|Exam Name||:||Symantec Enterprise Vault 11.x Technical Assessment|
|Questions and Answers||:||134 Q & A|
|Updated On||:||September 22, 2017|
|PDF Download Mirror||:||ST0-306 Brain Dump|
|Get Full Version||:||Pass4sure ST0-306 Full Version|
Enterprise Vault servers EVSERVER1 and EVSERVER2 need to be installed as primary and failover node in a cluster configuration. Where must the Symantec Enterprise Vault 11.x application binaries be installed?
the installation path must be the same for either node
the installation path must be different for either node
the installation path must be on the cluster quorum
the installation path must be on the system drive
Which two types and configurations of clustering can be used with Symantec Enterprise Vault 11.x for Exchange? (Select two.)
Veritas Cluster Server in an active/active and N+1 configuration
Veritas Cluster Server in an active/passive and N+1 configuration
Windows Server Failover and Veritas Cluster Server in a mixed mode
Windows Server Failover in an active/active and N+1 configuration
Windows Server Failover in an active/passive and N+1 configuration
Which component can be placed on a non-clustered resource?
Vault Store Partitions
Enterprise Vault application binaries
Which two components must be accessible to the Enterprise Vault server for the
Building Blocks failover method? (Select two.)
Which High Availability solution will support an active/active configuration for a Symantec Enterprise Vault 11.x for Exchange installation?
XEN Server Cluster
An administrator has four Enterprise Vault servers (EVSERVER1, EVSERVER2, EVSERVER3 and EVSERVER4) configured for a building blocks configuration. EVSERVER4 belongs to a different Index Server Group. Which two failover scenarios are possible? (Select two.)
EVSERVER1 can be failed over to EVSERVER2
EVSERVER1 can be failed over to EVSERVER4
EVSERVER4 can be failed over to EVSERVER2
EVSERVER1 and EVSERVER2 can be failed over to EVSERVER3 at the same time
EVSERVER1 and EVSERVER2 can be failed over to EVSERVER4 at the same time
Which two components must be accessible to the target node to perform failover in a Building Block configuration? (Select two.)
Enterprise Vault SQL Databases
Enterprise Vault installation directory
Vault Store Partitions
Active Directory Database
Following the repair of a failed Enterprise Vault server, the administrator fails the services back to the primary server. The administrator notices it takes a minimum of 15 minutes for the desktop clients to re-connect. What could explain the delay in clients connecting to the server?
the Active Directory integrated DNS zone will take 15 minutes to replicate
the server DNS cache refreshes after 15 minutes
the desktop client DNS cache refreshes after 15 minutes
the Active Directory integrated DNS zone replication can be delayed by up to 15 minutes
What is an advantage of using Building Blocks in a Symantec Enterprise Vault 11.x environment?
Building Blocks can be used in a VCS or MCS clustered configuration
the SQL server and Microsoft Exchange may be configured with Building Blocks
Building Blocks automatically creates the tasks and index locations which are missing on the working node
reconfiguration is unnecessary after a failover and users are unaffected
What must be run to initiate a failover in a building blocks environment?
Global Cluster Option
Getting Started Wizard
Convert to Cluster Wizard
Update Service Locations
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Details of the exam:
There are total 70 to 80 questions in the exam. The total time duration of the 250-272 Preparation Kits exam in which the exam is required to be completed is 1 hour and 30 minutes. The required passing percentage of the exam is 65%. The language, in which the exam is conducted, is English. In order to purchase the exam, candidate is required to pay the fee of 150 US dollars.
Topics of the exam:
Topics of the exam are very important to prepare. Without preparing the topics, one cannot ensure his success in the exam. The exam has been divided into various sections and each section of the exam is about different topic. Section 1 of the exam is based on the topic of configuring NetBackup 7.6.1. Section 2 of the exam is based on the topic of monitoring and maintaining NetBackup 7.6.1. Tune Netback up 7.6.1 is the last topic of the exam that has been added in the section 3 of the exam.
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Two years ago, I was wandering around downtown Boise with some friends, and we happened upon someone in The Grove Plaza playing hauntingly beautiful music. That night and its music have stayed with me through the years.
Recently I ran into that same person at a show at Tom Grainey’s, and we struck up a conversation.
Addam Chavarria is a 22-year-old Idaho native. By day, a construction worker and by night, a musician, he’s a familiar face at many of Boise’s bars, clubs and restaurants. He’s planning to leave Idaho for Texas this year to take a chance on his music career. I got together with him to discuss his background, as well as his plans for the future.
Elise Adams: So, were you born in Boise?
Addam Chavarria: I was born in Nampa, but I’ve been coming here to do shows since I was 17.
EA: How long have you been playing music?
AC: I’ve played piano since I was seven, but did choir and learned guitar in high school.
EA: Is guitar your favorite thing to play?
AC: Kind of. I can do more stuff on piano, but the guitar I can just haul anywhere.
EA: Can you tell me about the first show you played?
