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https://w.atwiki.jp/asigami/pages/3907.html
曲名 アーティスト フォルダ 難易度 BPM NOTES/FREEZE(SHOCK) Surface Stessie A3 踊9 150 180/20 STREAM VOLTAGE AIR FREEZE CHAOS 33 37 5 43 7 踊譜面(9) / 激譜面(12) 譜面 動画 https //www.youtube.com/watch?v=DroZIwXLAGM (1P x3.0, NOTE) 解説 DDR A3稼働時追加楽曲(2022/03/17~)。 コメント コメント(感想など) 最新の10件を表示しています。コメント過去ログ
https://w.atwiki.jp/usb_audio/pages/62.html
原文:Audio Devices Rev. 2.0 Spec and Adopters Agreement(ZIP) Universal Serial Bus Device Class Definition for Audio Data Formats Release 2.0 May 31, 2006 11 2 Audio Data Formats Audio Data formats can be divided in two main groups • Simple Audio Data Formats • Extended Audio Data Formats Simple Audio Data Formats can then be subdivided into four groups according to type. The first group, Type I, deals with audio data streams that are transmitted over USB and are constructed on a sample-by-sample basis. Each audio sample is represented by a single independent symbol, contained in an audio subslot. Different compression schemes may be used to transform the audio samples into symbols. Note This is different from encoding. Compression is considered to take place on a per-audio-sample base. Each audio sample generates one symbol (e.g. A-law compression where a 16-bit audio sample is compressed into an 8 bit symbol). If multiple physical audio channels are formatted into a single audio channel cluster, then samples at time x of subsequent channels are first contained into audio subslots. These audio subslots are then interleaved, according to the cluster channel ordering as described in the main USB Audio Specification, and then grouped into an audio slot. The audio samples, taken at time x+1, are interleaved in the same fashion to generate the next audio slot and so on. The notion of physical channels is explicitly preserved during transmission. A typical example of Type I formats is the standard PCM audio data. The following figure illustrates the concept. ここに画像 Figure 2-1 Type I Audio Stream The second group, Type II, deals with those formats that do not preserve the notion of physical channels during the transmission over USB. Typically, all non-PCM encoded audio data streams belong to this group. A number of audio samples, often originating from multiple physical channels and taken over a certain period of time, are encoded into a number of bits in such a way that, after transmission, the original audio samples can be reconstructed to a certain degree of accuracy. The number of bits used for transmission is typically one or more orders of magnitude smaller than the number of bits needed to represent the original PCM audio samples, effectively realizing a considerable bandwidth reduction during transmission. Universal Serial Bus Device Class Definition for Audio Data Formats Release 2.0 May 31, 2006 12 ここに画像 Figure 2-2 Type II Audio Stream The third group, Type III, contains special formats that do not fit in both previous groups. In fact, they mix characteristics of Type I and Type II groups to transmit audio data streams over USB. One or more non-PCM encoded audio data streams are packed into “pseudo-stereo samples” and transmitted as if they were real stereo PCM audio samples. The sampling frequency of these pseudo samples matches the sampling frequency of the original PCM audio data streams. Therefore, clock recovery at the receiving end is easier than it is in the case of Type II formats. The drawback is that unless multiple non-PCM encoded streams are packed into one pseudo stereo stream, more bandwidth than necessary is consumed. The fourth group, Type IV, deals with audio streams that are not transmitted over USB. Instead, they interface with the audio function through an AudioStreaming interface that does not contain a USB isochronous IN or OUT endpoint. These streams typically connect via a digital interface like S/PDIF (or some other means of connectivity) but require interaction from the Host before they enter or leave the audio function. A typical example is an external S/PDIF connector that can accept an AC-3 encoded audio stream. This stream is first processed by an AC-3 decoder before the (decoded) logical audio channels enter the audio function through the Input Terminal that represents this S/PDIF connection. The capabilities of the AC-3 decoder are advertised by means of the AC-3 Decoder descriptor and the decoder Controls can be programmed through the AudioStreaming interface. In addition to the Simple Audio Data Formats described above, Extended Audio Data Formats are defined. These are based on the Simple Audio Data Formats Type I, II, and III definitions but they provide an optional packet header and for the Extended Audio Data Format Type I, an optional synchronous (i.e. sample accurate) control channel. Type IV Audio Data Formats do not have an Extended Audio Data Format definition. Section A.1, “Format Type Codes” summarizes the Audio Data Formats that are currently supported by the Audio Device Class. The following sections explain those formats in more detail. 2.1 Transfer Delimiter Isochronous data streams are continuous in nature, although the actual number of bytes sent per packet may vary throughout the lifetime of the stream (for rate adaptation purposes for instance). To indicate a temporary stop in the isochronous data stream without closing the pipe (and thus relinquishing the USB Universal Serial Bus Device Class Definition for Audio Data Formats Release 2.0 May 31, 2006 13 bandwidth), an in-band Transfer Delimiter needs to be defined. This specification considers two situations to be a Transfer Delimiter. The first is a zero-length data packet and the second is the absence of an isochronous transfer in a USB (micro)frame that would normally have an isochronous transfer. Both situations are considered equivalent and the audio function is expected to behave the same. However, the second type consumes less isochronous USB bandwidth (i.e. zero bandwidth). In both cases, this specification considers a Transfer Delimiter to be an entity that can be sent over the USB. 2.2 Virtual Frame and Virtual Frame Packet Definitions To better describe packetization for audio the concept of a “virtual frame” (VF) is introduced. A virtual frame is defined as VF = (micro)frame * 2(bInterval-1) In addition, a “virtual frame packet” (VFP) is introduced. A virtual frame packet is defined as a packet that contains all the samples that are transferred over the bus during a virtual frame. For full-/high-speed endpoints, the virtual frame packets are exactly the same as the physical packets that are transferred over USB. However, for high-speed high-bandwidth endpoints, the virtual frame packet is the concatenation of the two or three physical packets that are transferred over the bus in a microframe. Note The USB Specification already considers the 2 or 3 transactions of a high-speed high-bandwidth transfer to be part of a single packet. See Section 5.12.3, “Clock Synchronization” The above definitions provide a model of ‘one (virtual frame) packet per (virtual) frame’, irrespective of the actual transactions on the USB. 2.3 Simple Audio Data Formats 2.3.1 Type I Formats The following sections describe the Audio Data Formats that belong to Type I. A number of terms and their definition are presented. 