evb_6sxscm-yocto-bsp$ repo init -u git:///imx/fsl-arm-yocto-bsp.git -b imx-4.1-krogoth -m scm-imx-4.1.15-2.0.0.xml$ repo sync3.3. Building the Yocto imageNote that the quick start board for SCM-i.MX 6D/Q and the evaluation board for SCM-i.MX 6SoloX are commercially available with a 1 GB LPDDR2 PoP memory configuration.This release supports the imx6dqscm-1gb-qwks, imx6dqscm-1gb-qwks-rev3, and imx6sxscm-1gb-evb. Set the machine configuration in MACHINE= in the following section.3.3.1. Choosing a machineChoose the machine configuration that matches your reference board.•imx6dqscm-1gb-qwks (QWKS board for SCM-i.MX 6DQ with 1 GB LPDDR2 PoP)•imx6dqscm-1gb-qwks-rev3 (QWKS board Rev C for SCM-i.MX 6DQ with 1GB LPDDR2 PoP) •imx6sxscm-1gb-evb (EVB for SCM-i.MX 6SX with 1 GB LPDDR2 PoP)3.4. Choosing a graphical back endBefore the setup, choose a graphical back end. The default is X11.Choose one of these graphical back ends:•X11•Wayland: using the Weston compositor•XWayland•FrameBufferSpecify the machine configuration for each graphical back end.The following are examples of building the Yocto image for each back end using the QWKS board for SCM-i.MX 6D/Q and the evaluation board for SCM-i.MX 6SoloX. Do not forget to replace the machine configuration with what matches your reference board.3.4.1. X11 image on QWKS board Rev C for SCM-i.MX 6D/Q$ DISTRO=fsl-imx-x11 imx6dqscm-1gb-qwks-rev3 source fsl-setup-release.sh -b build-x11$ bitbake fsl-image-gui3.4.2. FrameBuffer image on evaluation board for SCM-i.MX 6SX$ DISTRO=fsl-imx-fb MACHINE=imx6sxscm-1gb-evb source fsl-setup-release.sh –b build-fb-evb_6sxscm$ bitbake fsl-image-qt53.4.3. XWayland image on QWKS board for SCM-i.MX 6D/Q$ DISTRO=fsl-imx-xwayland MACHINE=imx6dqscm-1gb-qwks source fsl-setup-release.sh –b build-xwayland$ bitbake fsl-image-gui3.4.4. Wayland image on QWKS board for SCM-i.MX 6D/Q$ DISTRO=fsl-imx-wayland MACHINE=imx6dqscm-1gb-qwks source fsl-setup-release.sh -b build-wayland$ bitbake fsl-image-qt5The fsl-setup-release script installs the meta-fsl-bsp-release layer and configures theDISTRO_FEATURES required to choose the graphical back end. The –b parameter specifies the build directory target. In this build directory, the conf directory that contains the local.conf file is created from the setup where the MACHINE and DISTRO_FEATURES are set. The meta-fslbsp-release layer is added into the bblayer.conf file in the conf directory under the build directory specified by the –e parameter.4. Deploying the imageAfter the build is complete, the created image resides in the <build directory>/tmp/deploy/images directory. The image is (for the most part) specific to the machine set in the environment setup. Each image build creates the U-Boot, kernel, and image type based on the IMAGE_FSTYPES defined in the machine configuration file. Most machine configurations provide the SD card image (.sdcard), ext4, and tar.bz2. The ext4 is the root file system only. The .sdcard image contains the U-Boot, kernel, and rootfs, completely set up for use on an SD card.4.1. Flashing the SD card imageThe SD card image provides the full system to boot with the U-Boot and kernel. To flash the SD card image, run this command:$ sudo dd if=<image name>.sdcard of=/dev/sd<partition> bs=1M && syncFor more information about flashing, see “P reparing an SD/MMC Card to Boot” in the i.MX Linux User's Guide (document IMXLUG).Specifying displays4.2. MFGTool (Manufacturing Tool)MFGTool is one of the