約 2,927,375 件
https://w.atwiki.jp/ddr_dp/pages/2040.html
HANDS UP IN THE AIR(楽) 曲名 アーティスト フォルダ 難易度 BPM NOTES/FA(SA) その他 HANDS UP IN THE AIR U1 A 楽5 128 131 / 0 STREAM VOLTAGE AIR FREEZE CHAOS 25 21 9 0 0 楽譜面(5) / 踊譜面(9) / 激譜面(13) / 鬼譜面(-) 属性 渡り 譜面 http //livedoor.blogimg.jp/yanmar195/imgs/5/4/54e5f05a.png プレイ動画 https //www.youtube.com/watch?v=t2aMNiZaFkk (x2.5, NOTE) 解説 遠距離はあるにはあるが、2分か4分2連の密度の薄い箇所のみ。基本は短い4分の渡り譜面で、BPMを踏まえると逆詐称気味 -- 名無しさん (2016-02-22 22 47 18) 名前 コメント コメント(私的なことや感想はこちら) 名前 コメント
https://w.atwiki.jp/thekityou/pages/14.html
2009年(平成21年) ・のどごしスッキリのノートがつくられる。 ・「学級の日々」が発行される。 2010年(平成22年) ・「学級の日々」(二代目)が発行される。 ・「裏学級の日々」が発行される。 2011年(平成23年) ・「学級の日々R(リターンズ)」が発行される。 ・7月1?日 「The記帳」スタート。 ・9月3日 「The記帳(第2期)」スタート。 ・9月6日 「The記帳 @ウィキ」スタート。 「The記帳online」スタート。 ・10月6日 「The記帳(第3期)」スタート 2012年(平成24年) ・3月31日 中学校卒業により一時解散。 ・8月15日 真夏の緊急招集により復活。「The記帳(第4期)」スタート
https://w.atwiki.jp/vocaloidenglishlyric/pages/99.html
【Tags Kobayashi onyx Miku S tT tF】 Original Music Title サイハテ The Farthest End (SAIHATE) Music Lyrics written, Voice edited by 小林オニキス(Kobayashi Onyx) Music arranged by 小林オニキス(Kobayashi Onyx) Singer 初音ミク (Hatsune Miku) Fanmade Covers and Arrangements Fanmade Promotional Video(s) Click here for the Japanese Lyrics English Lyrics (translated by soundares): I wonder what s it like over there? If you get there alright I d like a letter or something Opened the door and To you who are going away beyond This singing voice and prey could Reach you, I hope (Sky) with out one cloud Bottomless clear sky (day like) today Is almost sad, It s just the day for parting (Touched through one) ordinary life As if coloring them scarlet It was (such) a Yielding love Was (such) a Yielding love Farewell Maybe one day again If I could believe we ll meet again Days from now on too Without change We can get by When the door shuts We are right on to be apart (Then) Smoke of you Will be a cloud then rain (Touched through one) ordinary life As if coloring them scarlet It was (such) a Yielding love Was (such) a Yielding love Farewell Singable English Lyrics (written by Annmelts-P (アンメルツP )): How is it over there? Surely it s a place where I don t know. I want a word from you so I ll know you are doing well. Opening the door and heading toward you, but I can t do anything. So I hope at least this song and prayer, reaches you deep inside your heart. Not one cloud in the clear blue sky. Not one method to hide my tear is given. The day to end has come. Now I can not say anything to you. Ordinary day, yes it was, (and) then you colored my black and white life to red. It was such a small graceful love, yes; it was a small graceful love. So now "Good-bye." If I can believe (that) someday we can meet again, that will be my strength. We ll spend the days like it was before til then I ll sing this song for you. If the door of your heart closes, we are apart again, I can not bear. You will never know my feelings. You will be from a dark cloud to the rain. Ordinary day, yes it was, (and) then you colored my black and white life to red. It was such a small graceful love, yes; it was a small graceful love. Romaji lyrics (transliterated by minato777): mukou wa donna tokoro nan darou ne? buji ni tsui ta ra tayori demo hoshii yo tobira wo hiraite kanata e to mukau anata e kono utagoe to inori ga todoke ba ii na kumo hitotsu nai you na nukeru hodo seiten no kyou wa kanashii kurai ni owakare biyori de arifureta jinsei wo akaku irozukeru you na taoyakana koi deshita taoyakana koi deshita sayonara mata itsu no hi ni ka dea e ru to shinji rare ta ra kore kara no hibi mo kawara zu yari sugos e ru ne tobira ga shimare ba kono mama hanarebanare da anata no kemuri wa kumo to nari ame ni naru yo arifureta jinsei wo akaku irozukeru you na taoyakana koi deshita taoyakana koi deshita sayonara
