#ptp slave

[mobatime]

Improve Time Synchronization with the PTP Time Server from Mobatime

Accurate time synchronization is essential for seamless operations across industries in today's linked world. Leading timekeeping solutions provider Mobatime provides sophisticated PTP Time Server that guarantee incredibly precise and dependable time synchronization for companies of all kinds.

The PTP Time Server from Mobatime is made to provide accurate time over big networks. This server ensures nanosecond accuracy in network device synchronization by supporting the IEEE 1588 Precision Time Protocol (PTP). It may be adjusted to different operational requirements because of its many interfaces, which include time-of-day (ToD), pulse-per-second (1PPS), and 10 MHz.

In order to ensure flexibility across various infrastructures, the PTP Time Server additionally supports synchronization via flexible reference inputs, including SyncE, NTP, and IRIG-B. High-performance crystal oscillators that offer remarkable time, pulse, phase, and frequency precision are a feature of this potent system. Mobatime's PTP Time Server is perfect for demanding applications where time accuracy is crucial because it can handle up to 10,000 (S) NTP requests per second.

Beyond PTP servers, Mobatime offers a variety of timekeeping solutions. To satisfy a range of corporate requirements, the company provides NTP Time Servers, Master Clocks, and a selection of analog and digital clocks. Each product is engineered for precision, ensuring seamless integration and consistent time synchronization throughout your organization.

You can be sure that your network will stay synced and your operations will function effectively thanks to Mobatime's experience and commitment to excellence. Mobatime's team is prepared to help with technical advice and project services, ensuring you get the most out of your time synchronization solution. They are backed by outstanding support services.

PTP Time Server is the ideal option for precise and dependable timekeeping in businesses where every second matters. Investigate Mobatime's cutting-edge products now to advance your time synchronization.

[rwbyazre]

when was the FRS founded

The FRS had roots in Ancient Vale, typically believed to have been founded just before the creation of the kingdom but after the Battle of Remus River in 1920 PTP. Back then, it had far more power due to the slave trade of Faunus unfortunate enough to live in Eastern Sanus and couldn't escape.

But nowadays, the FRS are little more than a shell of their former power because of the numerous laws put in place to ensure Vale doesn't slip back into its mindset towards the Faunus and foreign civillians again.

Though, with Senator Pompeii in power, they have more leeway now to manipulate the current political climate.

[hkxytech]

Siemens 6AG2541-1AB00-4AB0 SIPLUS S7-1500

Siemens 6AG2541-1AB00-4AB0 SIPLUS S7-1500 CM PTP RS422/485 TX rail based on 6ES7541-1AB00-0AB0 with conformal coating, -40??+70 ??C, OT4 with ST1/2 (+85 ??C for 10 minutes), communications module for serial connection RS-422 and RS-485, Freeport, 3964 (R), USS, MODBUS RTU master, slave, 115200 Kbit/s, 15-Pin D-sub socket. Model: 6AG2541-1AB00-4AB0Categories: SIPLUS extremeBrand: SiemensSiemens…

[getinvolvedyoulivehere]

America, land of the slave... home of the fee! Fuel Our Work: https://bit.ly/PTPSub PTP T-Shirts: https://bit.ly/PTPTshirts PTP on Twitter: https://bit.ly/PTPTwitters PTP on Telegram: https://bit.ly/PTPTele #PoliceThePolice #PTP

[avchrono]

PTP Transparent clocks 1-step 2-step

PTP Transparent clocks 1-step 2-step

Why Transparent Clock Transparent clocks are used in PTP topologies in order to improve the accuracy of the end-station synchronization. The reason is that time-unaware devices introduce varying amount of path-delay between the clock-source (master) and end-station (slave). Unless the master and slave are directly connected, or all the devices in between then are time-aware the inaccuracy…

[dientudongbaotin]

Tổng quan về bộ lập trình s7-1200 mã AG40

Tổng quan về bộ lập trình S7-1200

Năm 2009, Siemens ra dòng sản phẩm PLC S7–1200 dùng để thay thế dần cho PLC S7-200. Tại đây bộ lập trình PLC S7-1200 là một dòng của bộ điều khiển logic lập trình (PLC) có thể kiểm soát nhiều ứng dụng tự động hóa.

Giới thiệu PLC S7 1200, bao gồm :

3 bộ điều khiển nhỏ gọn với sự phân loại trong các phiên bản khác nhau giống như điều khiển AC hoặc DC phạm vi rộng

2 mạch tương tự và số mở rộng điều khiển mô-đun trực tiếp trên CPU làm giảm chi phí sản phẩm

13 module tín hiệu số và tương tự khác nhau

2 module giao tiếp RS232/RS485 để giao tiếp thông qua kết nối PTP

Bổ sung 4 cổng Ethernet

Module nguồn PS 1207 ổn định, dòng điện áp 115/230 VAC và điện áp 24 VDC

PLC S7 1200 – Sự lựa chọn cho hệ thống nhỏ và vừa

Chế độ bảo mật của PLC S7-1200

Bộ lập trình PLC S7-1200  có chế độ bảo mật về quyền truy cập vào CPU và khối hàm

Chế độ Know – how Protection

Chế độ Know – how protection cho phép người dùng ngăn chặn những truy cập trái phép vào các khối hàm, khối tổ chức OB, FB, FC, DB. Người dùng có thể tạo những password riêng lẻ để giới hạn truy cập tới các khối hàm.

Chế độ Copy Protection

Thêm một tính năng về bảo mật cho phép người dùng ẩn (blind) các khối chương trình sử dụng vào thẻ nhớ hoặc CPU. Tính năng này đặc biệt hữu ích cho việc bảo vệ sở hữu trí tuệ của người lập trình. Chức năng Copy Protection có thể áp dụng cho các khối OB, FB và FC.

Giao tiếp truyền thông PLC S7-1200

Profibus DP Master/Slave và kết nối PTP thông qua RS232/RS485.

Giao tiếp PROFINET sử dụng cho lập trình PLC, các thiết bị như HMI, các I/O, biến tần hoặc các bộ điều khiển khác.

AS-i Master

I/O Link Master

Trong đó có mã AG40 và BG40 với các mã hàng nổi bật như 6ES7214-1AG40-0XB0 - 6ES7214-1BG40-0XB0 - 6ES7214-1BG40-0XB0

[caltropspress]

Notes on AKAI SOLO’s Eleventh Wind

Rhythm in poetry need not be “smooth” or “musical” (since that word has a questionable meaning). Be cautious of these descriptions as a so-called “good ear.”