ways to place the image on a device. To download the manufacturing tool for the SCM-i.MX 6D/Q and for details on how to use it, download the SCM-i.MX 6 Manufacturing Toolkit for Linux 4.1.15-2.0.0 under the "Downloads" tab from /qwks-scm-imx6dq. Similarly, download the manufacturing tool for the SCM-i.MX 6SoloX evaluation board under the "Downloads" tab from /evb-scm-imx6sx.5. Specifying displaysSpecify the display information on the Linux OS boot command line. It is not dependent on the source of the Linux OS image. If nothing is specified for the display, the settings in the device tree are used. Find the specific parameters in the i.MX 6 Release Notes L4.1.15-2.0.0 (available at L4.1.15-2.0.0_LINUX_DOCS). The examples are shown in the following subsections. Interrupt the auto-boot and enter the following commands.5.1.1. Display options for QWKS board for SCM-i.MX 6D/QHDMI displayU-Boot > setenv mmcargs 'setenv bootargs console=${console},${baudrate} ${smp}root=${mmcroot} video=mxcfb0:dev=hdmi,1920x1080M@60,if=RGB24'U-Boot > run bootcmd5.1.2. Display options for EVB for SCM-i.MX 6SXNote that the SCM-i.MX 6SX EVB supports HDMI with a HDMI accessory card (MCIMXHDMICARD) that plugs into the LCD connector on the EVB.Accessory boards:•The LVDS connector pairs with the NXP MCIMX-LVDS1 LCD display board.•The LCD expansion connector (parallel, 24-bit) pairs with the NXP MCIMXHDMICARD adapter board.LVDS displayU-Boot > setenv mmcargs 'setenv bootargs console=${console},${baudrate} ${smp}root=${mmcroot} ${dmfc} video=mxcfb0:dev=ldb,1024x768M@60,if=RGB666 ldb=sep0'U-Boot > run bootcmdHDMI display (dual display for the HDMI as primary and the LVDS as secondary)U-Boot > setenv mmcargs 'setenv bootargs console=${console},${baudrate} ${smp}root=${mmcroot} video=mxcfb0:dev=hdmi,1920x1080M@60,if=RGB24video=mxcfb1:dev=ldb,LDBXGA,if=RGB666'U-Boot > run bootcmdLCD displayu-boot > setenv mmcargs 'setenv bootargs ${bootargs}root=${mmcroot} rootwait rw video=mxcfb0:dev=lcd,if=RGB565'u-boot> run bootcmd6. Reset and boot switch configuration6.1. Boot switch settings for QWKS SCM-i.MX 6D/QThere are two push-button switches on the QWKS-SCMIMX6DQ board. SW1 (SW3 for QWKS board Rev B) is the system reset that resets the PMIC. SW2 is the i.MX 6Dual/6Quad on/off button that is needed for Android.There are three boot options. The board can boot either from the internal SPI-NOR flash inside the SCM-i.MX6Dual/6Quad or from either of the two SD card slots. The following table shows the switch settings for the boot options.Table 1.Boot configuration switch settingsBoot from top SD slot (SD3)Boot from bottom SD slot (SD2)Boot from internal SPI NORDefault1.References6.2. Boot switch settings for EVB SCM-i.MX 6SoloXThis table shows the jumper configuration to boot the evaluation board from the SD card slot SD3.7. SCM uboot and kernel repositoriesThe kernel and uboot patches for both SCM-i.MX 6 QWKS board and evaluation board are integrated in specific git repositories. Below are the git repos for SCM-i.MX 6 uboot and kernel:uBoot repo: /git/cgit.cgi/imx/uboot-imx.gitSCM Branch: scm-imx_v2016.03_4.1.15_2.0.0_gakernel repo: /git/cgit.cgi/imx/linux-imx.gitSCM branch: scm-imx_4.1.15_2.0.0_ga8. References1.For details about setting up the Host and Yocto Project, see the NXP Yocto Project User’s Guide(document IMXLXYOCTOUG).2.For information about downloading images using U-Boot, see “Downloading images usingU-Boot” in the i.MX Linux User's Guide (document IMXLUG).3.For information about setting up the SD/MMC card, see “P reparing an SD/MMC card to boot” inthe i.MX Linux User's Guide (document IMXLUG).9. Revision historyDocument Number: SCMIMX6LRNUGRev. L4.1.15-2.0.0-ga04/2017How to Reach Us: Home Page: Web Support: /supportInformation in this document is provided solely to enable system and softwareimplementers to use NXP products. There are no express or implied copyright licenses granted hereunder to design or fabricate any integrated circuits based on the information in this document. NXP reserves the right to make changes without further notice to any products herein.NXP makes no warranty, representation, or guarantee regarding the suitability of its products for any particular purpose, nor does NXP assume any liability arising out of the application or use of any product or circuit, and specifically disclaims any and all liability, including without limitation consequentia l or incidental damages. “Typical”parameters that may be provided in NXP data sheets and/or specifications can and do vary in different applications, and actual performance may vary over time. All operating parameters, including “typicals,” must be valida ted for each customer application by customer’s technical experts. NXP does not convey any license under its patent rights nor the rights of others. NXP sells products pursuant to standard terms and conditions of sale, which can be found at the following address: /SalesTermsandConditions .NXP, the NXP logo, NXP SECURE CONNECTIONS FOR A SMARTER WORLD, Freescale, and the Freescale logo are trademarks of NXP B.V. All other product or service names are the property of their respective owners.ARM, the ARM Powered logo, and Cortex are registered trademarks of ARM Limited (or its subsidiaries) in the EU and/or elsewhere. All rights reserved. © 2017 NXP B.V.。
hyperscan 逻辑组合 例子
hyperscan 逻辑组合例子hyperscan 逻辑组合例子在使用 hyperscan 进行正则表达式匹配时,逻辑组合可以帮助我们更灵活地匹配目标字符串。
以下是一些示例,展示了如何使用逻辑组合来构建更复杂的匹配规则。
1. 逻辑“与”操作逻辑“与”操作的符号是&,它可以用来将两个或多个正则表达式合并在一起,要求每个表达式都匹配。
例如,我们想要匹配同时包含单词“apple” 和“banana” 的字符串,可以使用以下正则表达式:•apple & banana这样,只有同时包含“apple” 和“banana” 的字符串才会被匹配。
2. 逻辑“或”操作逻辑“或”操作的符号是|,它可以用来将两个或多个正则表达式合并在一起,只要其中一个表达式匹配就可以。
例如,我们想要匹配包含单词“apple” 或“banana” 的字符串,可以使用以下正则表达式:•apple | banana这样,只要字符串中包含“apple” 或“banana” 即可匹配。
3. 使用括号进行分组在逻辑组合中,我们可以使用括号来明确优先级,从而构建更复杂的逻辑。
例如,我们想要匹配同时包含“apple” 和“banana”,或者同时包含“cherry” 和“grape” 的字符串,可以使用以下正则表达式:•(apple & banana) | (cherry & grape)这样,对于字符串来说,它可以同时包含“apple” 和“banana”,或者同时包含“cherry” 和“grape”,任意一种情况都可以匹配。
4. 使用逻辑非逻辑非操作的符号是~,它可以用来否定一个正则表达式的匹配结果。
例如,我们想要匹配不包含“apple” 的字符串,可以使用以下正则表达式:•~apple这样,所有不包含“apple” 的字符串都可以匹配。
总结通过逻辑组合,我们可以使用&、|、~等符号,将多个正则表达式合并在一起,从而构建出更灵活、复杂的匹配规则。
DS2208数字扫描器产品参考指南说明书
-05 Rev. A
6/2018
Rev. B Software Updates Added: - New Feedback email address. - Grid Matrix parameters - Febraban parameter - USB HID POS (formerly known as Microsoft UWP USB) - Product ID (PID) Type - Product ID (PID) Value - ECLevel
-06 Rev. A
10/2018 - Added Grid Matrix sample bar code. - Moved 123Scan chapter.
-07 Rev. A
11/2019
Added: - SITA and ARINC parameters. - IBM-485 Specification Version.
No part of this publication may be reproduced or used in any form, or by any electrical or mechanical means, without permission in writing from Zebra. This includes electronic or mechanical means, such as photocopying, recording, or information storage and retrieval systems. The material in this manual is subject to change without notice.