2.3.1.1 USB Packets Audio data streams that are inherently continuous must be packetized when sent over the USB. The quality of the packetizing algorithm directly influences the amount of effort needed to reconstruct a reliable sample clock at the receiving side. The goal must be to keep the instantaneous number of audio slots per virtual frame, ni as close as possible to the average number of audio slots per virtual frame, nav. The average nav must be calculated as follows ここに数式 where TVF is the duration of a virtual frame and Δt is the sample time (1/FS). In most cases nav will be a number with a fractional part. If the sampling rate is a constant, the allowable variation on ni is limited to one audio slot, that is, Δni = 1. This implies that all virtual frame packets must either contain INT(nav ) audio slots (small VFP) or INT(nav) + 1 (large VFP) audio slots. For all i ni = INT(nav) | INT(nav) + 1 Note In the case where nav = INT(nav), ni may vary between INT(nav) - 1 (small VFP), INT(nav) (medium VFP) and INT(nav) + 1 (large VFP). Furthermore, a large VFP must be generated as soon as it becomes available. Typically, a source will generate a number of small VFPs as long as the accumulated fractional part of nav remains 1. Once the Universal Serial Bus Device Class Definition for Audio Data Formats Release 2.0 May 31, 2006 14 accumulated fractional part of nav becomes ≥ 1, the source must send a large VFP and decrement the accumulator by 1. Due to possible different notions of time in the source and the sink (they might each have their own independent sampling clock), the (small VFP)/(large VFP) pattern generated by the source may be different from what the sink expects. Therefore, the sink must be capable to accept a large VFP at all times. Example Assume FS = 44,100 Hz and TVF = 1ms. Then nav = 44.1 audio slots. Since the source can only send an integer number of audio slots per VF, it will send small VFPs of 44 audio slots. Each VF, it therefore sends ‘0.1 slot’ too few and it will accumulate this fractional part in an accumulator. After having sent 9 small VFPs of 44 audio slots, at the tenth VF it will have exactly one audio slot in excess and therefore can send a large VFP containing 45 audio slots. Decrementing the accumulator by 1 brings it back to 0 and the process can start all over again. The source will thus produce a repetitive pattern of 9 small VFPs of 44 audio slots followed by 1 large VFP of 45 audio slots. The following table illustrates the process Table 2-1 Packetization #VF nav ni Fraction Accumulator n 44.1 44 0.1 0.1 n+1 44.1 44 0.1 0.2 n+2 44.1 44 0.1 0.3 n+3 44.1 44 0.1 0.4 n+4 44.1 44 0.1 0.5 n+5 44.1 44 0.1 0.6 n+6 44.1 44 0.1 0.7 n+7 44.1 44 0.1 0.8 n+8 44.1 44 0.1 0.9 n+9 44.1 45 0.1 1.0 - 0 n+10 44.1 44 0.1 0.1 n+11 44.1 44 0.1 0.2 … … … … … *原文は枠線無し 2.3.1.2 Pitch Control If the sampling rate can be varied (to implement pitch control), the allowable variation on ni is limited to one audio slot per virtual frame. For all i ni+1 = ni | ni ± 1 Pitch control is restricted to adaptive endpoints only. AudioStreaming interfaces that support pitch control on their isochronous endpoint are required to report this in the class-specific endpoint descriptor. In addition, a Set/Get Pitch Control request is required to enable or disable the pitch control functionality. Universal Serial Bus Device Class Definition for Audio Data Formats Release 2.0 May 31, 2006 15 2.3.1.3 Audio Subslot The basic structure used to represent audio data is the audio subslot. An audio subslot holds a single audio sample. An audio subslot always contains an integer number of bytes. This specification limits the possible audio subslot sizes (bSubslotSize) to 1, 2, 3 or 4 bytes per audio subslot. An audio sample is represented using a number of bits (bBitResolution) less than or equal to the total number of bits available in the audio subslot, i.e. bBitResolution ≤ bSubslotSize*8. AudioStreaming endpoints must be constructed in such a way that a valid transfer can take place as long as the reported audio subslot size (bSubslotSize) is respected during transmission. If the reported bits per sample (bBitResolution) do not correspond with the number of significant bits actually used during transfer, the device will either discard trailing significant bits ([actual_bits_per_sample] bBitResolution) or interpret trailing zeros as significant bits ([actual_bits_per_sample] bBitResolution). 2.3.1.4 Audio Slot An audio slot consists of a collection of audio subslots, each containing an audio sample of a different physical audio channel, taken at the same moment in time. The number of audio subslots in an audio slot equals the number of logical audio channels in the audio channel cluster. The ordering of the audio subslots in the audio slot obeys the rules set forth in the USB Audio Specification. All audio subslots must have the same audio subslot size. 2.3.1.5 Audio Streams An audio stream is a concatenation of a potentially very large number of audio slots, ordered according to ascending time. Streams are packetized when transported over USB whereby virtual frame packets can only contain an integer number of audio slots. Each packet always starts with the same channel, and the channel order is respected throughout the entire transmission. If, for any reason, there are no audio slots available to construct a VFP, a Transfer Delimiter must be sent instead. 2.3.1.6 Type I Format Type Descriptor The Type I format type descriptor starts with the usual three fields bLength, bDescriptorType, and bDescriptorSubtype. The bFormatType field indicates this is a Type I descriptor. The bSubslotSize field indicates how many bytes are used to transport an audio subslot. The bBitResolution field indicates how many bits of the total number of available bits in the audio subslot are truly used by the audio function to convey audio information. Table 2-2 Type I Format Type Descriptor Offset Field Size Value Description 0 bLength 1 Number Size of this descriptor, in bytes 6 1 bDescriptorType 1 Constant CS_INTERFACE descriptor type. 2 bDescriptorSubtype 1 Constant FORMAT_TYPE descriptor subtype. 3 bFormatType 1 Constant FORMAT_TYPE_I. Constant identifying the Format Type the AudioStreaming interface is using. 4 bSubslotSize 1 Number The number of bytes occupied by one audio subslot. Can be 1, 2, 3 or 4. 1 - 6 - 11 - 16 - 21 - 26 - 31 ここを編集