—“Manifesto” from Russell Atkins’ Juxtapositions

I try to become really liquid with the shit—not even liquid. I try to become formless.

—AKAI SOLO

Always the same thing. A drop of hope glimmers, then a sea of despair begins to rage, and always the pain, always the pain, always the anguish, always one and the same thing.

—Leo Tolstoy, The Death of Ivan Ilyich

I've been robbing motherfuckers since the slave ships.

—The Notorious B.I.G., “Gimme the Loot”

1.

There’s an “unfinished” aesthetic (I mean it gently, fondly) to AKAI SOLO’s work. His rhymes often start in medias res. The listener needs to become oriented to what he’s spewing, but he barely allows you to catch your breath. For anyone who’s ever been thrown [au]topsy-turvy by an ocean’s wave, you can respect the power of the primordial soup flow. Each verse is a wipeout. It’s Ron Wilson’s relentless drums on the Surfaris’ 1963 “Wipe Out” and the Fat Boys’ rollicking 1987 version all at once—joy pulled from despair.

2. “…a sunken system”

What is flow? In AKAI’s case, it’s something abrupt—both a step-up and a step-to. Is it free-form? Is it automatic writing gone horribly wrong? Is it asemic writing? Is it a Ouija-like push of the pen across the page? A flower doodled on scrap paper? Is it AKAI’s language acquisition happening in real time—a babbling? It’s not an infantile flow, though. Mannish boy? Man-child? It sometimes sounds like lips smacking of Mississippi mud. Think of AKAI on Shrine’s “Parables” (which begins with the lapping of waves—not the babbling brook): he takes “a deep sea soak in plasma.” The structure and borders of AKAI’s bars are liquid (formless); his words wash over.

3. “Pondering of the painter in between strokes.” (An Unknown Infinite, “Concrete Slides”)

Who’s out of pocket? Geochemistry tells us small pockets of water pulsate deep below the Earth’s surface. I find AKAI to be offbeat in both senses of the word. He’s both outré and outer space. Antediluvian and FEMA flood recovery plan. His bars rupture the very notion of time, of meter. To rap along with AKAI is to have an out-of-body experience—our neuroscience skitters and we gain an astral perspective on what the physical mouth is doing. Sheldon Pearce has called AKAI’s verses “impressionistic.” Plugging into AKAI’s music is to induce the Stendhal syndrome—beholding the sublimity of Claude Monet’s Impression, Sunrise, but—more accurately—Calida Garcia Rawles’ Singularity, seeing as how AKAI keeps it hyper-real. He “signs” nearly all his songs—another painterly touch.

4. The Earth is a great place to visit, but I ain't stayin’. (J-Ro, The Alkaholiks)

AKAI SOLO is for the antisocial kid who quotes Bruce Lee under their yearbook photo: Empty your mind. Be formless, shapeless—like water. Water is everywhere on Eleventh Wind, even if the album title suggests other elemental forces. AKAI sometimes slurs, but not drunkenly—this isn’t some stumbling and staggering likwidation: it’s a reflection of your own grogginess, your own inertia from sleeping on his flow. There are oceans between J.M.W. Turner’s The Slave Ship and the “Big Pimpin’” of Jay-Z, but AKAI’s poetics bridge the two. He comes at us, off-kilter, aslant, like the uneasy and queasy cover art for O.G.C.’s Da Storm.

5. “…a ship came, seeking harbour, fleeing from torture & swords” (from Kamau Brathwaite’s “Noom”)

The content often defies logical reasoning. He spits non-sequiturs in a literal sense, in that he does not follow. He machetes his own path (cutlass, more likely). AKAI is Cappadonna with his words—his slang is editorial, and it floods similarly. Zilla Rocca has called Cappadonna’s work “a waterfall of energy and creativity.” The same, seriously, could be applied to AKAI SOLO. I’ll call it logorrhea—and I don’t mean that pejoratively. It’s the seasickness you stomach so you can see the sunset from hundreds of miles off land.

The songs on Eleventh Wind are essentially single verses. There’s no middle eight, only an interminable Middle Passage. And water is everywhere.

6.

AKAI’s lineage traces to the same cove you’d find Mr. Complex and Saafir washed ashore. Like those predecessors, his un-rhymes and rhythm-driven bars beat against the rocks, ebbing just when you think he’s flowing. He’s an H2O proof MC. He’s Black hydropower, and, like the ancestors, AKAI continues to speak of rivers, of swerve of shore to bend of bay.

On “An Ode to the Isolated,” argov’s production sounds submerged, certifiably Cousteau. We’re immediately in the deep, and the beat platforms AKAI’s aqua-lung breath control. He’s “in a den of dissonance dissolving,” which puts language to what’s happening sonically here better than a critic ever could. AKAI is “overwhelmed by your deep blueness”—the vast blue sea. These are pandemic blues. The Covid-minded lyric, “Masks donned as requested,” doubles as the masculine trap to swallow pain, smothering emotion in gritty sand, while still forward-facing a street persona. AKAI has acknowledged Eleventh Wind was, in part, generated from a depressive state.

7.

[Testimony of John Cranston, a sailor upon the Polly, describing a slave woman hoisted down to sea from the mainmast in a chair after being isolated for small pox, June 15, 1791]

Q: Did you not hear her speak or make any Noises when she was thrown over—or see her struggle? A: No—a Mask was ty’d round her mouth & Eyes that she could not, & it was done to prevent her making any Noise that the other Slaves might not hear, least they should rise. Q: Do you recollect to hear the Capt. say any thing after the scene was ended? A: All he said was he was sorry he had lost so good a Chair. Q: Did any person endeavour to prevent him throwing her [over]board? A: No.

8.

“Tetsuo” draws on Tsukamoto’s trilogy of cyberpunk perversity. How AKAI could feel “washed before the water touch the skin” is beyond me, as the skin crawls with maggots. The penetration of metal rods, but no tetanus—no lockjaw. Only body horror flow. He’s sketching futures—and all of them are nightmarish: “Surrounded by a blanket of ashes, / We all fall down like that one song said we would.” AKAI vaguely alludes to a plague rhyme of yore. And the uncertainties we’re living with come through even in his drafts, as the liner notes on PTP’s cassette release of the album provide a set of lyric options: “Surrounded by a sea/bed/blanket…” Choose your own misadventure.