nmap命令-----高级用法
nmap命令-----⾼级⽤法探测主机存活常⽤⽅式(1)-sP :进⾏ping扫描打印出对ping扫描做出响应的主机,不做进⼀步测试(如端⼝扫描或者操作系统探测):下⾯去扫描10.0.3.0/24这个⽹段的的主机nmap -sP 10.0.3.0/24这个命令可以⽤于探测局域⽹有哪些机器[root@B ~]# nmap -sP 10.0.3.0/24Starting Nmap 5.51 ( ) at 2016-12-29 11:24 CSTNmap scan report for 10.0.3.1Host is up (0.0079s latency).Nmap scan report for 10.0.3.2Host is up (0.0046s latency).Nmap scan report for 10.0.3.3Host is up (0.0037s latency).Nmap done: 256 IP addresses (3 hosts up) scanned in 10.01 seconds[root@B ~]#(2) -sn:-sn: Ping Scan - disable port scan #ping探测扫描主机,不进⾏端⼝扫描(测试过对⽅主机把icmp包都丢弃掉,依然能检测到对⽅开机状态)[root@B ~]# nmap -sn 10.0.1.161-166Starting Nmap 5.51 ( ) at 2016-12-29 11:25 CSTNmap scan report for 10.0.1.161Host is up (0.00076s latency).MAC Address: 00:0C:29:56:DE:46 (VMware)Nmap scan report for 10.0.1.162Host is up.Nmap done: 6 IP addresses (2 hosts up) scanned in 0.76 seconds[root@B ~]#(3)-sAnmap 10.0.1.161 -sA (发送tcp的ack包进⾏探测,可以探测主机是否存活)[root@B ~]# nmap 10.0.1.161 -sAStarting Nmap 5.51 ( ) at 2016-12-29 13:55 CSTNmap scan report for 10.0.1.161Host is up (0.00030s latency).All 1000 scanned ports on 10.0.1.161 are unfilteredMAC Address: 00:0C:29:56:DE:46 (VMware)Nmap done: 1 IP address (1 host up) scanned in 1.53 seconds[root@B ~]# nmap 10.0.1.166 -sAStarting Nmap 5.51 ( ) at 2016-12-29 13:55 CSTNote: Host seems down. If it is really up, but blocking our ping probes, try -PnNmap done: 1 IP address (0 hosts up) scanned in 0.51 seconds[root@B ~]#端⼝扫描的⾼级⽤法 (1) -sS :半开放扫描(⾮3次握⼿的tcp扫描)使⽤频率最⾼的扫描选项:SYN扫描,⼜称为半开放扫描,它不打开⼀个完全的TCP连接,执⾏得很快,效率⾼(⼀个完整的tcp连接需要3次握⼿,⽽-sS选项不需要3次握⼿)Tcp SYN Scan (sS) 它被称为半开放扫描优点:Nmap发送SYN包到远程主机,但是它不会产⽣任何会话,⽬标主机⼏乎不会把连接记⼊系统⽇志。
nmap的syn扫描参数
nmap的syn扫描参数Nmap是一款功能强大的开源网络扫描器,它广泛应用于网络安全领域。
其中,SYN扫描是Nmap中最基本和最常用的扫描技术之一。
SYN 扫描可以帮助用户探测网络中开放的端口和运行的服务,提供了快速、灵活和隐蔽的方式来获取目标主机的信息。
SYN(Synchronize)是TCP(Transmission Control Protocol)协议中的一个标志位,用于建立连接时的同步显示。
SYN扫描利用了TCP协议三次握手的过程来判断目标主机的端口开放情况,而无需完全建立正常的TCP连接。
下面将介绍Nmap中常用的与SYN扫描相关的参数及其作用:1. -sS(或--syn):此参数指定使用SYN扫描方式进行端口探测。
这是Nmap默认的扫描方式,可以直接使用`nmap target_ip`来执行SYN扫描。
2. -p<端口>(或--port=<端口>):此参数指定要扫描的端口范围。
可以指定单个端口,例如-p80,也可以指定多个端口,例如-p80,443,还可以使用端口范围,例如-p1-100。
默认情况下,Nmap会扫描一些常用的端口(默认1000个),如果需要扫描更多的端口,可以使用此参数。
3. -p-(或--port-):此参数表示扫描所有的65535个端口。
使用此参数时需要小心,因为扫描过程可能非常耗时。
4. -sT(或--tcp-connect):此参数表示使用TCP连接扫描方式,与SYN扫描相比,它会完全建立TCP连接并等待响应。
这种方式的优点是准确性高,缺点是扫描速度相对较慢,且会遗留连接跟踪记录。
5. -sA(或--ack):此参数表示使用ACK扫描方式。
ACK (Acknowledgement)是TCP协议中的一个标志位,用于确认接收到的数据。
ACK扫描可以帮助确定防火墙规则和过滤器的存在,但并不能直接显示端口的开放情况。
在Nmap中,ACK扫描默认使用TCP端口80。
IBM Cognos Transformer V11.0 用户指南说明书
交换机命令配置手册 北京博维
工业以太网交换机 命令行配置手册
1
目
第1章 1.1 1.2 1.2.1 1.2.2 1.2.3 1.2.4 第2章 2.1 2.1.1 2.1.2 2.1.3 2.2 2.3 2.3.1 2.3.2 2.3.3 2.4 2.4.1 2.4.2 2.4.3 2.4.4 第3章 3.1 3.2 3.2.1 3.2.2 3.2.3 3.2.4 3.2.5 第4章 4.1 4.1.1 4.1.2 4.1.3 4.2 4.2.1 4.2.2
系统软件管理...................................................................................................................... 4 配置文件管理...................................................................................................................... 4 典型配置举例...................................................................................................................... 4
UVM1.1应用指南及源代码分析_20111211版
6.2. 强大的config .............................................................................................94
6.3. 聚合config变量 .........................................................................................98
写这本书,只是想把自己会的一点东西完全的落于纸上。在努力学习 UVM 的 过程中,自己花费了很多时间和精力。我只想把学习的心得记录下来,希望能够给 后来的人以启发。如果这本书能够给一个人带来一点点的帮助,那么我的努力就不 算是白费。
这本书的前半部分(第 1 到第 9 章)介绍了 UVM 的使用,其用户群较为广泛;
8.2. 搭建一个简单的register model...............................................................129
8.3. 复杂的register model...............................................................................137
函数索引609xvi图目录图11uvm在数字电路设计中的位置3图12uvm对systemverilog的封装4图13简单验证平台5图14uvm验证平台的树形结构6图15实际验证平台7图16packbytes和unpackbytes14图17uvm验证平台中的agent181图21完整的uvm树35图22uvm中常用类的继承关系37图31uvm中的常用phase47图32uvm中所有的phase50图33两个driver位于同一domain57图34两个driver位于不同的domain58图41穿梭的transaction60图51defaultsequence的设置与启动77图52sequencer与driver之间的通信80图53virtualsequence的使用85图61半全局变量93图71monitor与scoreboard的通信104图72使用public成员变量实现通信105图73put操作106图74get操作106xvii图75transport操作107图76component在端口通信中的作用109图77connect关系的建立110图78port与imp的连接111图79portexport与imp的连接115图710使用fifo连接component122图81uvmregfield和uvmreg126图82使用registermodel读取寄存器的流程128图83uvmregfield