https://w.atwiki.jp/ddr_dp/pages/2041.html
HANDS UP IN THE AIR(踊) 曲名 アーティスト フォルダ 難易度 BPM NOTES/FA(SA) その他 HANDS UP IN THE AIR U1 A 踊9 128 248 / 2 STREAM VOLTAGE AIR FREEZE CHAOS 48 42 10 9 12 楽譜面(5) / 踊譜面(9) / 激譜面(13) / 鬼譜面(-) 属性 渡り、八分滝 譜面 http //livedoor.blogimg.jp/yanmar195/imgs/f/d/fd4d07c9.png プレイ動画 https //www.youtube.com/watch?v=hvGfTM0RRjw (x?.?, NOTE) https //www.youtube.com/watch?v=36gsEmCDwlM (x?.?, NOTE) 解説 バリエーション豊かな8分3連を主軸に、8分4連2連や滝など総合的に踏める。縦2連混じりなどかなりのパターンがあり、シンプルに良譜面と言える -- 名無しさん (2016-02-22 22 51 59) 名前 コメント コメント(私的なことや感想はこちら) 名前 コメント
https://w.atwiki.jp/traino/pages/17.html
Tiny-Trainoも、マイコンです。 Trainoの機能を制限してより小型化するプロジェクトです。 現在はATTiny10で第一号機を開発中。
https://w.atwiki.jp/touhoukashi/pages/1494.html
【登録タグ F Fall in the Dark ShibayanRecords yana ほおずきみたいに紅い魂 マジコカタストロフィ 曲】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/keroro00innovator/pages/3137.html
Sailing to the Sunshine Sailing to the Sunshine 発売日 2016年11月30日 レーベル ランティス デイリー最高順位 1位(2016年11月30日) 週間最高順位 1位(2016年12月6日) 月間最高順位 3位(2016年11月) 年間最高順位 35位(2016年) 初動売上 11790 累計売上 17151 週間1位 収録内容 曲名 アーティスト タイアップ 視聴 Disc1 1 Main theme of Lovelive! Sunshine!! ラブライブ! サンシャイン!! BGM 2 桜色の風 3 舞い降りた奇跡 4 青空Jumping Heart Aqours ラブライブ! サンシャイン!! OP 5 青い海とみかん畑の日々 ラブライブ! サンシャイン!! BGM 6 LET S GET DOWN 7 つかめない光 8 ニネンブゥリデスカ 9 桟橋のソナタ 10 想いは波に寄せられて 11 普通怪獣ちかっちー? 12 希望の羽 13 with YOU 14 Conflict with diamond 15 小さな奇跡 16 決めたよHand in Hand Aqours ラブライブ! サンシャイン!! 劇中歌 17 前回のラブライブ!サンシャイン!! ラブライブ! サンシャイン!! BGM 18 Swingin Shakin 19 OTOBOKE funny days 20 Carrot Stick 21 海の音を探して 22 想いのかけら 23 詞って、なあに? 24 ウチウラータイム 25 スクールアイドルに恋してる 26 優しさを伝う海鳴り 27 ユメノトビラ(梨子ver.) 桜内梨子(逢田梨香子) ラブライブ! サンシャイン!! 劇中歌 28 輝きを目指して ラブライブ! サンシャイン!! BGM 29 新理事長がやって来るOh!Oh!Oh! 30 みかん色の帰り道 31 妄想作戦会議 32 It s a sunny day! 33 波打ち際のスタートライン 34 かけがえのないふるさと 35 ダイスキだったらダイジョウブ! Aqours ラブライブ! サンシャイン!! 劇中歌 36 今しかない瞬間を ラブライブ! サンシャイン!! BGM 37 輝きへの階段 38 夢見る文学少女 39 嫌いにならなきゃ 40 陽だまりのリハーサルスタジオ 41 友情Diary 42 一緒に始めよう! Disc2 1 のん気な屋上日和 ラブライブ! サンシャイン!! BGM 2 ファイブマーメイド 3 フォーリン・ヨハネ 4 Riko Jump High!! 5 堕天しない? 6 FRIENDSHIP 7 降臨・ヨハネ 8 廃校キタ――(゚∀゚)――!! 9 すれ違いは霧の中で 10 ズームイン! 11 アクション! 12 夢で夜空を照らしたい Aqours ラブライブ! サンシャイン!! 劇中歌 13 雨模様のリグレット ラブライブ! サンシャイン!! BGM 14 東京ハイテンション 15 SELF CONTROL!! Saint Snow ラブライブ! サンシャイン!! 劇中歌 16 夢と現実の狭間 ラブライブ! サンシャイン!! BGM 17 くやしくないの? 18 果南を追え! 19 取り調べ室 20 一番大切なもの 21 素直になれなくて 22 未熟DREAMER Aqours ラブライブ! サンシャイン!! 劇中歌 23 サンシャイン!バケーション!! ラブライブ! サンシャイン!! BGM 24 ウキウキ夏合宿 25 海に還るもの 26 すれ違いのヨーソロー 27 DETERMINATION 28 想いよひとつになれ Aqours ラブライブ! サンシャイン!! 劇中歌 29 始まりの物語 ラブライブ! サンシャイン!! BGM 30 MIRAI TICKET Aqours ラブライブ! サンシャイン!! 劇中歌 31 ユメ語るよりユメ歌おう(2年生ver.) 高海千歌(伊波杏樹),桜内梨子(逢田梨香子),渡辺曜(斉藤朱夏) ラブライブ! サンシャイン!! ED 32 ユメ語るよりユメ歌おう(花ルビver.) 国木田花丸(高槻かなこ),黒澤ルビィ(降幡愛) 33 ユメ語るよりユメ歌おう(善子ver.) 津島善子(小林愛香) 34 ユメ語るよりユメ歌おう(3年生ver.) 松浦果南(諏訪ななか),黒澤ダイヤ(小宮有紗),小原鞠莉(鈴木愛奈) 35 ユメ語るよりユメ歌おう(1年生ver.) 国木田花丸(高槻かなこ),黒澤ルビィ(降幡愛),津島善子(小林愛香) 36 ユメ語るよりユメ歌おう(1・2年生ver.) 国木田花丸(高槻かなこ),黒澤ルビィ(降幡愛),津島善子(小林愛香)高海千歌(伊波杏樹),桜内梨子(逢田梨香子),渡辺曜(斉藤朱夏) 37 ユメ語るよりユメ歌おう(ちかりこver.) 高海千歌(伊波杏樹),桜内梨子(逢田梨香子) 38 ユメ語るよりユメ歌おう(曜ver.) 渡辺曜(斉藤朱夏) 39 ユメ語るよりユメ歌おう Aqours ランキング 週 月日 順位 変動 週/月間枚数 累計枚数 1 12/6 1 新 11790 11790 2016年11月 3 新 11790 11790 2 12/13 3 ↓ 2183 13973 3 12/20 8 ↓ 999 14972 4 12/27 ↓ 874 15846 5 17/1/3 13 ↑ 514 16360 2016年12月 10 ↓ 4570 16360 6 1/10 6 ↑ 530 16890 7 1/17 ↓ 261 17151 関連CD 青空Jumping Heart ユメ語るよりユメ歌おう 決めたよHand in Hand/ダイスキだったらダイジョウブ! 夢で夜空を照らしたい/未熟DREAMER 想いよひとつになれ/MIRAI TICKET