9. From at least the sixteenth century onward, a major part of the ocean engineering of ships has been to...minimize the wake. But the effect of trauma is the opposite. It is to make maximal the wake. (Christina Sharpe, In the Wake: On Blackness and Being)

On “Tainted,” AKAI—young as he may be—identifies the foolishness of some of his peers: “N----s wanna toast on a slave ship / …sinking with the drink.” AKAI suggests they’re still on the slave ship, ignorant of the fact. When he goes off on a paranoid tangent full of what seem to be elementary internal rhymes, it’s anything but: “hitting a lark / in the dark / in the park / skill a shark / or a narc / ill a mark on his job every time.” This litany of monosyllabic rhymes sounds an alarm.

10. “Even though the vessels differ, we’re all still sailing. / …navigation through suffering.”

“Still Sailing” acts as a centerpiece for the water imagery on Eleventh Wind. It’s also a self-assessment of his style. The “wavelength irregular” puns on wave and owns the irregular flow; “my groove goofy,” he admits. His vulnerability is stunning, refreshing: “I was ensuring my work was worth something.” Such vulnerability is liquid, is flux, reflects reality:

In a dirt sea, all I am is a seed Reaching for what I mean to Rooted in what it is, galvanized by what can be.

Even AKAI’s other nature metaphors—like earth (be it rare-earth or “Real Earth,” no matter), seeds, and roots—are built on water ones (“dirt sea”). This is Wallace Stevens-level abstraction. “Flowing like katanas of grass / Landscaping through with blazing sound waves” does it again (“flowing”/“grass”). And, of course, the mention of flowing katanas invites a Liquid Swords comparison. With the even cuts of AKAI’s sharp lyrics, it’s warranted.

I want to feel like Vast Aire, “like Moses with a staff that parts the Red Sea,” but it’s not so simple. Meaning is slippery on the album—hard to get your footing, your sea legs. Listeners are pulled into rip-tides and torn asunder, repeatedly. AKAI’s songs are raw—not in a hardcore way—in a work-in-progress sense, the way some of the most sincere songs humans have recorded are at times unfinished ones. Like Dylan’s “Santa Fe,” for instance, where the words converge into a slurry.

11. “Your water heavier than it’s supposed to be and they know that.”

On “Candor,” AKAI speaks on the burden of family discord, a “dilemma with me and mines.” In venting, he channels and subverts LL Cool J: “Don’t call it a comeback / These are just preliminary steps / On your back like structural racism is.” Where LL foregrounded his pugnacious masculinity, masking his insecurities (all the while calling for his “Mama”), AKAI is more likely to allow his tears to rain down like a monsoon. Candor has its origins in kand, meaning “to shine.” AKAI’s words offer glimmers of clarity, of openness.

12. “Depression stirs me before the morning chirps.”

Eleventh Wind closes with “Nebula”—gases flow, dust is bathed in glowing starlight. Again, we’re persevering: “Sound like nil singing / Feeling like nebula unraveling / Feeling like infinity expanding.” The consecutive gerunds emphasize AKAI’s desperation. He’s nihilistic here, nonexistent (“nil”) and grasping for meaning. In that way, he’s not so different from us approaching his music. Whether people are hot or cold, irate or aloof, he turns to water for comfort: “When I want to feel the heat I don’t get from people, I resort to water. / When I want to feel the cold I know people for, I resort to water.” AKAI SOLO doesn’t just bless us, he christens us.

Images:

The Fat Boys & The Beach Boys, “Wipeout” music video (screen shot) | The Surfaris, “Wipe Out” 12” (Decca, 1963) | Fat Boys, “Wipeout!” 12” (Tin Pan Apple, 1987) | Jay-Z, “Big Pimpin’” music video (screen shot) | J.M.W. Turner, The Slave Ship (1840) | Originoo Gunn Clappaz, Da Storm cassette cover (Duck Down/Priority Records, 1996) | Claudia Garcia Rawles, Singularity (2018) | The Alkaholiks, Likwidation album cover (Loud, 1997) | James Neagle, Frontispiece for the Dying Negro (1793) | Screen shot from Tetsuo II: Body Hammer (Shinya Tsukamoto, 1992) | Hokusai, Feminine Wave (1845) | Carina Nebula, NASA, ESA, and the Hubble SM4 ERO Team | Claude Monet, Impression, Sunrise (1872)

[uhkhelpfulsoftwarescloud]

DOWNLOAD ECS N2U400-A ETHERNET DRIVER

File Version: 118171128 Downloads: 8137 Uploader: Goof File Size: 23 Mb File Name: ecs n2u400-a ethernet driver File Format: exe Operating Systems: Windows NT/2000/XP/2003/2003/7/8/10 MacOS 10/X Download Type: http Date Added: 17 November, 2019 Price: Free