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Chemical synapsesSpikes,the voltage pulses that carry signals from neuron to neuron,are notably stereotypi-cal;there aren’t big spikes and small spikes,to a good approximation,there are just spikes. However,the effect one neuron has on the other can vary considerably,not just from neuron to neuron,but from time to time.This variablity can occur because of chemical synapses, the complicated biochemical machinery responsible for connect the axon of one neuron to the dendrite of another.Chemical synapses are not the only synapses,there are also gap junction.If an axon is connected to a dendrite by a gap junction there is a small hole directly connecting the inside of one neuron through to the inside of the other,usually this means that the axon of one neuron is connected to the dentrite of the other,though axon to axon gap junctions are also found.For an axon to dentrite gap junction this means that when a spike travelling along the axon reaches the gap junction some of the charged ions diffuse through the gap changing the charge in the dendrite.In some simple animals like jellyfish most or all of the synapses are gap junctions.There are gap junctions in the mammalian brain,for example gap junctions are thought to be responsible for the dynamics which supports very rapid oscillations in the hippocampus,however,most of the synapses in the mammalian brain are chemical synapses. We will see that this allows a more variable effect of a pre-synaptic spike on the voltage of the post-synaptic dendrite.In a chemical synapse the pre-synaptic spike does not effect the post-synaptic voltage directly, instead it causes a cascade of bio-electrodynamics events which ultimately causes a transient change in conductance of the post-synaptic membrane.Roughly,the synapse consists of a protuberance in the axon called the terminal bouton,the terminal bouton is held by astocyte,supporting non-neuronal brain cells,so that it is separated by a tiny gap,called the synaptic cleft from a bump in the dendrite called the dendritic spine. The terminal bouton isfilled with tiny bags or bubbles called vesicles,these contain special molecules called neurotransmitters.When a spike arrives at the terminal bouton it causes calcium gates to open in the cellular membrane,the resulting influx of calcium ions causes some of the vesicles to migrate to the membrane separating the bouton from the synaptic cleft, they burst releasing neurotransmitter into the cleft.The membrane of the dendritic is pieced by gated ion channels;these are ligand gated channels.This means that they contain a receptor site which binds with a particular type of molecule,like a key designed for the receptor site’s lock.When the receptor has a molecule bound to it,the gate is open and so ions can pass through the channel,like the other channels we have seen the channel is ion specific,so only one type of ion can pass through it.In the case of the ligand-gated channels in the dendritic spine,the neurotransmitter binds with the receptor,opening the gate.Hence,after a spike arrives at the synapse the cleft isfilled with neurotransmitter and some of that neurotransmitter binds to the gated channels,causing them to open.This in turn allows aflow of ions in or out of the dendrite,changing the voltage there.A cartoon of a ligand-gated channel is given in Fig.2.Which ion and which direction,depends on the synapses,we will return to that.For now, though,let us continue describing what happen;after the neurotransmitterfloods the cleft it is quickly reabsorbed though neurotransmitter reuptake pumps.Some of the neurotransmitter is absorbed into the bouton,some into the spine and some is absorbed by the astrocyte,the important thing is that the concentration of neurotransmitter in the cleft falls rapidly.Now, thefluid of the cleft has little neurotransmitter,but there is still neurotransmitter bound to1Figure1:The major parts of the synapse;this shows a vesicle bursting,releasing neurotrans-mitter into the cleft,this will bind with the ligand-gated channels to allow a currentacross the membrane of the dendrite.Reuptake pumps are shown in the bouton andthe spine,there are also pumps in the astrocyte that surrounds the cleft but isn’tshown here.Some is also lost to diffusion.