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//SURFACE TENSION vo/c2a5e/HiveHand/grd_hivehand_asswascooked01.wav clr 215,255,255 ありがとよ。もうダメだと思っていた! vo/c2a5e/HiveHand/grd_hivehand_goodgod01.wav clr 215,255,255 こいつぁスゲぇ! vo/c2a5e/HiveHand/grd_hivehand_goodgod02.wav clr 215,255,255 もし俺がカメラを見つけたら、もう一回そうしてくれよ! vo/c2a5e/HiveHand/grd_hivehand_goodgod04.wav clr 215,255,255 無口なんだな... vo/c2a5e/HiveHand/grd_hivehand_intro01.wav clr 215,255,255 おい! おぉい! vo/c2a5e/HiveHand/grd_hivehand_intro02.wav clr 215,255,255 こいつらをどうにかしてくれ! vo/c2a5e/HiveHand/grd_hivehandexamination01.wav clr 215,255,255 ゴードン・フリーマン、理論物理学的肛門科医だな。 vo/c2a5e/HiveHand/grd_hivehandexamination02.wav clr 215,255,255 うわぁ! うぇ。もしそれを殺そうとしてるんだったら、その方法は色々と間違ってるんじゃないか vo/c2a5e/HiveHand/grd_hivehandexamination03new.wav clr 215,255,255 あんたらが科学の為なら何でもするってマジなのかよ! vo/c2a5e/HiveHand/grd_hivehandexamination04new.wav clr 215,255,255 俺にはあんたがそういう物に手慣れた天才なのか、ただのイカれた変態なのか判断できねぇよ! そんな事考えつくなんて! vo/c2a5e/HiveHand/grd_hivehandexamination05.wav clr 215,255,255 全く...ともあれ、そいつのお陰で大分気分が明るくなったよ。 vo/c2a5e/HiveHand/grd_hivehandexamination08.wav clr 215,255,255 タバコは要るかい? ああ、あんたじゃないんだ、その腕に付いてるそいつにさ。 vo/c2a5e/OrdnanceStorage/sci01_headingforlamdacomplex01.wav 君はラムダ・コンプレックスに向かっているんじゃないかな? vo/c2a5e/OrdnanceStorage/sci01_headingtheremyselfuntil01.wav 私もそこに向かっていたんだがここで怪我をしてしまった、それに... vo/c2a5e/OrdnanceStorage/sci01_headingtheremyselfuntil02.wav もうそんな勇気は無い! vo/c2a5e/OrdnanceStorage/sci01_idle_Icanhearthemupahead01.wav この先からあのクリーチャー共の声が聞こえてくる。 vo/c2a5e/OrdnanceStorage/sci01_idle_Icanhearthemupahead02.wav 奴らから目を離すな! vo/c2a5e/OrdnanceStorage/sci01_idle_Icanhearthemupahead03.wav 奴らはこの状況をまるで理解していない! vo/c2a5e/OrdnanceStorage/sci01_idle_onewrongmove01.wav 一つ間違えるだけで... vo/c2a5e/OrdnanceStorage/sci01_idle_onewrongmove02.wav 一つ足を踏み外すだけで... vo/c2a5e/OrdnanceStorage/sci01_idle_onewrongmove03.wav 私達はこの場所ごと綺麗サッパリ消し飛んでしまうんだ! vo/c2a5e/OrdnanceStorage/sci01_idle_onlyshootwhenyoumust01.wav どうしても必要な時だけ銃を使うんだ! vo/c2a5e/OrdnanceStorage/sci01_idle_onlyshootwhenyoumust02.wav 流れ弾一つで全てがオシマイだ! vo/c2a5e/OrdnanceStorage/sci01_ifyouintendtogoon01.wav もし君が上に行くつもりなら、一つ頼みがある。 vo/c2a5e/OrdnanceStorage/sci01_ifyouintendtogoon02.wav 我々のためにも、 vo/c2a5e/OrdnanceStorage/sci01_proceedwithextremecaution01.wav 細心の注意を払って進んでくれ! vo/c2a5e/OrdnanceStorage/sci01_takeonelook01.wav そのドアの先を見てみるんだ、私が何を言っているのかすぐに分かるよ。 vo/c2a5e/OrdnanceStorage/sci01_waitouthecastastrophe01.wav 私はここで、この大惨事が終わるのを待つよ。 vo/c2a5e/Sniper/grd01_imdying01.wav clr 215,255,255 助けて...助けてくれ... vo/c2a5e/Sniper/grd01_imdying02.wav clr 215,255,255 頼む...誰か助けてくれ... vo/c2a5e/Sniper/grd01_imdying03.wav clr 215,255,255 死んじまう... vo/c2a5e/Sniper/grd01_imdying04.wav clr 215,255,255 頼む...助けてくれ... vo/c2a5f/AirDuctAmbush/hgrunt01_quiet01.wav I clr 128,128,128 しぃぃ... vo/c2a5f/AirDuctAmbush/hgrunt01_quiet02.wav I clr 128,128,128 静かに。 vo/c2a5f/AirDuctAmbush/hgrunt02_hearthat01.wav I clr 128,128,128 んぅ!? vo/c2a5f/AirDuctAmbush/hgrunt02_hearthat02.wav I clr 128,128,128 今のを聞いたか!? vo/c2a5f/MotherLode/GRD03_checkthisout.wav clr 215,255,255 ここを覗いていきな。 vo/c2a5f/MotherLode/GRD03_expensivetaste.wav clr 215,255,255 どうだい? 豪勢なもんだろ。 vo/c2a5f/MotherLode/GRD03_finerthings01.wav clr 215,255,255 その様子じゃ、最高に良いブツをご所望みたいだな。 vo/c2a5f/MotherLode/GRD03_itsamother.wav clr 215,255,255 こいつだ、博士。宝の山だ! vo/c2a5f/MotherLode/GRD03_opensesame01a.wav clr 215,255,255 開け、ゴマ! vo/c2a5g/Garage/hgruntvent_gruff_quiet01.wav I clr 128,128,128 しぃぃ... vo/c2a5g/Garage/hgruntvent_gruff_quiet02.wav I clr 128,128,128 静かに。 vo/c2a5g/Garage/hgruntvent_young_hearthat01.wav I clr 128,128,128 んぅ!? vo/c2a5g/Garage/hgruntvent_young_hearthat02.wav I clr 128,128,128 今のを聞いたか!? vo/c2a5g/RunLikeHell/grd03_ainttryingtokillme01.wav clr 215,255,255 あぁ、ようやくだ! ようやく俺を殺しにかからん奴が来た! vo/c2a5g/RunLikeHell/grd03_ainttryingtokillme02.wav clr 215,255,255 あんたも俺を殺そうとはしないよな? vo/c2a5g/RunLikeHell/grd03_ainttryingtokillme03.wav clr 215,255,255 よし...いいだろう。 vo/c2a5g/RunLikeHell/grd03_bringinheavyartilary01.wav clr 215,255,255 奴らはドデカい大砲すら持ち込んでるみたいだな。 vo/c2a5g/RunLikeHell/grd03_gottarunlikehell01.wav clr 215,255,255 詰まる所、俺達がラムダ・バンカーまで行くにはあの駐車場を経由しなきゃならん。 vo/c2a5g/RunLikeHell/grd03_gottarunlikehell02.wav clr 215,255,255 そして逃げるんだ。全力でな。 vo/c2a5g/RunLikeHell/grd03_idle01.wav clr 215,255,255 奴らはこの場所を吹っ飛ばして、8 ビット時代まで押し戻す気でいるらしいぞ、博士! さっさと行こう! vo/c2a5g/RunLikeHell/grd03_idle02.wav clr 215,255,255 あの駐車場まで行こう! 急げ! vo/c2a5g/RunLikeHell/grd03_idle03a.wav clr 215,255,255 誰か下の階で探し物をしてる声が聞こえたと思ったんだが... vo/c2a5g/RunLikeHell/grd03_idle03b.wav clr 215,255,255 あんた、他の奴を見てないか? vo/c2a5g/RunLikeHell/grd03_nowlookhere01.wav clr 215,255,255 そら見ろ。 vo/c2a5g/Satchel/hgrunt03_heycatch01.wav clr 128,128,128 ヘイ! vo/c2a5g/Satchel/hgrunt03_heycatch02.wav clr 128,128,128 キャッチ! vo/c2a5g/Satchel/hgrunt03_tooeasy01.wav clr 128,128,128 ハハハ! vo/c2a5g/Satchel/hgrunt03_tooeasy02.wav clr 128,128,128 俺をなめてるのか? vo/c2a5g/Satchel/hgrunt03_tooeasy03.wav clr 128,128,128 こんなの楽勝だぜ! vo/c2a5g/Soldiers/mar02_semperfimyass01.wav clr 128,128,128 あぁぁ、「センパーファイ」なんぞクソ食らえってんだ! vo/c2a5g/Soldiers/mar02_semperfimyass02.wav clr 128,128,128 この大作戦はもう見るも無惨にメチャクチャだ。 vo/c2a5g/Soldiers/mar03_outintheopen01.wav clr 128,128,128 開けた場所に向かおう。 vo/c2a5g/Soldiers/mar03_outintheopen02.wav clr 128,128,128 そうしたら俺達を見つけてもらえる。 vo/c2a5g/Soldiers/mar03_weredonehere01.wav clr 128,128,128 俺達はもうオシマイだ! vo/c2a5g/Soldiers/mar03_weredonehere02.wav clr 128,128,128 時間をドブに捨てるのはもう止めだ! vo/c2a5g/Soldiers/mar04_gotsomething01.wav clr 128,128,128 しぃっ! vo/c2a5g/Soldiers/mar04_gotsomething02.wav clr 128,128,128 ここには何かあるぞ。 vo/c2a5g/Soldiers/mar04_gotsomething03.wav clr 128,128,128 奴ら退避地点をまた変えやがった。 vo/c2a5h/ComeInCooper/radio_anylastbombtargets01.wav I もしまだ爆撃対象が残っているのなら、タクティカル・マップで指示を出せ! vo/c2a5h/ComeInCooper/Radio_comeincooper_main.wav I 応答しろクーパー! 聞こえるか? クーパー、聞こえてるのか? フリーマンの事は忘れろ! 我々は拠点を放棄する。もしまだ爆撃する対象が残っているのなら、タクティカル・マップで指示を出せ。そうでなければ、そこからすぐに退避しろ! 繰り返す、我々は撤退し空爆を行う! 標的を指示するか、直ぐに下がれ! どうぞ! vo/c2a5h/ComeInCooper/Radio_comeincooper_radiosilence.wav [無線の待機音] vo/c2a5h/ComeInCooper/radio_comeincooper01.wav I 応答しろ、クーパー! 聞こえるか? vo/c2a5h/ComeInCooper/radio_commencingairstrikes01.wav I 繰り返す、我々は撤退し、空爆を開始する。 vo/c2a5h/ComeInCooper/radio_cooperdoyoureadme01.wav I クーパー、聞こえるか? vo/c2a5h/ComeInCooper/radio_giveustargetsorgetbelow01.wav I 標的を指示しろ、さもなくば下がれ! どうぞ! vo/c2a5h/ComeInCooper/radio_otherwisegethehellout01.wav I そうでなければ、早急にそこから退避しろ! vo/c2a5h/Garg/grd03_ohshit01.wav clr 215,255,255 あぁ、クソ! vo/c2a5h/LambdaBunker/grd03_aintthatright01.wav clr 215,255,255 そいつは間違いじゃないのか、相棒? vo/c2a5h/LambdaBunker/grd03_goodweranintoeachother01.wav clr 215,255,255 合流するってのはいいことだ。だろ? vo/c2a5h/LambdaBunker/grd03_goodweranintoeachother02.wav clr 215,255,255 正確なアクセスコードが無ければラムダ・バンカーの中には入れないんだ。 vo/c2a5h/LambdaBunker/grd03_goodweranintoeachother03.wav clr 215,255,255 あのラムダの連中が、ビール片手に迎えてくれる気の効いた奴らだと良いんだがな!