https://w.atwiki.jp/touhoukashi/pages/4752.html
【登録タグ EastNewSound Lyrical Crimson T ルーネイトエルフ 前菜 曲】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; 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TF 2-2 IN FSE AAR Indirect Fires in the Battle of Fallujah. http //www.tradoc.army.mil/pao/ProfWriting/2-2AARlow.pdf By Captain James T. Cobb, First Lieutenant Christopher A. LaCour and Sergeant First Class William H. Hight TF 2-2 IN FSE AAR Indirect Fires in the Battle of Fallujah.1. Background and Mission. 2. Enemy Forces. 3. Friendly Forces. 4. Artillery Fires. 5. Mortars. 6. Danger-Close Fires. 7. FOs. 8. Other Equipment. 9. Munitions.a. Range of Munitions. b. White Phosphorous. c. Hexachloroethane Zinc (HC) Smoke and Precision-Guided Munitions. d. Ammo Resupply. 10. CAS.a. CAS Effectiveness. b. Pulling Timely Air Assets. c. CAS and Other Indirect Fires. 11. Unmanned Aerial Vehicles. 12. Personnel Manning. 13. Training. 14. Conclusion. Task Force 2d Battalion, 2d Infantry’s (TF 2-2 IN’s) fire support element (FSE) operated as a mini-brigade FSE during the Battle of Fallujah. The FSE coordinated the combat effects of Army, Air Force and Marine assets more autonomously than the traditional, doctrinal battalion-level FSE.a model of joint interdependency. Although the FSE did not have joint personnel assigned to it, it worked closely with the brigade air liaison officer (BALO), who was chopped to TF 2-2 IN, and functioned as a “Joint FSE,” if you will. Ed MEMORANDUM FOR RECORD FSE, TF 2-2 IN, 3d Brigade Combat Team(BCT), 1st ID, Operation Iraqi Freedom (OIF) II, Forward Operating Base (FOB) Normandy, Muqdadiyah, Iraq APO AE 09392 (AETV-BGR-FSE), 1 December 2004. Subject After-Action Review (AAR) for the Battle of Fallujah 1. Background and Mission. 2. Enemy Forces. 3. Friendly Forces. 4. Artillery Fires. As part of TF 2- 2 IN, the M109A6 Paladins and a platoon fire direction center (FDC) were attached in direct support (DS) to the TF. For most of the fight, this was their only role. Later, after TF 2- 2 IN had reached its limit of advance (LOA) at PL Fran, it also was tasked to support RCT-7. The Paladins were in a position area (PA) in Camp Fallujah adjacent to the Marine Corps and a battery of Paladins from the 1st Cavalry Division, A/3-82 FA, that was attached to the IMEF. This facilitated the FA’s sharing meteorological (Met) data and survey and relieved the platoon of self-security. a. Organic to the TF. As an organic part of the TF, the howitzers provided accurate, timely fires throughout the fight, delivering 925 rounds, mostly in danger-close fires. As dedicated assets to the TF, Paladin fires were greatly expedited in a 360-degree fight with fluid targets and a rapidly advancing maneuver force. Fire missions took less than two minutes from the initial call-for-fire (CFF) to rounds down range. b. Responsibilities of TF FSE. The TF FSE assumed responsibility for coordinating with the TF 2-2 IN S4 for Class V resupply, positioning the platoon and selecting shell-fuze combinations. The TF FSE cleared fires at the TAC along with the TF battle captain or S3. Clearance of fires was executed by demanding accurate company frontline traces and forward observer (FO) locations