[Diagram modified from one in wikipedia.]the receptors of the ligand gated channels.This gradually unbinds,this is usually imagined to be a random process,because of the Brownian motion of molecules in thefluid of the cleft and the thermal vibration of the receptor itself,the neurotransmitters unbind as the result of random collisions and thermal variations.As they do so,the channels close again and the conductivity of the dendritic spine’s membrane falls back towards zero.Post-synaptic potentialOne important property of neurons is that a given neuron is either excitatory or inhibitory.If a neuron is excitatory,this means all its synapses are excitatory,that is,they make the post-synaptic neuron more likely to spike by increasing its voltage.In an excitatory neuron opening the ligand-gated channels causes a positive current into the cell,typically this means that they are sodium or calcium channels,so that when they open positive sodium or calcium ionsflow into the dendrite.Conversely,if a neuron is inhibitory all its synapses are inhibitory,they make the post-synaptic cell less likely tofire by decreasing its voltage.In an inhibitory synapse opening the ligand-gated channels causes a positiveflow out of the dendrite,lowering the voltage.Typically inhibitory channels are either potassium gates,allowing postive potassium to leave the dendrite,or chlorine gates,allowing negatively charged chlorine toflow in.The post-synaptic change in potential that results from a pre-synaptic spike is called a post-synaptic potential;if the synapse is excitatory this is called an excitatory post-synaptic potential or EPSP,if it is inhibitory it is called an inhibitory post-synaptic potential or IPSP. The profile of PSPs reflects the neurotransmitter dynamics,it rises fast as the neurotransmitter floods the cleft and the ion-channels open,it then decays back to zero following an exponential decay,reflecting the constant rate unbinding process:since any bound molecule has a constant2Figure2:Sketch of a ligand-gated channel;when the neurotransmitter,the ligand,binds to the gate it opens allowing the ions to pass through.This is a Calcium channel,calcium,like sodium,is found in higher concentrations outside the cell so the chemicalgradient,as well as the voltage gradient,means these ionsflow into the cell fromoutside,increasing its potential.This is therefore part of an excitatory synapse.Inhibitory synapses have ligand-gated potassium and chlorine channels,potassium,as we have discussed,is at a higher concentration inside the cell and so willflow out,depending on the voltage gradient,lowering the potential inside the cell.Chlorine isat a higher concentration outside the cell but is a negative ion,so when itflows in italso lowers the potential.[Diagram modified from wikipedia.]300.0010.0020.0030.00400.020.040.060.080.1s (t )t t exp (−t/0.01)Figure 3:The α-function profile often used to model synaptic conductances,shown here withτm =10ms.probability of shaking free the number of unbinding events depends on the number of bound molecules,giving an exponential decay.Often the post-synaptic condutivity is taken to be a what is called an alpha function:I s (t )=g s s (t )(E s −V )(1)where I s (t )is the synpatic current,E s is the reversal potential of the synapse and g s s (t )is the conductance,g s is a constant describing the strength of the synapse and s (t )iss (t )=te −t/τs (2)where τs is a time scale,see Fig.3.Basically the rising part of the αfunction models the period when there is neurotransmitter in the cleft,this is binding to the channels increasing the conductance;the falling part represents the period where the unbound neurotransmitter has been cleared from the cleft and the bound neurotransmitter is unbinding randomly due to the thermal motion of molecules.It is possible to understand these dynamics in terms of the bucket-like equations we have examined before,but this won’t be done here.It is also common to leave out the rising part and just model the conductance asτs ds dt =−s (3)withs (t )→s (t )+1(4)whenever there is a spike.4The complexity of synapsesThe chemical synapse is complicated and there are many details of the synapse that can effect the dynamics.For example,the strength of the synapse,that is,the amplitude of the change in conductance that follows a pre-synaptic spike,depends on the number of vesicles released, on the size of the cleft,the speed of reuptake and the number of ligand-gated channels;the shape and