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OrganizationsConsortium Domestic Oversea last modified 0000-00-00 00 00 00 Organizations Consortium SPM Simulator Community Site LEEM/PEEM user community Stereoscopy WIEN2k FEFF for XAFS Domestic 日本物理学会 The Physical Society of Japan 日本放射光学会 The Japanese Society for Synchrotron Radiation Research 日本化学会 The Chemical Society of Japan 日本表面科学会 The Surface Science Society of Japan 応用物理学会 The Japan Society of Applied Physics 日本結晶学会 The Crystallographic Society of Japan 日本分光学会 The Spectroscopical Society of Japan 日本真空協会 The Vacuum Society of Japan 日本磁気学会 The Magnetics Society of Japan 日本顕微鏡学会 The Japanese Society of Microscopy 日本金属学会 The Japan Institute of Metals 学協会情報発信サービス Oversea IUVSTA AIP APS IOP 以下は本サイト@wikiのスポンサーの広告です。
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Table of Contents +... Table of Contents Introduction Changing your online name AbilitiesAbility List Rock Buster Noise Kaizou GearNoise CardsNoise Card Breakdown Noise Card Rules Noise Card Combos Noise Card Bug List Noise Card List Rezon CardsRezon Card List Team Rezon Bonus Secret Satellite Server / Meteor Server Cards Introduction This page will go over all the available customization options you have as Rockman, as well as cover NKG. Changing your online name You can change your online name which others players will see when searching for matches like this I) Click the Menu button. II) Click the Brother tab. III) Click your profile picture. IV) Click on the top-left box which shows your current name. V) Skip some of the dialogue which comes up by pressing A and then choose the left option to enter your new name. Abilities One of the first and most important customization options we ll cover are Abilities. You can access abilities by going to Menu Rockman Then click the Abilities button highlighted in the picture This will bring you to the ability menu 1) Name of the ability and the ability list. 2) How much LP the ability costs. 3) Your current maximum LP. 4) Your remaining LP which changes after you equip certain abilities. 5) Your ability list. Here, you can equip Rockman with various types of abilities. You use what is known as Link Power to equip these abilities. By yourself, you have1020 LP but with Brothers who are on your team, you can get a maximum of 1900 LP! To equip Rockman with an ability, click one of the abilities from the ability on the left or press A to equip it. To remove an ability, go to your ability on the right and click it or press A to un-equip it. Ability List Before you start equipping abilities, make sure to first check that the abilities you have the correct quantity of abilities equipped by checking this list here Ability Name Link Power Description Quantity HP+50 120 Increases Rockman s HP by 50 x1 110 Increases Rockman s HP by 50 x1 100 Increases Rockman s HP by 50 x1 90 Increases Rockman s HP by 50 x1 HP+100 220 Increases Rockman s HP by 100 x1 205 Increases Rockman s HP by 100 x1 190 Increases Rockman s HP by 100 x1 170 Increases Rockman s HP by 100 x1 HP+200 310 Increases Rockman s HP by 200 x1 290 Increases Rockman s HP by 200 x1 270 Increases Rockman s HP by 200 x1 250 Increases Rockman s HP by 200 x1 HP+300 420 Increases Rockman s HP by 300 x1 390 Increases Rockman s HP by 300 x1 370 Increases Rockman s HP by 300 x1 340 Increases Rockman s HP by 300 x1 HP+400 490 Increases Rockman s HP by 400 x1 470 Increases Rockman s HP by 400 x1 450 Increases Rockman s HP by 400 x1 430 Increases Rockman s HP by 400 x1 HP+500 610 Increases Rockman s HP by 500 x1 570 Increases Rockman s HP by 500 x1 540 Increases Rockman s HP by 500 x1 450 Increases Rockman s HP by 500 x1 350 Increases Rockman s HP by 500 x1 UnderShrt 60 1 HP left after a fatal hit x1 50 1 HP left after a fatal hit x1 30 1 HP left after a fatal hit x1 5 1 HP left after a fatal hit x1 AirShoes 450 Allows you to move over holes x1 400 Allows you to move over holes x1 350 Allows you to move over holes x1 260 Allows you to move over holes x1 200 Allows you to move over holes x1 FltShoe 300 Allows you to ignore certain panel effects x1 270 Allows you to ignore certain panel effects x1 240 Allows you to ignore certain panel effects x1 210 Allows you to ignore certain panel effects x1 150 Allows you to ignore certain panel effects x1 Rflct 260 Reflects damage from shielding non-dimming, non-break attacks back to the opponent x1 230 Reflects damage from shielding non-dimming, non-break attacks back to the opponent x1 200 Reflects damage from shielding non-dimming, non-break attacks back to the opponent x1 150 Reflects damage from shielding non-dimming, non-break attacks back to the opponent x1 50 Reflects damage from shielding non-dimming, non-break attacks back to the opponent x1 SprArmr 900 Prevents Rockman from flinching x1 700 Prevents Rockman from flinching x1 FlshBody 300 Makes Rockman immune to blind confuse effects x1 200 Makes Rockman immune to blind confuse effects x1 GravBody 500 Makes Rockman immune to gravity effects and push & pull effects x1 300 Makes Rockman immune to gravity effects and push & pull effects x1 ParaBody 800 Makes Rockman immune to paralysis effects x1 600 Makes Rockman immune to paralysis effects x1 FrzBody 800 Makes Rockman immune to freeze effects x1 600 Makes Rockman immune to freeze effects x1 BblBody 800 Makes Rockman immune to bubble effects x1 600 Makes Rockman immune to bubble effects x1 FstBarr 60 Begin the battle with a 1 HP Barrier x1 50 Begin the battle with a 1 HP Barrier x1 40 Begin the battle with a 1 HP Barrier x1 30 Begin the battle with a 1 HP Barrier x1 FstAura 600 Being the battle with Aura x1 400 Being the battle with Aura x1 Mega+1 440 Increase your folder s Mega card capacity by one x1 400 Increase your folder s Mega card capacity by one x1 360 Increase your folder s Mega card capacity by one x1 270 Increase your folder s Mega card capacity by one x1 200 Increase your folder s Mega card capacity by one x1 Giga+1 750 Increase your folder s Giga card capacity by one x1 700 Increase your folder s Giga card capacity by one x1 650 Increase your folder s Giga card capacity by one x1 400 Increase your folder s Giga card capacity by one x1 +V 90 Changes Rockman s charge shot pattern to a V shape x1 80 Changes Rockman s charge shot pattern to a V shape x1 70 Changes Rockman s charge shot pattern to a V shape x1 50 Changes Rockman s charge shot pattern to a V shape x1 +X 150 Changes Rockman s charge shot pattern to an X shape x1 130 Changes Rockman s charge shot pattern to an X shape x1 110 Changes Rockman s charge shot pattern to an X shape x1 90 Changes Rockman s charge shot pattern to an X shape x1 45 Changes Rockman s charge shot pattern to an X shape x1 SpreadShot 200 Changes Rockman s charge shot to a spread which hits adjacent panels x1 180 Changes Rockman s charge shot to a spread which hits adjacent panels x1 160 Changes Rockman s charge shot to a spread which hits adjacent panels x1 140 Changes Rockman s charge shot to a spread which hits adjacent panels x1 100 Changes Rockman s charge shot to a spread which hits adjacent panels x1 +WoodPnl 220 Rockman s charge shot will create grass panels upon hit x1 200 Rockman s charge shot will create grass panels upon hit x1 170 Rockman s charge shot will create grass panels upon hit x1 150 Rockman s charge shot will create grass panels upon hit x1 50 Rockman s charge shot will create grass panels upon hit x1 +IcePnl 220 Rockman s charge shot will create ice panels upon hit x1 210 Rockman s charge shot will create ice panels upon hit x1 180 Rockman s charge shot will create ice panels upon hit x1 160 Rockman s charge shot will create ice panels upon hit x1 50 Rockman s charge shot will create ice panels upon hit