News: - Fixed an issue that Computer only mode can't be applied with some specific HDMI monitor. - Fixes an issue where the Cisco Compatible Extensions (CCX) do notinstall properly. - System]:(ecs n2u400-a ethernet driver System]:) Fixed a bug where the "Size on disk" of files on the TeraStation was displayed larger than the actual size on Windows 8.1 or later. - Quota]: Fixed a bug where settings for a quota of 10,000 GB or larger could(ecs n2u400-a ethernet driver could) not be configured. - Fixed FTP Server related issues :a. - Fixed Admin login issue. - Fixes that sometimes Maxtor 40GB HDD(ecs n2u400-a ethernet driver HDD) cannot be detected if HDD is set to slave and AGP card is Matrox G100. - App <-> ?/) - Fixed TP can not work when enter shutdown & change the PTP status in SCU. - System] - Fixed(ecs n2u400-a ethernet driver Fixed) a bug where a working drive was erroneously identified as malfunctioning. - Fixed(ecs n2u400-a ethernet driver Fixed) a bug where a backup job could not be registered if a double-byte space existed in the backup target folder name. Users content: - Supports AMD 6Core CPUIt is highly recommended to always use the most recent driver version available. USB2.0 ports supportUSB 2.0 is the latest connectivity standard for next generation components and peripherals. Added warning message for Chrome users (due to NPAPI disable) 4. ATI Radeon HD 5570. Other firmware is coded into non-rewriteable chip, so the entire chip must be changed in order to upgrade the firmware. - Android 4.4 + Zen UI releasePlease - Android 4.4 KitKat does not support some pre-installed apps. This issue will be fixed in AMD Catalyst 12.3- Vsync may be disabled after task switching when playing Rage. - Only for 960H 4 Channel How to Upgrade Firmware?- Copy the firmware onto a flash drive. - Routers HNAP Service Stack-Based Buffer Overflow VulnerabilityFirmware installation steps:1. The file contains a compressed (or zipped) set of files packing the drivers for Dell XPS 730 S1909WXWFP Monitor. https://taotypicalfilesstore.wordpress.com/2020/03/16/download-gateway-e-155c-driver/ Supported OS: Windows Server 2012 R2 Microsoft Windows 10 (32-bit) Windows 2000 Notebook 8.1/8/7 32-bit Windows 8.1/8/7/Vista 32-bit Windows 8.1/8/7/Vista 64-bit Microsoft Windows 8.1 (64-bit) Windows XP 64-bit Windows 7 64-bit Windows 10 Microsoft Windows 8.1 Pro (64-bit) Windows 8.1 Windows Server 2008 Windows Server 2012 Microsoft Windows 8.1 Pro (32-bit) Microsoft Windows 8.1 Enterprise (64-bit) Windows Server 2003 64-bit Microsoft Windows 8 Enterprise (32-bit) Windows Server 2003 32-bit Microsoft Windows 8 Enterprise (64-bit) Windows 7 Microsoft Windows 10 (64-bit) Notebook 8.1/8/7 64-bit Windows Vista 64-bit Microsoft Windows 8 (32-bit) Windows 7 32-bit Microsoft Windows 8.1 (32-bit) Windows Vista 32-bit Windows XP 32-bit Microsoft Windows 8.1 Enterprise (32-bit) Windows Server 2008 R2 Windows 8 Microsoft Windows 8 (64-bit) Windows Server 2016 Microsoft Windows 8 Pro (64-bit) Microsoft Windows 8 Pro (32-bit) Searches: ecs n2u400-a ethernet driver for Microsoft Windows 8 (64-bit); ecs n2u400-a ethernet driver for Windows 8.1/8/7/Vista 64-bit; n2u400-a driver ecs ethernet; ecs n2u400-a ethernet FQ4159; ecs n2u400-a ethernet F41z; ecs n2u400-a ethernet driver for Notebook 8.1/8/7 32-bit; ecs n2u400-a ethernet Fzt415-zts; ecs n2u400-a ethernet driver for Microsoft Windows 8.1 Pro (32-bit); ecs n2u400-a ethernet driver for Windows 8.1/8/7/Vista 32-bit; ecs n2u400-a ethernet FQOUB4159; ecs n2u400-a ethernet F FQ415-4 Compatible Devices: Video Projector; Scanner; Hardware; Iphone; Computer Cable Adapters; Tablet To ensure the integrity of your download, please verify the checksum value. MD5: 66bf4e6495f150029ed144dad3bee9e9 SHA1: 4df527362d7a3f224b13283867401cecab823f26 SHA-256: 4ddcfedb93f8cd4947196a4e1e4ffae472b8bf5160b0e1121d8157867da02f43

[mobatime]

Understanding PTP Grandmaster and Its Role in Time Synchronization Solutions: MOBATIME

A PTP Grandmaster is the main device in a Precision Time Protocol (PTP) network that ensures all other connected devices stay perfectly synchronised. It acts like the "master clock," distributing accurate time to all the "slave" devices in the system. In industries like telecommunications, broadcasting, or transportation like Mobatime's solutions, precise timekeeping is crucial for smooth operations. The PTP Grandmaster makes sure that everyone is on the same page, down to the millisecond!

[hkxytech]

Siemens 6AG2541-1AD00-4AB0 SIPLUS S7-1500

Siemens 6AG2541-1AD00-4AB0 SIPLUS S7-1500 CM PTP RS232 HF TX rail based on 6ES7541-1AD00-0AB0 with conformal coating, -40??+70 ??C, OT4 with ST1/2 (+85 ??C for 10 minutes), communications module for serial connection RS-232, Freeport, 3964 (R), USS, MODBUS RTU master, slave, 115200 Kbit/s, 9-pin D-sub plug. Model: 6AG2541-1AD00-4AB0Categories: SIPLUS extremeBrand: SiemensSiemens…

[getinvolvedyoulivehere]

The roots of American policing are directly tied to the racial bias that exists today.

Learn more: https://thefreethoughtproject.com/racist-roots-policing-slave-patrols/

#PoliceThePolice #PTP

[tayfundeger]

New Post has been published on VMware Virtualization Blog

New Post has been published on https://www.tayfundeger.com/esxi-ntp-mi-ptp-mi.html

ESXi NTP mi PTP mi?

Merhaba,

ESXi NTP mi PTP mi? isimli bu yazımda ESXi 7 ile birlikte gelen PTP saat senkronizasyonu hakkında detaylı bilgi vereceğim Ayrıca NTP ile PTP arasındaki farklarıda detaylı olarak anlatacağım.

vSphere 7 ile birlikte gelen yenilikler için aşağıdaki link’i inceleyebilirsiniz.

vSphere 7 Yenilikleri

vSphere 7 ile birlikte PTP denilen bir kavram ile karşılaştık. PTP aslında yeni değil ancak vSphere 7 ‘de ilk defa kullanmaya başlayacağız. Ben daha önce PTP konusuna kısaca değinmiştim ve uygulamasını göstermiştim. Bu yazıma aşağıdaki linkten ulaşabilirsiniz.

Precision Clock Nedir?

ESXi NTP mi PTP mi?

Saat konusu oldukça önemli zaten blog üzerinden saat ile detaylı makaleler yazmıştım. Bir ESXi ‘i ilk kurduğunuzda yapmanız gereken şeylerden birtanesi de NTP’nin ayarlanmasıdır. Bir ESXi’in saati eğer yanlış olur ise virtual machine’lerde saatin düzgün olmasını bekleyemezsiniz. Bununla alakalı yukarıdaki linkte detaylı bilgiler aktarmıştım. Bunlara ek olarak şunu belirtmem gerekiyor. VMware eğitimlerimde özellikle üzerinde durduğum konulardan biride saat senkronizasyonudur.

Elbette vSphere 7 ile birlikte NTP konfigurasyonuna bir alternatif eklendi.

vSphere 7 ile birlikte artık PTP protokolünü kullanabiliyoruz. PTP sayesinde, NTP’ye oran ile daha hassas bir şekilde saat senkronizasyonu yapabiliyoruz. Malum saat farklılığı oluştuğu anda bir çok sorun yaşayabilirsiniz. Bundan dolayı saat senkronizasyonu oldukça önemlidir. Uzun yıllardır NTP’yi kullanıyoruz ve aslında herkesinde bildiği birşeydir NTP. vSphere 7 ile birlikte PTP gündeme geldiği için ve her ikiside saat senkronizasyonu yaptığı için NTP ve PTP’yi karşılaştırmak istedim.