duration of the PSP depends on the detailed dynamics of binding,reuptake and unbinding and the effect of the PSP on the post-synaptic soma depends on the shape of the dendritic tree and the details of the diffusive process which conducts the PSP to the soma,a distal synapse will have a different effect to a proximal one.The shape of the dendritic spine can alsofilter the PSP,modulating its shape.Some aspects of synaptic dynamics vary from synapse to synapse;usually the length of a timescale depends on the neurotransmitter and receptor;excitatory synapses tend to have shorter time constants than inhibitory ones,but excitatory synapses have two common re-ceptors for glutamate,the most common excitatory transmitter:NMDA-receptors which are quick and AMPA receptors,which are slow.In the case of inhibitory synapses the most com-mon transmitter is called GABA and the common receptors are the simpler GABA-A receptor and the more complicated GABA-B receptors.We will see that some special synapses release neuromodulators rather than neurotransmitters;these often change behaviors in subtler ways. There are typically spike-to-spike effects usually described as short term plasticity,for ex-ample if two spikes arrive one soon after the other,thefirst might have already opened a substantial quantity of the gates,reducing the effect of the second.If there is a high rate of pre-synaptic spike arrivals the vesicles may be depleted reducing the size of PSPs,this is called short term depression;sometimes the opposite is true,the build up of calcium ions in response to a high rate of pre-synaptic spiking can increase the size of PSPs,this is short term facilitation.Short term plastic effects,with timescales of10ms up to seconds are thought to play an important role in neural computation[1].This short term plasticity is usually distin-guished from long term plasticity,the long term changes in the structure of the synapses that are thought to be responsible for learning and development in the brain.Synaptic plasticitySynaptic plasticity usually refers to the long-term changes in synapse strength,an long term increase in synaptic strength is called long term potentiation of LTP,a decrease is called long term depression or LTD.It is believed that synapses respond to their pre-and post-synaptic activity,so that the changes depend on the behavior of the pre-and post-synaptic neurons.It is not known in detail what rules govern this plasticity,it seems different neurons have different plasticity rules.The closest thing to an overall rule was formulated by Hebb in1949when he said[2]: Let us assume that the persistence or repetition of a reverberatory activity(or‘trace’)tends to induce lasting cellular changes that add to its stability.[...]Whenan axon of cell A is near enough to excite a cell B and repeatedly or persistentlytakes part infiring it,some growth process or metabolic change takes place in oneor both cells such that A’s efficiency,as one of the cellsfiring B,is increased.In other words,if one neurons tends to cause another tofire,the synapse from thefirst to the second will get stronger.In artificial neural networks the nodes,modelling neurons,often lack5spiking dynamics and so have a continuous state or rate variable;since Hebbian plasticity often plays a role in artificial neural networks it is often applied to a rule that strengthens synapses between neurons that are active at the same time,that is,the explicit causal structure is ignored in favor ofNeurons thatfire together wire together.This leads to a plasticity ruleδw ij=ηx i x j(5) where w ij is the strength of the synapse from neuron i to neuron j,x i and x j are the states of the two neurons andηis a learning rate.Another version isK orδw ij=η(x i−θ)(x j−θ)(6) whereθis a threshold,this allows negative changes,when x i>θand x j<θ,or visa versa.Spike-timing dependent plasticityThe late nineties saw a revival of interest in causal,spike-timing dependent plasticity(STDP).A series of papers pointed to experimental evidence for timing effects in plasticity[3,4,5, 6,7]including a definitive demonstration of a STDP changes in vitro in[4],the observation of asymmetric STDP in vivo in developing Xenopus in[8]and a clear graph of the time dependence of plastic changes in vitro in[9].The famous graph of STDP is shown in Fig.4.This shows measurements of plastic changes made in an