x1 +ParaPnl 250 Rockman s charge shot will create para panels upon hit x1 230 Rockman s charge shot will create para panels upon hit x1 210 Rockman s charge shot will create para panels upon hit x1 180 Rockman s charge shot will create para panels upon hit x1 70 Rockman s charge shot will create para panels upon hit x1 +GnulPnl 200 Rockman s charge shot will create Gnull Panels on hit x1 190 Rockman s charge shot will create Gnull Panels on hit x1 170 Rockman s charge shot will create Gnull Panels on hit x1 140 Rockman s charge shot will create Gnull Panels on hit x1 50 Rockman s charge shot will create Gnull Panels on hit x1 +PsnPnl 270 Rockman s charge shot will create poison panels on hit x1 250 Rockman s charge shot will create poison panels on hit x1 230 Rockman s charge shot will create poison panels on hit x1 120 Rockman s charge shot will create poison panels on hit x1 AutoLkOn 950 Changes Rockman s lock-on type to Auto Lock-On x1 QkGauge 500 Speeds up the Custom Gauge to MAX speed x1 300 Speeds up the Custom Gauge to MAX speed x1 AntiDmg/Kawarimi 370 Press Up + Y just as an attack hits Rockman. Read more about it here x1 350 Press Up + Y just as an attack hits Rockman. Read more about it here x1 330 Press Up + Y just as an attack hits Rockman. Read more about it here x1 250 Press Up + Y just as an attack hits Rockman. Read more about it here x1 DiagLk 5 Changes Rockman s lock-on type to Diagonal Lock-On x1 SideLk 5 Changes Rockman s lock-on type to Side Lock-On x1 AcePGM 0 Allows Rockman to harness the power of Noise x1 JokerPGM 0 Allows Rockman to harness the power of Noise x1 SArEater 5 Changes support cards into Area Eater x1 SDbStone 5 Changes support cards into Double Stone x1 SPfmt 5 Changes support cards into Panel Format x1 HumrWrd 1 Changes the conversations you have with War-Rock x1 HumrB1 1 Makes the Rock Buster sound like a dog x1 HumrB2 1 Makes the Rock Buster sound like a cat x1 Rock Buster You can change the way the Rock buster works by I) Click on the Menu button. II) Click the Rockman tab. III) Click the War-Rock button. This will bring you to the Rock Buster menu Initially, you will see the name of the weapon Rockman has currently equipped as well as its stats ATK Determines how much damage the Rock Buster will inflict. RPD Determines the rate of fire of the Rock Buster. CHRG Determines how long it takes to charge the Rock Buster for a charge shot. Usually, the maximum value of these stats ends up being 5, but certain cards and noises can bypass these stats. For example, the amount of damage Rockman s charge shot inflicts in his base form is 50. Whereas Wolf noise s charge shot deals 100 damage (this is all assuming the ATK stat is at 5). You can change the current weapon equipped to Rockman by pressing A on the top option you see in the Rock Buster menu and then press left/right to cycle through each weapon whilst also seeing their description. Press A again to change your current weapon or press B to exit the menu. Noise Kaizou Gear Also known as Noise Modification Gear. This is an additional series of power-ups and customization options available to Rockman in the Japanese version of the game, with it being cut out from the North American version of the game. The customization options from NKG are extremely vital and greatly change the way the game is played, especially for PvP. With NKG, you ll have a LOT of variety when it comes to creating a build with every Noise. These next sections will break down each part of NKG. Noise Cards If you have ever played Rockman EXE before, Noise Cards are essentially similar to NaviCust but uses poker cards and combos as well as other rules to determine what kind of power-ups or bugs Rockman gets from them. This is how you can access Noise Cards I) Click the Menu button. II) Go to the Rockman tab. III) Click on the parameter box. IV) You will get a dialogue box asking you to input a Noise Card, choose the left option to input a Noise Card. After doing so, you will get a screen which will ask you to input a code for a Noise Card. Use the image on the right as a reference when inputting codes Down below will be a list of codes for the Noise Cards you can input. You can also simply use thistle s save editor to quickly create a Noise Card setup for your Noise. However, before you start inputting Noise cards manually or through thistle s save editor, it s best to first explain the basics of how Noise Cards work, as well as their rules. Noise Card Breakdown 1) Suit of the Noise Card. The suits are ♠, ♥, ♦, ♣, J. 2) Noise Card name. 3) Noise Card ability name. 4) Noise Card number. 5) Noise Card combo. Noise Card Rules There can only be five Noise Cards. There cannot be duplicate Noise Cards. You cannot have Noise Cards which have the same name, suit, number and ability. For example, you cannot have two Jack Corvus Noise Cards, which are 11♥ and Fire+20. There cannot be Noise cards which have the same suit and number. Cards which are the same suit and are next to each other won t cause any bugs. Cards which are of a different suit and are next to each other will cause bugs to happen. However, if you go for a Noise Card combo then you will have no bugs and will gain a bonus depending on the combo you go for. You can see all the Noise Card combos you can get below this section and what combinations are needed to get them. The bugs you get will also be determined by the suit of a card and how much of that card you have. For example, if you have three ♥ Noise Cards and two ♣ Noise Cards, then you will get a Lv3 HP Bug from the ♥ Noise Cards and Lv2 Buster Bug from the ♣ Noise Cards. Down below will be a list of bugs you get from each suit. You can only have ONE Noise Card which is of the J suit. Noise Cards from this suit are a wild card which you can use for ANY Noise Card combo. Noise Card Combos Combo Name Combo Requirements Combo Bonus 2 Pairs Two pairs of Noise Cards with the same number (2+2 and +3+3) No bugs 3 of a kind Three Noise Cards with the same number No bugs 4 of a kind Four Noise Cards with the same number Mega+2 5 of a kind Five Noise Cards with the same number Status guard Straight Noise Cards in a sequential order of numbers (1+2+3+4+5 or 6+7+8+9+10 and etc.) HP+300 Flush of Diamonds All Noise Cards must be of the ♦ suit Air Shoes Flush of Hearts All Noise cards must be of the ♥ suit Super Armor Flush of Clubs All Noise Cards must be of the ♣ suit Anti-Damage/Kawarimi and HP+200 Flush of Spades All Noise Cards must be of the ♠ suit Float Shoes Full House Requires a 3-of-a-kind and a 2-of-a-kind (e.g. 1+1+1 and 2+2) HP+500 Straight Flush A straight with all Noise Cards being from one suit Giga+1, Mega+1 Royal Straight Flush Ace+King+Queen+Jack+10 of the same suit Auto Lock-On Noise Card Bug List Suit Bug ♠ Panel Crack bug. Causes Rockman to create cracks/holes whenever he steps on panels/cracked panels. ♥ HP bug ♣ Buster bug, can prevent Rockman from firing his buster. ♦ Status bug. Will have Rockman start with a status at the start of a battle. Noise Card List This is a list of Noise Cards with each input code if you wish to input them manually instead of using thistle s save editor. Suit Number Ability Code ♦ Ace (1) +Ice Panel SHCIMG ♦ Ace (1) Aqua+10 BCNTMP ♦ 2 Support Ice Stage EKNCHO ♦ 2 Bubble Body IQMDLA ♦ 3 Ice Spin Charge Shot QGCPMD ♦ 4 Support Whistle KEFPAR ♦ 4 Break+10 DRLKGI ♦ 5 Shuriken Charge Shot EITGOA ♦ 5 HP+250 KTACNL ♦ 6 First Barrier HELARO ♦ 6 Freeze Body LSOGQM ♦ 7 Aqua+20 MPIBQT ♦ 7 +Gravity ICEPRD ♦ 8 +Paralyze Panel RCQFDL ♦ 9 Support Black Ink QBARPC ♦ 10 HP+250 NPIMRT ♦ 10 HP+150 SCFTGM ♦ Jack (11) Gravity Body QCRGBN ♦ Jack (11) HP+150 CNQRMB ♦ Queen (12) +Confuse FACEIB ♦ Queen (12) Mega +1 RPABDH ♦ King (13) HP+250 KGCOM ♦ King (13) Aqua GA+ SPIRBL Suit Number Ability Code ♥ Ace (1) Fire GA+ ESCTPD ♥ Ace (1) HP+200 HNQCRB ♥ 2 Break+10 DETSLA ♥ 2 Machine Flame Charge Shot KPQCMJ ♥ 3 Support Attack+10 BRPSQI ♥ 3 Super Armor STACPM ♥ 4 HP+250 FGCEMA ♥ 5 Break+20 CDMQHP ♥ 5 Fire+10 NGRTEM ♥ 6 Support Attack Panel SRBTMI ♥ 7 Flash Body EQPGOC ♥ 7 Fire+10 QFIEBP ♥ 8 HP+400 NRKGHB ♥ 8 Heavy Drop Charge Shot QDAGSK ♥ 9 Reflect CIARMB ♥ 9 Sword+10 DPKGIL ♥ 10 Support Double Eater NDMCSK ♥ 10 Support Bombalizer KQHALE ♥ Jack (11) Fire+20 ARCNOT ♥ Jack (11) +Cross Spread DARKHQ ♥ Queen (12) Normal G.A+ RAIPHD ♥ Queen (12) HP+150 RSTMLC ♥ King (13) +Poison Panel HRISTG ♥ King (13) First Aura ITEMSQ Suit Number Ability Code ♠ Ace (1) HP+200 ISHPLM ♠ Ace (1) Elec G.A+ LCQHEK ♠ 2 HP+150 KDCRQB ♠ 2 Elec+10 CKBRHA ♠ 3 HP+300 RTLQOD ♠ 3 HP+150 CLEDQH ♠ 4 Flash Strike Charge Shot KLHQAI ♠ 4 Support Panic Cloud KBSLAM ♠ 5 +Invis FADHQT ♠ 6 HP+200 BSCLTD ♠ 6 Support Paralyze Stage PGMRHB ♠ 7 Elec+10 MSPGBH ♠ 7 UnderShirt DNQIHA ♠ 8 HP+150 QPOSHA ♠ 8 +Paralyze MAEQTL ♠ 9 Paralyze Body HQILRS ♠ 9 +GnullPanel GKLROA ♠ 10 Mad Vulcan Charge Shot DIQSOA ♠ Jack (11) HP+150 DLIQCB ♠ Jack (11) HP+250 FTKPHS ♠ Queen (12) +Blind TBMGPQ ♠ King (13) Card Heal CLQTSF ♠ King (13) Sword+10 IBDPEL Suit Number Ability Code ♣ Ace(1) Mu Technology Charge Shot SBCRKP ♣ Ace(1) HP+250 PABDQS ♣ 2 Air Shoes SCIPHL ♣ 2 Wood+10 FISBDJ ♣ 3 HP+250 SGHATB ♣ 4 HP+400 PAQCTO ♣ 4 Wood+10 CRISTB ♣ 5 Sword+10 PMGKSH ♣ 5 Wood G.A+ QTORMI ♣ 6 +Wind HITBCR ♣ 7 Spreader Charge Shot TLQEDB ♣ 7 +Grass Panel ESRDPF ♣ 8 Quick Gauge INQAEL ♣ 8 HP+250 BTFCSD ♣ 9 Wood+20 EQDSMC ♣ 9 Anti-Damage/Kawarimi DSPLHB ♣ 10 Support Divide Line SQPDAF ♣ Jack (11) Support Grass Stage DBOLCE ♣ Queen (12) Support Recovery 30 MDICLN ♣ Queen (12) HP+400 RSAKTN ♣ King (13) Shuriken Charge Shot RCFMBA ♣ King (13) HP+250 ILEBHR Suit Ability Code J Buster MAX OLSQAD J Body Pack (Super Armor, Float Shoes, Air Shoes, Under Shirt) SEHDQB J HP+500 RQISND J Auto Lock-On QFLPSB J Support Invisible SIHRAF Rezon Cards Rezon cards allow you to customize and buff your Finalize form. You can input Rezon cards by I) Click on the menu button. II) Click on the brother tab. III) Click and choose your own profile picture. IV) Click on the box at the bottom. V) Choose and click the third option. You ll be met with exactly the same input screen you saw when you were inputting Noise Cards. Use the image on the right as a reference for inputting the codes in Rezon Card List Rezon Card Name Rezon Card Abilities Code Ultimate Battle Master Normal Cards 3+ Attack Stars, Charge Shot Finalize Mad Vulcan BTRLPD Ultimate Fire Master Fire Cards +3 Attack Stars, Charge Shot Finalize Machine Flame DOFMAP Ultimate Aqua Master Aqua Cards +3 Attack Stars, Finalize Ice Panel KOEAIQ Ultimate Thunder Master Thunder Cards +3 Attack Stars, Finalize Gnull Panel GDHQPM Ultimate Wood Master Wood Cards +3 Attack Stars, Finalize Grass Panel GDIEHP Ultimate Sword Master Sword Cards +3 Attack Stars, Finalize Super Barrier GPELAI Ultimate Break Master Break Cards +3 Attack Stars, Charge Shot Finalize Drill Arm PADMLS Ultimate Guard Master Finalize Turn+1, Finalize Holy Field, Finalize Aura CMDGPL Ultimate Paralyze Master Charge Shot Finalize Plasma Spread, Paralyze Panel SGALMK Ultimate Finalize Form Finalize Turn+2, Access Lv+1, Charge Shot Finalize Cannon KLADJE Team Rezon Bonus If your brothers are on your team, then you can also gain some of their Rezon buffs. Most notably, you can stack Attack Stars Finalize Turns Access Lv buffs from your brothers Other things such as different charge shots and stage modifiers are given to you based on brother priority, with your own Rezon and your first brother (top-left) being the lowest priority, whereas your sixth brother (top-right) has higher priority. So say you yourself have equipped the Ultimate Guard Master Rezon Card, but you wish to also have a Plasma Spread charge shot, if your sixth brother has the Ultimate Paralyze Master Rezon Card equipped, then you will now have a Plasma Spread charge shot when you Finalize into Red Joker along with an Aura and an extra Finalize turn. However, you will lose your Holy field since it ll be replaced by the Paralyze field from the Ultimate Paralyze Master Rezon card because the sixth brother is equipped with that card and the sixth brother has higher priority than your own Rezon card. You can view what Rezon buffs you and your bros currently have I) Click on the menu button. II) Click on the brother tab. III) Click and choose your own profile picture. IV) Click on the box at the bottom. V Click on the the last option. Here you will see the name of each brother/your own name and what buffs you currently have for your Finalize Form. Secret Satellite Server / Meteor Server Cards Before explaining how SSS/MS cards, it s best to use Thistle s save editor when it comes to setting up SSS/MS cards because the actual process to get SSS/MS is extremely long and it can be very confusing to explain. The save editor also has an image of every SSS/MS folder available inside the program. Before discussing SSS/MS cards further, it s best to first learn the rules of SSS/MS cards You can have a max of three SSS/MS cards. They cannot be duplicates. You can have up to three SSS/MS cards, but you ll have to sacrifice bros for it. SSS/MS cards essentially allow you to get a hand from a different set of pre-made folders outside of yours. There is a way to also determine what hand you get from one of the SSS/MS folders. To better explain this, we ll use an example. First we ll have to choose an SSS/MS card as well as see its folder using Thistle s save editor. Lv28 Blues seems to be a good SSS card with a good folder So we ll sacrifice one brother and assign it to the 4th slot Then, let s equip our SSS/MS card by going to our folder I) Click on the Menu button. II) Click on the Battle Card section. III) Go to your currently equipped folder. IV) Equip the SSS/MS card by scrolling down to the bottom and pressing A on it or clicking it. Now that we have it equipped, it s time to wait for it to appear in battle. Make sure to note down its custom screen position When you click on the SSS/MS card, you will have three addresses listed as A, B and C The card s custom screen position and the address determine what cards you get. Each position on the custom screen is a number When you combine the custom screen position number (1 from 6) with a folder address (A, B or C), you ll determine what hand you get from the SSS/MS folder. Our SSS card s position is 4 so we ll go ahead and pick the C address. This will give us the hand shown on the graph above in the 4C section Another thing to mention would be the SSS/MS hand layouts. These are all the possible hand layouts for all the SSS/MS cards They can give you a good guess as to what the hand layout might be for a certain SSS/MS hand. One thing that s for sure is that you will have a perfectly clean and aligned hand without any sort of overlap if your SSS/MS hand has no Mega or Giga cards in it. Which can be good or bad depending on the type of build you re making. That covers SSS/MS. Whilst it may be painful sacrificing a brother or two for these cards (unless you play Burai), they do provide a lot of answers to certain situations and also prevent you from running out of cards since you gain an additional 6 cards from an SSS/MS card. Most Noises will tend to use 1 SSS/MS card since it s sufficient enough. However, Burai can take advantage of 3 SSS/MS cards. Another bonus of SSS/MS cards, is the fact that you can get access to the Satellite Admin Giga cards from SSR1, since you can t access them in any other way (legitimately of course).