Eğer bir sanallaştırma ortmaı kullanıyorsak ESXi’i ilk kurduktan sonra mutlaka ve mutlaka NTP tanımının yapılması gerekir. Çünkü virtual machine’ler yapmış olduğunuz konfigurasyona bağlı olarak değişir ama, reboot esnasında veya sürekli olarak ESXi’dan saatini güncelleyebilir. Biz yıllardır NTP kullanıyoruz. NTP, Network Time Protocol isminin kısaltılmış halidir. PTP ise, Precision Time Protocol isminin kısaltılmış halidir. NTP, milisaniye cinsinden zaman hassasiyeti vardır. Kurulumu ve kullanımı oldukça pratiktir ve senelerdir kullanıldığı için hem NTP server’in yönetimi hemde kullanımı konusunda ciddi tecrübede bulunmaktadır.

PTP şu anda finansal işlemleride yani Borsa gibi yerlerde aktif olarak kullanılmaktadır. Örneğin hisse senedi alımlarında saat oldukça önemlidir çünkü buradaki ufak bir saat sapması hisse senedi emirlerinin yanlış gitmesine ve böylece piyasanın bozulmasına bile yol açabilir. Aşağıdaki linkte bunu görebilirsiniz.

https://borsaistanbul.com/tr/sayfa/149/zaman-sunucusu-hizmeti

Aynı şekilde telekom ve savunma sanayi gibi kuruluşlarda da saat oldukça önemlidir. Bundan dolayı PTP konusunu kesinlikle ve kesinlikle atlamamalısınız.

PTP, mikrosaniye bazında doğrulama yapar. PTP, 319 ve 320 olmak üzere 2 UDP portu kullanır. PTP için özel fiziksel switch’ler bulunmaktadır ve ethernet protokolü üzerinden iletişim sağlanır. NTP’ye oran ile PTP daha maaliyetli ve karmaşık bir çözümdür. Neden böyle diyorum ondan bahsedeyim. En basitinden PTP’de failover çözümü bulunmaktadır. Master ve Slave gibi çalışıp saatleri senkronize edebilir. PTP, broadcast/multicast kullanılan ağlar için tasarlanmıştır ve mikrosaniye seviyesinde saati senkonize edebilir. NTP ise PTP’Ye oran ile daha basit bir mimaride tasarlanmıştır. NTP, milisaniye bazında saat düzenlemesi yapabilir ve bunu internet üzerinden yapabilecek şekilde tasarlanmıştır.

Tabi burada maliyet ve esneklik çok önemlidir. PTP, NTP’ye oran ile daha iyi ve daha doğru sonuçlara götürür sizi. Ancak PTP’yi doğrudan kullanamadığınız için ekstra donanım ve ek maliyet çıkartacaktır size. Bu neden ile eğer hali hazırda PTP kullanmıyorsanız ve mikrosaniye seviyesinde saat güncellemesi önemli değil ise PTP kullanmanıza gerek bulunmuyor. NTP ile devam etmeniz sizin için daha avantajlı olacaktır.

PTP merak edenler için aşağıdaki linki inceleyebilirsiniz. Ben açıkcası PTP ile çok çok detaya girmek istemedim.

https://tr.qwe.wiki/wiki/Precision_Time_Protocol

Son olarak PTP kullanabilmeniz için virtual machine hardware version 17 kullanmanız gerektiğini unutmayın 🙂 Aşağıdaki videodan detayları izleyebilirsiniz.

Umarım faydalı olmuştur.

İyi çalışmalar.

[passhotdumps]

OSPF routing protocol study notes sharing

Types of OSPF packets

Hello: Used to establish and maintain neighbor relationships. It is sent once every 10 seconds and timed out after 30 seconds.

hello, area-id, authentication, stub

Passive-interface, MTU, and an ACL on the interface filter OSPF traffic

Five OSPF messages

1. HELLO

2. LSU

3. LSR

4. DBD: Directory

5. LSACK

Three tables of OSPF

Topology table (LSDB): the same LSDB in the same area

Neighbor table: also called neighbor state database

Routing table: the best path to the target network

Various types of LSA

Point-to-point broadcast

The reason is because LSDB is not synchronized

Point-to-point does not elect DR, no type 2 LSA

Broadcast has type 1 LSA type 2 LSA

LSA: 1 2 3

L1

Content: This router announces the link information to OSPF,

Who generated it: OSPF router

Scope of spread: Flooding in the area

L2

What routers are in this area

DR

Flooding in the area

L3

LSA in other regions

ABR

Flood to the entire AS, except for special areas

LSA: 4 5 6 7 8 9

Type 4 LSA

Advertise ASBR information

ABR is produced,

Flood to the entire AS, except for special areas

Category 5 LSA

External link information

ASBR generation

Flood to the entire AS, except for special areas

Type 6 LSA is used for MOSPF protocol and used for multicast

Category 7 LSA

External LSA information imported from NSSA area

ASBR generation

7 to 5 process, flooding in the NSSA area

Type 8 LSA, replacing Type 1 LSA in IPv6 network

Type 9 LSA, replace Type 2 LSA in IPv6 network

OSPF routing type

O: Routing in the area    Type 1 LSA Type 2 LSA

OIA: Inter-area Routing    Type 3 LSA

OE1 OE2: External routing    Type 5 LSA

ON1 ON2: Route outside NSSA area    Type 7 LSA

OSPF neighbor relationship

1. Down: In the initial state, no hello packets from neighbors have been received.

2. Attempt: only used in NBMA network, neighbors are valid.

3. Init: Received the neighbor's hello, marking the establishment of its own neighbor relationship table.

4.Two-way: I saw my router id in the neighbor's hello packet and selected DR BDR.

5. Exstart: elect the master and slave routers, the MTU should be consistent.

6. Exchange: send DBD messages.

7. Loading: Exchange LSA information and send LSR LSU LSACK.

8.Full: completely adjacent. Calculate the shortest path synchronously and load the routing table.

OSPF network type

1. Point-to-point: destination IP 224.0.0.5, a pair of routers form an adjacency relationship. Without DR, each sub-interface belongs to a different IP subnet.

2. Point-to-multipoint: destination IP 224.0.0.5, no DR, same IP subnet. PTP and PTMP cannot form an adjacency.

3. Point-to-multipoint non-broadcast: destination IP unicast, no DR, same IP subnet.

4. NBMA: destination IP unicast, select DR, the same IP subnet. Fully or partially interconnected.

5. Broadcast: elect DR, all routers send messages to 224.0.0.6, and then DR sends updates to 224.0.0.5, DR establishes adjacency relationship with all routers, and all DRohter routers converge to 2-way state. The same IP subnet, fully interconnected or partially interconnected.