AC: I played at The Reef for my first indoor show, and that was fun. I got to open for a guy named Shawn B, and it was his going away party. There I met this guy named Patcasso, who does live painting. He’s done live painting for Snoop Dogg, he did a picture for Obama, he’s done a bunch of stuff. I got hooked up with a bunch of people at that one show, and ever since then, it’s gotten me gigs.
EA: You get gigs pretty consistently, then?
AC:Yeah, and I’ve been doing this for five or six years now.
EA: And you’re not sick of it yet?
AC: No, it’s fun. It’s not something I don’t want to do; it’s not like I’m thinking “Oh, stupid shows.” No, they’re pretty fun.
EA: So you get excited to do shows? It’s not just like a job?
AC: No, I would rather play shows than work. Work is kind of a dead end for me right now, because I could do this forever and still be in the same place. I guess with music you can kind of do the same thing, but trying to push further and do something else is what makes it a challenge.
EA: You said earlier that you work construction during the day?
AC: Yeah, I did metal stud framing and drywall at the Mormon temple, and now I’m doing HVAC at the same place.
EA: Did you have to go to school for that?
AC: For the drywall, yeah, but it was my work ethic that got me this new job.
EA: How long have you been doing this?
AC: About a year and a half now.
EA: And what were you doing before that?
AC: I was working at Buffalo Wild Wings. I was a host and a cook; it’s the shittiest job ever, but also the easiest job ever. The pay really sucks, and I wasn’t going to get a second job, because my music is my second job, so that’s why I started doing construction.
EA: My sister used to work there, maybe that’s why she brought home so many of their plastic cups. We probably have fifteen of them.
AC: That’s funny, because my brother got me the job there and we both just have a ton of cups.
EA: That is funny. So, you’re leaving for Texas when?
AC: Late July, after the 24th.
EA: Why Texas?
AC: It’s just a different place, you know? There’s actually an industry there. Here, it doesn’t matter how many shows I do, it doesn’t matter where I play, because I could still be playing at the same place 10 to 20 years from now. I don’t want to do that. I want to tour out and do festivals and stuff.
EA: Did you try to get a piece of Treefort when that was happening?
AC: I did. I signed up twice; the first time I got an email saying “Oh, we missed your application, try again next year. The second time I made it to their final list but didn’t get in, so I just played my shows. It’s kind of cool though, because with Treefort, you can’t advertise any other shows within those two weeks, which kind of screws you. I could be out $400. I can get that kind of publicity myself somewhere else, like at Solid. I’ve gotten more shows there just by playing, because people will be like, “Come play at our company party!” “Come play at our wedding!” or “Come play at our funeral!”
EA: Is there one show you look back on as being your favorite?
AC: There’s one I’ve gotten to play three times now, it’s called Shades of Black. It’s a variety show; they have poets, dancers, rappers, they have all this stuff. It’s a big show, and it’s been rated #1 college show in the Northwest. It’s not a paying gig but it’s still the best show I’ve done, and it feels awesome every time.
EA: Do you have a favorite song you like to play?
AC: As far as original music goes, I’d have to say Farewell, which is a song on my album. That one I wrote when my dad passed away four years ago from liver cancer. I wrote it the last week I spent with him. I don’t know, it’s kind of a haunting song, so it stays with me. It’s kind of a “remember the past” type thing, a “this is why you’re doing what you’re doing” type thing. That’s why I like that song. And I hardly play it, I try not to overkill it, because it’s my favorite song. But I also hate that song, because it’s one of those songs I’ll play and just start bawling. I played that song at the Knitting Factory once, and it was funny, because I wasn’t going to cry, but there was a girl in the front row that was just bawling her eyes out. I could hear her and everything, and it just hit me, and I started crying too. But as far as cover songs go, it’s hard to say, because there are so many good ones.
EA: Have you ever done a Justin Bieber cover?
AC: No, I’ve been avoiding it.
EA: Do you get many requests for that?
AC: Yeah, I’ve been asked maybe ten times, and I ignore every one. It’s like asking a stripper to have sex with you. Like, I’m singing these songs because I’m trying to express something. Even if someone’s joking with you, like, telling you to play Free Bird, it kind of kills you. Then you’re just a cover guy, you’re just someone who plays covers. Some people push for that, but for me, I don’t like doing that many covers. I want to express me, not someone else. I’m not trying to be the next Jack Johnson or Jason Mraz. I want to be something else, and people seem to click with that. It seems more real than just “listen to this song you know,” because anyone can do that. I want to have songs and albums that people can still connect with even after I’m dead. I want my music to be about more than getting laid or doing drugs. I want my songs to be real stories, because a lot of people don’t do that anymore—it’s kind of just the same shit, over and over, and I’m tired of it.
EA: So when you’re famous and on the radio, you won’t find yourself writing stuff like that?
AC: That’s the thing, though. I don’t give a shit if I’m famous or not—I just want to live doing my music. I’ve stolen clothes and shoes, I’ve eaten out of the trash, and that’s a struggle, and it sucks, but I lived through it. I want to live off my music without having to live that struggle. I work every day, and I don’t want to have to do that forever. I don’t want to tell my kids that you do this and you die afterward. You can do good shit, but you have to want it. You can get caught up in work or life, you get married, you have kids, and it’s all gone. And you’re left thinking, “Well, shit, I was going to do this one thing, then it fell apart.” And I don’t want to do that.