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Positioning and Sensors LocationLocation Events Sensors Fit ファイルへの記録 Communicating With ANT Sensors Positioning and Sensors Monkey C provides access to the wearable’s available sensors, which may include the GPS, altimeter, thermometer, and supported ANT sensors. Location A Location is an abstraction of a coordinate. It exposes the ability to retrieve the coordinates in radians or decimal degrees and then provides a method to convert to coordinate formats supported by the Garmin system. The Position module also exposes string parsing interface to convert from various coordinate formats to a Location object. // The GEO enum is used to retrieve coordinates in various String representations. enum { GEO_DEG, // Degree Format, ddd.dddddd 38.278652 GEO_DM, // Degree/Minute Format, dddmm.mmm 38 27.865 GEO_DMS, // Degree/Minute/Seconds Format, dddmmss 38 27 8" GEO_MGRS // Military Grid Reference System (MGRS) 4QFJ12345678 } // The Location object represents a position. It provides accessor // methods for retrieving the coordinates in various formats. class Location { // Constructor create a coordinate based off an options hash table // @param [Dictionary] options Hash table of options // @option options [Number] latitude The latitude // @option options [Number] longitude The longitude // @option options [Symbol] format The format of lat/long (possible // values are degrees, radians, or semicircles) function initialize( options ); // Use toDegrees() to retrieve the coordinate back as an Array of degree values. // @return [Array] An Array of the latitude and the longitude in degree format function toDegrees(); // Use toRadians() to retrieve the coordinate back as an Array of radian values. // @return [Array] An Array of the latitude and the longitude in radian format function toRadians(); // Use toGeoString() to get a String representation of the coordinate. // @param format Coordinate format to which coordinate should be // converted (GEO constant) // @return [String] Formatted coordinate String function toGeoString( format ); } Location Events To enable the GPS call the enableLocationEvents() method. The parameters are outlined below enum { LOCATION_ONE_SHOT, // One-time retrieval of Location LOCATION_CONTINUOUS, // Register for Location updates LOCATION_DISABLE // Unregister for Location updates } // Request a location event with enableLocationEvents(). // @param type LOCATION_ONE_SHOT for a single location request, // LOCATION_CONTINUOUS to enable location tracking, and // LOCATION_DISABLE to turn off location tracking // @param [Method] listener Method object to call with location updates function enableLocationEvents( type, listener ); To register a position listener, use the method() call to create a Method callback function onPosition( info ) { Sys.println( "Position " + info.position.toGeoString( Position.GEO_DM ) ); } function initializeListener() { Position.enableLocationEvents( Position.LOCATION_CONTINUOUS, method( onPosition ) ); } All of the location information will be sent in an Info object // The Location.Info class contains all information necessary for the Location. // It can be passed on the update or it can be retrieved on demand. class Info { var position; // Lat/lon var speed; // Speed in meters per second var altitude; // Altitude in meters, mean sea level var accuracy; // Accuracy - good, usable, poor, not available var heading; // Heading in radians var when; // Moment Object GPS time stamp of fix } // Use getInfo() to retrieve the current Location.Info // @return [Location.Info] The Info object containing the current information function getInfo(); Sensors センサー (Sensor) モジュールを使うと、 Garmin ANT+ センサーから情報を読み出すことができる。使うためには、センサーを有効にし、リスナー関数を割り当てなければならない。 function initialize() { Sensor.setEnabledSensors( [Sensor.SENSOR_HEARTRATE] ); Sensor.enableSensorEvents( method( onSensor ) ); } function onSensor(sensorInfo) { System.println( "Heart Rate " + sensorInfo.heartRate ); } Sensor information is packaged in the Sensor.Info object // The Sensor.Info class contains all information necessary for the Sensor. // It can be passed on the update or it can be retrieved on demand. class Info { var speed; // Speed in meters per second var cadence; // Cadence in revolutions per minute var heartRate; // HR in beats per minute var temperature; // Temperature in degrees Centigrade var altitude; // Altitude in meters var pressure; // Pressure in Pa var heading; // Heading in Radians } The simulator can simulate sensor data via the Simulation menu by selecting Fit Data Simulate Data. This generates valid but random values that can be read in via the sensor interface. For more acuate simulation, the simulator can play back a FIT file and feed the input into the Sensor module. To do this, select Simulation Fit Data Playback File and choose a FIT file from the dialog. Fit ファイルへの記録 Monkey C では watch apps にて、 FIT ファイル の記録開始・停止を行うことができる。これには数ステップが必要。 各種センサーでの sensors を有効にする Fit.createSession(options) で session オブジェクトを生成する。 start() で FIT session に有効なセンサーからのデータを記録(開始)する stop() to pause the recording save() で保存、もしくは discard() で削除 The FIT file will sync with Garmin Connect. You can use the Garmin Connect API to process the FIT file from a web service. Communicating With ANT Sensors Connect IQ provides a low level interface for communication with ANT and ANT+ sensors. With this interface, an ANT channel can be created to send and receive ANT packets. The MO2Display sample provides a sample application that implements the Muscle Oxygen ANT profile. The ANT Generic interface is not available to watch faces. Low and High priority search timeout for sensors differs from the basic ANT radio specification to allow for interoperation with native ANT behavior on devices. These are limited to a maximum timeout of 30 seconds and 5 seconds respectively.
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Adaptation and Optimization of Biological Transport Networks Dan Hu, David Cai PRL 2013 流れのあるネットワーク フローとか 物理とCSのコネクション biological networksの観点 葉脈!! 葉っぱに穴を開けたら葉脈はどーなるの???????????????????????? 葉っぱ氏は省エネを保ちつつ色々頑張っている ループが出たり出なかったり この論文 シンクが開閉するよ!! インフラと関係あるかなー Kirchhoff s law 圧力とか出てくる 実際には圧力差しかいらない? アダプテーション 微分方程式!! sinkの開閉 open / close 開閉状態を全パターン列挙するぜ! うおお!(計算 実験 sink固定だと木、固定しないとサイクルが出来る PRL 2013-12-12 16 20 38 (Thu)
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Adoption of various media Although various media exist in a school library and it is mainly divided into three, a "pencil press", "audiovisual media", and "electronic media", the old school library has been managed mainly in case of a pencil press. However, it is also necessary for investigating hours of comprehensive learning etc. oneself and understanding to take in elements other than character media, such as audiovisual media and electronic media, in the education called for. Since it complains of audiovisual media and electronic media to vision or hearing, they can understand the contents for a short time. The contents which read a character over several times and can occasionally understand it at last may be able to understand by once. It is what is called "seeing is believing." In this media center, I am preparing three media abundantly so that a user may learn and it can use for amusement. Although there is the purpose, when there is no telling which media should be used, please speak to a nearby teacher-librarian. A teacher-librarian s role A teacher-librarian s work is mainly choosing media according to a student s needs, and teaching a student the method of use of media. Since judgment of information of corrigenda, choice, etc. are needed, a student enables it to use information by his judgment in the present information society by guiding the method of media use. In this center, at least one person always stations the teacher-librarian. Information gathering using media In the old school library, pencil presses, such as a newspaper currently kept in books or a library, were in the mainstream. When development and development of information machines and equipment in recent years produced various media, a school library will take in various media. However, in the conventional school library, the needs of the user who asks for collection of various information and dispatch cannot be met in the society computerized by the present altitude. On the present Internet, always new information is disseminated regardless of truth, and by a future information society, use of the Internet will become indispensable, when collecting information. In this media center, I have introduced the computer as a communication tool for performing collection of information, integration, and dispatch. The student can use a computer for favorite time fundamentally, and if there is a question, a teacher-librarian corresponds. This media center is aiming at a student s study and assistance of collection of information by introducing a computer. Moreover, since the power which makes judgment of the information which is needed in an information society of corrigenda, and choice is learned, a teacher-librarian teaches about the usage of media.