Summary of features:

1. Whether to elect DR or whether to manually specify neighbors

2. Point family does not need to elect DR and BDR

3. Non-broadcast multiple access NBMA, non-broadcast are unicast updates

4. If this network type cannot deliver multicast, neighbors need to specify manually

5. Looking at the name of the network type, if there is no broadcast, it means that multicast cannot be delivered

Why do you need a virtual link?

The non-backbone area and the backbone area are required to be connected

Why are non-backbone areas and backbone areas connected?

Prevent loops

OSPF relies on SPF algorithm to ensure that there is no loop in an area,

LSDB of each area is synchronized

When to use virtual links?

Backbone areas are isolated by non-backbone areas area 0---area 1 --area 0

The backbone area and the non-backbone area are separated by the non-backbone area area 0---area 2---area3

Authentication method: regional authentication, interface authentication

Authentication type: Clear text authentication MD5 authentication

OSPF route summary type

Route summary between areas area 1 rang

Summary of external routes: summary-address

Configure GTSM under the routing process, which is enabled by default on all OSPF interfaces

Access prefix-list matches route entries

Route-map x permit 10

Match ip address 10

router ospf process-id

 prefix-priority low route-map x

fast-reroute per-prefix enable prefix-priority low

The above is the news sharing from the PASSHOT. I hope it can be inspired you. If you think today' s content is not too bad, you are welcome to share it with other friends. There are more latest Linux dumps, CCNA 200-301 dumps, CCNP Written dumps and CCIE Written dumps waiting for you.

[caltropspress]

CROWD NOISE: The Aesthetics of the Riot

1.  

What should the aesthetic response to the riot be? Can there be an aesthetic response to the riot that doesn’t undermine its energy? How can the ephemeral nature of the riot be contained without becoming co-opted? Is it possible? Is it even worth the attempt?

2.  

The riot, at its core, is pop. It must be populated enough to qualify as “unrest,” or “bedlam,” or “insurrection,” or “uprising.” An individual can protest alone, but—short of self-immolation—it often takes a crowd to shut down freeways, ransack public offices, interlock arms and beat back the batons at the barricades.

3.

In Equipment for Living, poet Michael Robbins writes, “A pop song is a popular song, one that some ideal ‘everybody’ knows or could know. Its form lends itself to communal participation. Or, stronger, it depends upon the possibility of communal participation for its full effect.”

In this way, the Macarena blaring over the loudspeakers at Yankee Stadium, or “Sweet Caroline” blasting at a wedding, or “Living on a Prayer” playing on the jukebox in a Jersey bar harnesses more people power than “Bulls on Parade” ever could. We can’t bother with applying aesthetic judgment to—what many fair-minded listeners would agree—are such loathsome songs. Recontextualized as shared, communal phenomena, they don’t stand to be scrutinized according to any standard metric for “good” or “bad” music. We need to acknowledge the power of the moments these songs engender, not the songs themselves.

4.

There are exceptions. The aforementioned “Bulls on Parade” certainly functioned in the spirit of the riot when it was performed on a stage outside the Democratic National Convention in 2000 and led to mass arrests. The filming of the music video for “Sleep Now in the Fire” forced the New York Stock Exchange to shutdown. The most recent example is the spontaneous cultural force of Kendrick Lamar’s “Alright” at demonstrations.

As reported by NPR, Kendrick’s 2015 “Alright” has become, if not a fixture, then an act of faith at rallies and ruptures in the fight for racial justice. It incants when the police are arresting young, Black boys in Cleveland and when protestors gather outside LAPD headquarters. Where This is what democracy looks like! and Whose streets? Our streets! can lose its luster as the masses are kettled, dispersed, and splintered by the State, We gon’ be alright functions as both palliative and rebel yell.

5.

I’ve heard some say pop music is escapism—the same for ambient. It’s a salve for the post-march sore feet, an Adderall for the after-party. For when you realize you have work in the morning and the revolution hasn’t—despite the thrum you felt hours ago—arrived. 

I’ve heard people call pop music a distraction, an opium. Pop music as a blissfully ignorant soundscape for shoppers who rely on mall escalators for their scenic overlooks. 

But what if pop music is evidence of a world on the brink of true, unutterable, as-yet-unseen solidarity? Pop music as devotional hymns. 

6.

You can hear cops barking dispersal orders through megaphones. Sirens are wailing. There’s the low rumble of crowd noise—a din for the dispossessed. Acapellas of pop music rise from this chaos, like a balm over the shrieks and chaos. A bed for bedlam to rest its battered head on.

Could there be any better form than the acapella for the occasion? Save for the militaristic thumps of drum circles, our voices are what carry us through collective action. Shouts, hollers, and hip hip hoorays. A capella—with its origins “in the manner of the chapel”—raises those hectic voices to the level of saintliness. Voices doing the work of gods.

The echoes that have been added, the calm and comfort of reverb, contribute to a sense of containment. Not in the way the cops kettle crowds of protestors. The containment is in how the effects act to interiorize the ecstatic, open-air uprising. Riots are out there. They are rehearsals for the revolution, as they say. By their very nature, they refuse containment. But on Side A of CELL, Issue 5: ACAPELLA - Riot In Versace—a tape release from PTP—the sounds of insurrection are captured, contained, and packaged into a Norelco case, offered up to the masses.

Hearing Busta Rhymes’ abyss-deep voice sing If you give it to me, I’ll give it to you. I know what you want is like a concussed slumber. His voice is the one you hear when you’re coming to. Maybe you took a tear-gas canister to the temple. Riot In Versace is the Maalox running down your face to counter the agent.

7.

Pop music and protest truly makes for strange bedfellows. Nothing seems to work just right. Always contrived, or a cloak of co-optation, or a conspicuously raised consciousness. We soak in the suggestions of Marvin Gaye’s What’s Going On only to have Sly Stone raucously respond with There’s A Riot Goin’ On. It’s difficult to take finger-pointing songs serious when—so often—they sell so well. The intent is belied by the result. Songs don’t change the world, but they do earn profitable acclaim.

The slurry of pop vocals sampled on Riot In Versace seems to tease this idea, toy with it sadistically. The first voice we hear that isn’t culled from a field recording of the Ferguson streets is M.I.A.’s. For all her sociopolitical pop (the vocals are from “Borders”) and guerrilla decolonizer imagery, she gave birth to a Lehman brother. The pop/protest conundrum is most apparent in her appearance beside Madonna at the Super Bowl halftime show where she breached her contract by flashing a middle finger whilst lip-syncing—the rebel equivalent of sticking your tongue out at a teacher with her back turned.