EA: You don’t want to lose control of your life?
AC: Yeah. I want to do this whether it takes a while, or it takes forever. I’ll keep doing it, because in the end, who’s there for you but you? You can meet someone and throw away opportunity on trying to live each other’s dreams, but you’ll end up hating that person. Relationships that work through that are really rare these days.
EA: Would you say that you’re married to the music?
AC: Yeah, I am. I was actually going to get married, but in the midst of it I realized that there’s no way either one of us would be happy. I couldn’t do it. I couldn’t be like, “Well, we’re together, but I’m going to be gone for 6 months.” And if we did have a family, I wouldn’t want to do that to my kids.
EA: So when it comes to music and family, do you think it has to be one or the other?
AC: Yeah, kind of. I mean, there could be an in-between, but it’s really rare. If it happened, I would go for it, but I don’t see it happening until it catches me by surprise. But this thing is bigger than me. I’ve done music for so long, it’s the only thing I know how to do, and it’s the one thing that never gets old. It makes me happy, and it’s fun. I get to say what I want to say, I get to connect with so many people, and it feels good. Being on stage is like getting high.
EA: Do you think it makes you a more well-rounded person to have that outlet?
AC: Yeah, because in that sense, I get to express more to people. I’m not saying I’m some model material, but when I’m on stage, people don’t see that. They can listen to my words and realize, “Hey, that’s a mind.” It’s funny, because on stage and off stage are two different things. What’s weird is that I actually get crowd anxiety. One time I was at Fatty’s, hanging out with friends, and I was all about it, but as soon as I got into the crowd I was like “I gotta leave. Nope, nope, nope.” I kind of keep to myself—I’m a people watcher. I don’t really get it. When I’m at a show, it’s completely different, but when I’m out on my own, I get this weird anxiety.
EA: So, what kind of stuff inspires you to make music? What’s your creative process like?
AC: I watch a lot of weird movies, from romantic comedies all the way to horror movies, just random stuff. If I watch a movie and like the soundtrack, I’ll want to start playing. I’ll be like, “I need to write some stuff, because this sounds cool.” I’ll sit at home alone and will end up in pitch dark, because I’ll be playing music and lose track of time. The sun goes down and I’m still sitting there trying to think of stuff. Then someone comes into my house, like, “You’re really creepy right now.” No, I’m just lazy, I don’t want to turn the light on, I’m busy right now, I’m thinking. Usually I’ll just sit in a room for a long time and start playing guitar, and if I like the way something sounds, I’ll let it bother me for a few weeks. Whatever sticks, I’ll go back and write a whole song off of it. Or sometimes I’ll be like, “I’m going to write a song,” and that night I’ll have a song. It just depends. But I’m always writing music, never lyrics first. I can’t really do that.
EA: Were your parents pretty supportive of your music growing up? Did they force you to learn piano or anything?
AC: No, I just did it. What happened was, my parents bought my brother a turntable and all this stuff, and he never used it. They keyboard is the one thing that stayed, and I was like, “I’m going to learn how to play that thing, because it’s cool.” I didn’t have many toys or anything, but the keyboard was the one thing that was mine. At one point, I didn’t have it for the longest time, and I really had the urge to play. It wasn’t until high school that I got to—they had a piano there, and I used to stay after school for hours, just playing piano in the practice room. My parents didn’t really get into that whole thing until after I graduated. I used to come here, to Boise, and play the streets for hours every Friday and Saturday. That’s actually how I paid my tuition. I used to play the Karcher Mall when I first started, too. I had a band, but that didn’t really work out. I feel like I’m better solo, because I can’t really articulate to someone else, “Do this, this is the sound.” There’s this certain weird sound that I’m going for, and it’s only when I’m by myself that I can achieve that.
EA: You’re taking a pretty huge chance by going to Texas, huh?
AC: That’s the thing. Texas is crazy enough that I can go there and it’ll either scare the shit out of me, and I don’t want to do music ever again, or I’ll just really go for it.
EA: Do you feel like you’re leaving your home and family by going there?
AC: Kind of. I only have my immediate family here, but all my cousins are in Texas. They haven’t seen me in 16 years, though, and I’d like to know them, but I’m mostly going for the music. I don’t want to get too caught up in family drama. I’m there to do the music and leave again, because that’s what I want to do. I want to travel, and go to Europe, and all these different places, and actually experience what it’s like to play for ten thousand people. You can play so many big shows here, but all of a sudden it’s like, “Oh, I’m back in this coffee shop again.” It’s not a bad thing, but it makes it hard to move forward and put out new albums and such. While you’re at that same show you’ve been playing, it’s hard not to think about where else you could be. I could play these shows forever, and it’s easy, but I don’t like shit that’s easy. I over complicate everything. If I stay here, I’ll get caught up in life, and someday I’ll look back and think, “I could have done that. I never got to be what I wanted to be.”
EA: I guess it’s way more often that we regret the things we didn’t do.