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原文:Audio Data Formats 1.0(PDF) USB Device Class Definition for Audio Data Formats Release 1.0 March 18, 1998 16 Bit D6 indicates that the multilingual information that is encoded at normal sampling rates (32 kHz, 44.1 kHz or 48 kHz). This bit is only applicable for MPEG-2 decoders. Bit D7 indicates that the decoder is capable of processing streams that are encoded using adaptive multichannel prediction. Bits D9..8 indicate if the decoder can process embedded multilingual information. Multilingual capabilities can consist of being able to process multilingual information encoded at the same sampling frequency as the main audio channels (D9..8 = ‘01’). Some decoders may provide the additional capability to process multilingual information encoded at half the sampling frequency of the main audio channels (D9..8 = ‘11’). Bits D15..10 are reserved for future extensions. The bmMPEGFeatures field indicates compression-related features. Bits D5..4 report which type of Dynamic Range Control the MPEG decoder supports. Some decoders do not implement DRC (D5..4 = ‘00’). If implemented, the DRC can either use the stream embedded gain parameters as is (D5..4 = ‘01’) or can provide for additional DRC scaling factors, either a single scaling factor that influences both the boost and cut value simultaneously (D5..4 = ‘10’) or a separate scaling factor for the boost and the cut value (D5..4 = ‘11’) All other bits are reserved. Table 2-7 MPEG Format-Specific Descriptor Offset Field Size Value Description 0 bLength 1 Number Size of this descriptor, in bytes 9 1 bDescriptorType 1 Constant CS_INTERFACE descriptor type. 2 bDescriptorSubtype 1 Constant FORMAT_SPECIFIC descriptor subtype. 3 wFormatTag 2 Constant MPEG. Constant identifying the precise format the AudioStreaming interface is using. USB Device Class Definition for Audio Data Formats Release 1.0 March 18, 1998 17 Offset Field Size Value Description 5 bmMPEGCapabilities 2 Bitmap Bitmap identifying the MPEG capabilities of the decoder. A bit set indicates that the capability is supported D2..0 Layer support D0 = Layer ID1 = Layer IID2 = Layer IIID3 MPEG-1 only.D4 MPEG-1 dual-channel.D5 MPEG-2 second stereo.D6 MPEG-2 7.1 channel augmentation.D7 Adaptive multi-channel prediction.D9..8 MPEG-2 multilingual support 00 = Not supported01 = Supported at Fs10 = Reserved11 = Supported at Fs and ½Fs.D15..10 Reserved. 7 bmMPEGFeatures 1 Bitmap Bitmap identifying the features the decoder supports. A bit set indicates that the feature is supported D3..0 Reserved.D5..4 Internal Dynamic Range Control 00 = not supported.01 = supported but not scalable.10 = scalable, common boost and cut scaling value.11 = scalable, separate boost and cut scaling value.D7..6 Reserved. 2.3.8.1.2 MPEG Format-Specific Requests The following paragraphs describe the Set and Get MPEG Control requests. Some of the requests control parameters that are also dependent on the content of the incoming MPEG data stream. In general, the behavior of the MPEG decoder is primarily controlled by the incoming bitstream. Parameters set using MPEG Control requests retain their setting, even if that setting is not applicable to the current incoming bitstream. As an example, consider a decoder that is receiving a stream containing two independent stereo channel pairs. In this case, the Select Second Stereo Control can be enabled so that the second stereo channel is reproduced over the Left and Right channel. If the incoming stream is now switched to a full 5.1 encoded stream, the Select Second Stereo Control has no more influence and the decoder overrides its setting and produces full 5.1 sound. However, if the incoming stream switches back to the previous format, the Select Second Stereo Control becomes active again and resumes its previous setting so that the second stereo channel is reproduced again over the Left and Right channel. USB Device Class Definition for Audio Data Formats Release 1.0 March 18, 1998 18 2.3.8.1.2.1 Set MPEG Control Request This request is used to set an attribute of an MPEG Control inside an AudioStreaming interface of the audio function. Table 2-8 Set MPEG Control Request Values bmRequest Type bRequest wValue wIndex wLength Data 00100001B SET_CURSET_MINSET_MAXSET_RES CS Zero and Interface Length of parameter block Parameter plock The bRequest field indicates which attribute the request is manipulating. The MIN, MAX and RES attributes are usually not supported for the Set request. Further details on which attributes are supported for which Controls can be found in Section 2.3.8.1.2.3, “MPEG Controls.” The wValue field specifies the Control Selector (CS) in the high byte and zero in the low byte. The Control Selector indicates which type of control this request is manipulating. If the request specifies an unknown or unsupported CS to that interface, the control pipe must indicate a stall. For a description of the parameter blocks for the different Controls that can be addressed through the Set AC-3 Control request, see Section 2.3.8.1.2.3, “MPEG Controls.” 2.3.8.1.2.2 Get MPEG Control Request This request returns the attribute setting of a specific MPEG Control inside an AudioStreaming interface of the audio function. Table 2-9 Get MPEG Control Request Values bmRequest Type bRequest wValue wIndex wLength Data 10100001B GET_CURGET_MINGET_MAXGET_RES CS Zero and Interface Length of parameter block Parameter block The bRequest field indicates which attribute the request is reading. The wValue field specifies the Control Selector (CS) in the high byte and zero in the low byte. The Control Selector indicates which type of control this request is addressing. If the request specifies an unknown or unsupported CS to that interface, the control pipe must indicate a stall. For a description of the parameter blocks for the different Controls that can be addressed through the Get AC-3 Control request, see Section 2.3.8.1.2.3, “MPEG Controls.” 2.3.8.1.2.3 MPEG Controls The following paragraphs present a detailed description of all possible AC-3 Controls an AudioStreaming interface can incorporate. For each Control, the layout of the parameter block together with the appropriate Control Selector is listed. The Control Selector codes are defined in Section A.3.1, “MPEG Control Selectors.” USB Device Class Definition for Audio Data Formats Release 1.0 March 18, 1998 19 2.3.8.1.2.3.1 Dual Channel Control The Dual Channel Control is used to select which of the two available channels in the MPEG-1 base stream is actually retrieved and reproduced over the Left and Right output channels. If this Control is addressed on a decoder that does not implement Dual Channel Control (D4 = ‘0’ in the bmMPEGCapabilities field of the MPEG format-specific descriptor), the control pipe must indicate a stall. The Dual Channel Control can have only the current setting attribute (CUR). The position of the Channel2Enable switch can be either TRUE or FALSE. When FALSE, Channel I is selected, and when TRUE, Channel II is selected. The current setting of the Control can be queried using a Get MPEG Control request. Table 2-10 Dual Channel Control Parameter Block Control Selector MP_DUAL_CHANNEL_CONTROL wLength 1 Offset Field Size Value Description 0 BChannel2Enable 1 Number The setting for the attribute of the Dual Channel Control. Channel I selected when FALSE, Channel II selected when TRUE. 2.3.8.1.2.3.2 Second Stereo Control The Second Stereo Control is used to select the second stereo channel pair that can be encoded in an MPEG-2 stream instead of the multi-channel stereophonic information (3/2). If this Control is addressed on a decoder that does not implement Second Stereo support (D5 = ‘0’ in the bmMPEGCapabilities field of the MPEG format-specific descriptor), the control pipe must indicate a stall. The Second Stereo Control can have only the current setting attribute (CUR). The position of the 2ndStereoEnable switch can be either TRUE or FALSE. When FALSE, the main stereo channel pair is selected; when TRUE, the second stereo channel pair is selected. The current setting of the Control can be queried using a Get MPEG Control request. Table 2-11 Second Stereo Control Parameter Block Control Selector MP_SECOND_STEREO_CONTROL wLength 1 Offset Field Size Value Description 0 B2ndStereoEnable 1 Number The setting for the attribute of the Second Stereo Control. Main stereo channel pair selected when FALSE, second stereo channel pair selected when TRUE. 2.3.8.1.2.3.3 Multilingual Control The Multilingual Control is used to select the multilingual channel actually retrieved from the MPEG stream. If this Control is addressed on a decoder that does not implement multilingual support (D9..8 = USB Device Class Definition for Audio Data Formats Release 1.0 March 18, 1998 20 ‘00’ in the bmMPEGCapabilities field of the MPEG format-specific descriptor), the control pipe must indicate a stall. The Multilingual Control supports only the CUR Control attribute. The valid range is from zero (0x00) to seven (0x07). The actual range depends on the incoming MPEG stream. It may contain only a limited number of multilingual channels (less than seven). The Multilingual Control honors the request to the best of its abilities. It may truncate the attribute values to its closest available settings. It will report these settings when queried during a Get MPEG Control request. Table 2-12 Multilingual Control Parameter Block Control Selector MP_MULTILINGUAL_CONTROL wLength 1 Offset Field Size Value Description 0 bMultiLingual 1 Number The setting for the attribute of the multilingual channel selection 0 = decode no channel1..7 = decode channel 1..78..255 = reserved 2.3.8.1.2.3.4 Dynamic Range Control The Dynamic Range Control (DRC) is used to enable or disable the Dynamic Range Control functionality of the decoder. If the decoder does not support Dynamic Range control (D5..4 = ‘00’ in the bmMPEGFeaturesfield of the MPEG format-specific descriptor), the control pipe must indicate a stall when receiving this request. The Dynamic Range Control can have only the current setting attribute (CUR). The position of the DRC switch can be either TRUE or FALSE. TRUE means that the MPEG decoder is using the Dynamic Range control words (possibly with additional scaling) contained in the MPEG bit stream to control the audio dynamic range. FALSE means the control words are being ignored, and the original signal dynamic range is being reproduced. The current setting of the Control can be queried using a Get MPEG Control request. Table 2-13 Dynamic Range Control Parameter Block Control Selector MP_DYN_RANGE_CONTROL wLength 1 Offset Field Size Value Description 0 bEnable 1 Bool The setting for the Dynamic Range Control CUR attribute. Enabled when TRUE, disabled when FALSE. 2.3.8.1.2.3.5 Scaling Control The Scaling Control is used to manipulate the single scaling coefficient used by MPEG decoders that implement a common boost/cut scaling value for Dynamic Range Control (D5..4 = ‘10’ in the bmMPEGFeatures field of the MPEG format-specific descriptor). If this Control is addressed on a non- ‘10’ decoder, the control pipe must indicate a stall. 1 - 6 - 11 - 16 - 21 - 26 - 31 ここを編集
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界面活性斬/Surface Activation Slash 界面活性斬/Surface Activation Slash(1)(R)(W) インスタント アーティファクト1つかエンチャント1つを対象とし、それを破壊する。界面活性斬はそのコントローラーに、それの点数で見たマナ・コストに等しい点数のダメージを与える。 参考 天楽抜萃-アンコモン