The other multi-platinum pop artists who appear on the tape are Bone Thugs-N-Harmony, Mariah Carey, and Madonna. All “edited,” according to self-proclaimed “Editor-in-chief” Geng (employing a decidedly non-musical title on this occasion), so as to foreground the People, the masses: “The youth want a better America but the battle will continue if the people remain unheard."

8.

Geng referring to himself as an editor-in-chief of Riot In Versace signals an awareness about the limits of pop music in an insurrectionary context. The tape is more of a text (a codex) than a record.

The nods to textuality remind me of another text. Where Riot In Versace documents and archives the Ferguson uprising, The 2015 Baltimore Uprising: A Teen Epistolary is a zine that captures Baltimore in the wake of the murder of Freddie Gray. It’s a text worth considering through Nicholas Thoburn’s insights, which he shares in an article titled “Twitter, Book, Riot: Post-Digital Publishing against Race.” Thoburn calls the zine an “experimental, small-press book whose content consists entirely of some 650 screen-grabbed tweets….[a] book [that] courses with crisis.”

9.

Thoburn accurately describes the role text-based documents have played in the concatenating struggle for racial justice, but he also identifies the pitfalls and problematics of giving primacy to the written word over that which is uttered:

…consider the role of Abolitionist tracts, the publishing genre of ‘slave narratives’, or anti-colonial works like Franz Fanon’s The Wretched of the Earth in galvanising struggles against racial violence. This is not to suggest that resistance to racism has taken shape through publishing without complication. In slave narratives, for instance, enslaved people sought to ‘represent themselves as “speaking subjects”’ toward ‘destroy[ing] their status as objects, as commodities, within Western culture’ (Gates 1988, 129). But these narratives succeeded, Ronald Judy (1993, 88, 97) argues, only insofar as they confirmed Western modernity’s principle that ‘writing [is] the sole avenue to humanity’. They hence fashioned ‘Negro’ subjectivity on the interdiction and invalidation of the ‘African’, voided of which the achieved subjectivity was ‘nothing so much as an investment in the terms of philosophical reflection: writing.’

The field recordings on Riot In Versace prioritize the voice, not the transcript. The primacy of the voices rebuffs these Western conceptions of “humanity.” It’s reminiscent of how Alan Lomax pointed a microphone at Lead Belly in Angola and implored, Now sing. Lead Belly was singing even without Lomax there to capture it (re-creating Lead Belly’s captivity in another sense, one beyond prison bars). Lead Belly’s voice was taken captive—like a haint—and [o]pressed as 78 rpm vinyl records, generating wealth that would be distributed unequally. It was no fair deal going down.

10.

All this being the case, The 2015 Baltimore Uprising: A Teen Epistolary is a curious item, seeing as how it reproduces authentic voices—albeit filtered through the trappings of social media—onto the printed page. Thoburn writes:

Publishing, then, is at once a significant terrain of black resistance to racial violence and one that is fraught and ill-fitting, such that Cornel West writes, ‘the “ur-text” of black culture is neither a word nor a book, not an architectural monument or a legal brief. Instead, it is a guttural cry and a wrenching moan’ (cited in Wilderson 2010, 109).

Thoburn quotes West who is quoted in Wilderson, all of which is now quoted by me. Case in point: we are x times removed from the immediacy of bodies in the streets. Same goes for the evidence of these extempore “Alright” celebrations. Where do I see them? YouTube and Twitter. That is, social media platforms, which are nominally “social.” Re-watching these moments on the internet might be sufficient for a shot of dopamine, but you’ll still be somewhere the rupture is not. You don’t have your ear to the street, so to speak, to hear the guttural cry.

11.

The tweets that comprise The 2015 Baltimore Uprising: A Teen Epistolary are examples of what we often call screaming into the void, as social media is echo-chamber or hellscape or vacuous pit—take your pick. But when those tweets are aggregated and collated into the pages of a physical book, they gain validity: the cries are heard and documented beyond the living, breathing, ephemeral moment.

12.

Pop music often appears as a polished, manufactured perfection of sound. It’s frequently auto-tuned, edited, punched-in: overproduced. It’s what gives so much pop music its sheen. Despite all these efforts, it’s a decidedly low art, vulgar even. It stands it stark contrast to the epistolary form. Thoburn meditates on the inclusion of that term in the book title: “But it is a surprise indeed to see it [the term ‘epistolary’] naming a contemporary book on uprising, and, given its elevated cultural associations, to find it attached to the ‘low’, commercial term of the ‘teen.’”

The same high/low register play can be found on Riot In Versace, where its title, too, reflects the dichotomy—“riot” representing the low, street politics; “Versace” representing high luxury and corporatization. Thoburn provides a physical description of how Baltimore Uprising further deconstructs the traditional connotations of “epistolary.” The zine, he writes, “is a pocketsize codex, monochrome throughout, with a tape-covered spine, comprising 272 staple-bound pages, and has non-standard dimensions of 11x14x1cm.” He describes the “flimsy paper covers” and how “the degraded monochrome of its photocopies pages convey a feeling that its coherence as a complete and integrated artefact is barely achieved.”

Therefore, the humble, DIY assembly and production of this material book subverts the “classical, eighteenth-century guise” so often associated with the epistolary form.

This isn’t the works of Samuel Richardson.

The book, most simply, amplifies (or signal boosts) the voices of teen rebels—voices which are typically, historically, muted, ignored, censored, or belittled.

13.

Furthermore, Riot In Versace is a document, with all the finalization that term connotes. That particular uprising is over, done with. But is that the case? Thoburn invokes Maurice Blanchot’s claim that “political publishing require[s]…media that [can] prolong [the] ‘arrest of history’, that [can] bear and extend its rupture through their material forms.” This tape from PTP is one such material form. It is an example of “ruptural media” whose “critical adequacy to the uprising resides above all in [its] fragmentary, fleeting, and incomplete nature, in [its] ruination of totalizing, encyclopaedic enclosure.” These pop voices appear and dissipate. They mesh and layer over crowd noise and blaring-cum-bleary sonics. They’re peeled from their instrumental foundations, hovering in a no-man’s land of unruly noise.

14.

Thoburn expresses an appreciation for how the book—like any zine worth the stolen materials it’s constructed from—was originally published free from the authenticating adornments books are known for. There weren’t any credits, and there were no signs of consumerism. No ISBN. No Library of Congress Cataloging-in-Publication data. No bar code.