in vitro preparation.Electrodes are inserted into two synaptically connected cells and currents are used to cause both to spike periodically with a gap ofδt between the pre-and post-synaptic spikes.This causes the synaptic strength to change,if the pre-synaptic spike precedes the post-synaptic spike the synapse gets stronger with the degree of strengthening depending on the size of|δt|,the bigger the gap the smaller the effect with a roughly exponential profile.The opposite is observed if the pre-synaptic spike arrives after the post-synaptic spike has left,in this case the synapse gets weaker,again the size of the effect falls like an exponential as|δt|gets bigger.There are lots of caveats to be added to this,it is quite an artificial situation,in vitro with periodic spiking;since the changes are only tracked over a show period it isn’t clear whether the changes are additivew→w+δw(7) or multiplicativew→λw w(8) However,it does give a striking picture of how STDP might work.In fact,an example of how STDP might support unsupervized learning was given in[10,11].A toy model is introduced with multiple neuron inputs feeding forward to a single integrate-and-fire neuron.The inputs are divided into two groups and given a correlation structure so that inputs in the same group are more likely to spike at roughly the same time.This is sketched in Fig.5.The synapses are then adjusted according to a simple STDP rule.It is seen that one of the two groups‘wins out’,its synapses get stronger while the synapses corresponding to the other group gets weaker.Basically if one group,by chance,is slightly more likely to cause the post-synaptic neuron to spike than the other,then the post-synaptic spikes are more likely to occur after the pre-synaptic spikes for that group,so the synapses will get stronger,increasing the effect.6Figure 4:Spike timing dependent plasticity.This shows the change in synapse strength as afunction of the timing gap between the pre-and post-synaptic spike.retinal layer 500500Figure 5:The STDP of Song and Abbott.1000input neurons,refered to as retinal neurons,feed forward to a single V1neuron.The retinal neurons are divided into two groups:the first 500and the second 500,the two groups provide noisy output,these give the input to the V1neuron.The inputs from neurons in the same group are correllated,meaning they are more likely to be similar to each other in their activity than neurons from different groups.7before00.20.40.60.8105001000synapse index i after 00.20.40.60.8105001000synapse indexi Figure 6:Synapse strengths before and after in Song and Abbotts simple model.At first theyare all random,after the STDP has had an effect the synapses from one of the two groups have approached their maximum value,the others are near zero.References[1]Abbott LF,Varela JA,Sen K and Nelson SB.(1997)Synaptic depression and corticalgain control.Science,275:221–224.[2]Hebb DO.(1949)The Organization of Behavior.New York:Wiley &Sons.[3]Markram H,Sakmann B (1995)Action potentials propogating back into dendrites triggerschanges in efficacy of single-axon synapses between layer V pyramidal cells.Society of Neuroscience Abstract 21.[4]Markram H,L¨u bke J,Frotscher M,Sakmann B (1997)Regulation of synaptic efficacy bycoincidence of postsynaptic aps and epsps.Science 275:213-215.[5]Bell CC,Han VZ,Sugawara Y,Grant K (1997)Synaptic plasticity in a cerebellum-likestructure depends on temporal order.Nature 387:278–281.[6]Magee JC,Johnston D (1997)A synaptically controlled,associative signal for Hebbianplasticity in hippocampal neurons.Science 275:209–213.[7]Debanne D,G¨a hwiler BH,Thompson SM (1998)Long-term synaptic plasticity betweenpairs of individual ca3pyramidal cells in rat hippocampal slice cultures.Journal of Phys-iology 507:237–247.[8]Zhang LI,Tao HW,Holt CE,Harris WA,Poo MM (1998).A critical window for cooper-ation and competition among developing retinotectal synapses.Nature 395:37–44.[9]Bi G,Poo M (1998)Synaptic modifications in cultured hippocampal neurons:Dependenceon spike timing,synaptic strength,and postsynaptic cell type.Journal of Neuroscience 18:10464–10472.8[10]Song S,Miller K,Abbott L(2000)Competitive hebbian learning through spike-timing-dependent synaptic plasticity.Nature Neuroscience3:919–926.[11]Song S,Abbott L(2001)Cortical development and remapping through spike timing-dependent plasticity.Neuron32:339-350.9。