The absence of interpretative text, editor’s name, and publisher details again plays a role, for Baltimore Uprising in this way blocks the passage readers would otherwise be offered away from the uprising to an anchoring authority or interpretive summation external to its tumult.

In other words, this compilation of tweets from young, Black voices on the ground arrives unfiltered by white institutional power. The same can be said for CELL, Issue 5: ACAPELLA - Riot In Versace—there is little explanation as to the sounds presented, no official production credits, etc. We assume Geng’s credit as “Editor-in-chief” means he’s the human responsible, but there’s a clear attempt to eschew authorship/ownership. (Baltimore Uprising has no official or unofficial author—no names attributed to it at all.) Geng seems to be suggesting he’s merely the arranger of the sounds, unwilling to stake a claim to this autonomous and cacophonous chorus of voices. He’s only functioning in the role of archivist. Much like whoever combed Twitter for the tweets that would comprise the pages of 2015 Baltimore Uprising: A Teen Epistolary.

15.

The aesthetics of the zine are also a focus for Thoburn. He considers it an “anti-book” (Thoburn is also the author of a book called Anti-Book: On the Art and Politics of Radical Publishing) full of degraded images of screen-grabs—xeroxed to death, martyred for the purpose of reproduction and illicit redistribution. This decision is anathema to traditional publishing and marketability. The book (or anti-book) seems positively gleeful in its form and posture:

The book’s poor-image tweets have a mocking or menacing effect on the perfect image of Twitter’s clean, unifying, and innocuous interface, that visual scene epitomized by the infantilizing baby-blue dove that is Twitter’s corporate logo. They also trouble the value paradigm of Twitter. The tweets have been appropriated, without permission or license, and, in contrast to the adtech economy of social media, the attention they attract in this book has no payoff for commercial data-capture and audience brokerage.

Thoburn also notes the pop culture references scattered throughout the tweets, one of which reads “Told Yall . . .GTA 6: Baltimore Trenches!,” while another reads “This better than the actual Purge Movie” which, again, speak to a communal participation, a shared understanding, a [raised] collective unconscious. As if to say, We played your video games. We watched your films. We listened to your music. Now witness us exemplify what actually matters to us.

16.

Which brings me back, once again, to Riot In Versace. 

Like the degraded images in Baltimore Uprising, the pop songs on Riot In Versace are degraded, or at least appear so, as they’ve been buried in the mix under field noise and crowd static. Not to mention the songs have likely been lifted from vinyl, tape, CD, or mp3 recordings—it doesn’t matter which, really. The fact is they weren’t reproduced from the masters, the industry standard. It’s safe to say the makers of the tape also didn’t license these songs or contact publishing companies. To paraphrase Thoburn, CELL, Issue 5: ACAPELLA - Riot In Versace is less a tape about the uprising than of it.

Images:

Interior page image from The 2015 Baltimore Uprising: A Teen Epistolary | Protestors gather outside LAPD headquarters (screenshot) | CELL, Issue 5: ACAPELLA - Riot In Versace cassette | M.I.A. performing at the Super Bowl with Madonna (screenshot) | Robert Johnson’s “Last Fair Deal Gone Down” 78 | Exterior images of The 2015 Baltimore Uprising: A Teen Epistolary courtesy of Nicholas Thoburn | CELL, Issue 5: ACAPELLA - Riot In Versace cassette [2] | Interior image of The 2015 Baltimore Uprising: A Teen Epistolary courtesy of Nicholas Thoburn

[nettimelogic]

We finalized our demo setup for TSNA, showing TSN with synchronization, redundancy (also HSR&PRP), priority queues, preemption, scheduling, cylclic forwarding, credit shaping and more.

We created a TSN cycle analyzer to check where frames are received within a cycle as well as a synchronization accuracy tool which shows the measured offset to the reference from all slaves.

For more information check www.nettimelogic.com

Update: We updated the setup so each frame going to the TSN cycle analyzer is tagged with a VSS tag which contains a nanosecond accuracy timestamp of when the frame was sent. This eliminates the jitter introduced by the host PC which took timestamps in the driver.

[almamaastrading-blog]

NTP Server

Strongest Network Time Synchronization Solution on the Market

Bad Pyrmont, June 8, 2016 -

Meinberg manufacturer of the most powerful time and frequency synchronization solutions, is proud to announce the availability of Meinberg's new network time sync module generation, which provides a future-proof platform for your IEEE 1588 / SyncE / Carrier Grade NTP infrastructure.

The HPS-100 offers the ability to support up to 2048 PTP-Clients in Unicast Mode (at 128 Sync and Delay Requests per second), as well as more than 250.000 Delay Requests per second in Multicast or Hybrid mode due to a powerful FPGA-based Packet Generator engine. The card is equipped with a 1GE interface as an RJ45/SFP combo port and 2 SMA outputs for configurable pulse outputs like 1-PPS, 10 MHz and 2.048 MHz.The HPS-100 can be configured to run in Master or Slave mode. It supports all major PTP profiles: Default, Power, Telecom (Frequency and Phase profiles), SMPTE, AES67/RAVENNA or IEEE 802.1AS profile. This makes it the most flexible and interoperable PTP solution on the market, suitable for a wide range of applications.The module additionally also offers an NTP Server mode with 10 ns accurate time stamps due to a hardware time stamping NTP engine.For providing a cost effective solution, a flexible license model is available to select the Client capacity power that is needed for a certain application.A lot of IEEE 1588 slave devices or NTP clients from different market segments can be synchronized, for example eNodeBs for LTE base stations, Linux servers with hardware-assisted time stamping support for high-frequency trading applications, IEEE 1588 compatible IEDs in Smart Grid environments or IP-interconnected Audio / Video devices in broadcast studios. The Synchronous Ethernet function provides a highly stable frequency transport over Ethernet networks. The card supports to either use an incoming SyncE signal from the network as a source or generate SyncE as a Master.The HPS-100 module is compatible with Meinberg's Intelligent Modular Synchronization (IMS) platform, which is famous for it's high level of scalability, flexibility, versatility and reliability. The modular design of Meinberg's IMS systems allows features like field-replacement and hot-swap capabilities for I/O and power supply modules. This concept ensures future-proofness and expandability by allowing to add or replace modules when new technologies or interfaces are required.Please visit the HPS-100 product page for more information on Meinberg's new time stamping unit generation at:

HPS-100: PTP / SyncE / Hardware NTP Interface with Dual Core CPU

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