at regular intervals and battle tracking in detail. c. Role of the Artillery. The artillery was used in doctrinal roles, such as screening the initial point of penetration, preparatory fires, close fire support and disruptive deep fires, as well as in non-doctrinal roles, such as clearing routes of IEDs and breeching minefields. Using Paladins directly attached to the TF gave us a tremendous advantage in the fight. Our tactics, techniques and procedures (TTP) were effective and lethal and gave maneuver TFs greater flexibility, firepower and mobility. The overall performance was outstanding. By using FOs and accurate intelligence- driven targeting, the artillery was a driving force in the TF’s ability to attack through a large city with minimum casualties in six days. d. Massing Fires. The only drawback was our inability to mass fires on targets due to having only two guns. While we did have general support reinforcing (GSR) assets, they were slow, cumbersome and more difficult to coordinate with than our organic systems. Trust was also an issue as the vast majority of our fires were danger-close, and we did not know the proficiency level of the supporting guns. While it did not impact our operations overall, at times the physical and psychological effects of massed artillery fires were the preferred effects. We could use our 120-mm mortars when we wanted to mass fires, but additional 155-mm howitzers would have been more effective. 5. Mortars. The Thunder Mortar Platoon that is organic to 2-2 IN proved to be the equal of the artillery in this fight in terms of accuracy and responsiveness and was an integral part of the indirect fires used. When provided the five requirements for accurate predicted fires, mortars were every bit as accurate and deadly as artillery. The firepower of the 120-mm munitions allowed us to respond quickly with overwhelming firepower when needed. During the course of the battle, mortars fired 942 rounds of timely, accurate fires. a. Mortar Challenges. Our mortar platoon received two M252 81-mm mortars before deploying to the Fallujah AOR. These were useful indirect fire weapons when close fires were required. The only drawback was they had no sights. To use them, we had to take sights from the 120-mm tubes and use the sights with the 81-mm mortars, taking two 120-mm tubes out of the fight. The mortars’ high angle of fire was preferable for military operations in urban terrain (MOUT), but there were times when the mortars’ maximum ordinate (MAXORD) exceeded the close air support (CAS) ceiling, limiting mortar fires. b. Platoon Security. The mortar platoon operated outside of Camp Fallujah at various firing points and had to pull self-security. It was manned to do so with no degradation of fires. The platoon received enemy indirect fires frequently during the fight and was forced to displace. But due to superior training and good maneuverability, it quickly displaced, reset and resumed operations. 6. Danger-Close Fires. 7. FOs. 8. Other Equipment. 9. Munitions. The munitions we brought to this fight were 155-mm highexplosive (HE) M107 (short-range) and M795 (long-range) rounds, illumination and white phosphorous (WP, M110 and M825),with point-detonating (PD), delay, time and variable-time (VT) fuzes. For the 120-mm mortars, we had HE, illumination and WP with PD, delay and proximity fuzes. We also carried 81-mm HE with the same fuzes. (引用者注)PD;point-detonating 弾頭信管; delay fuze 延期信管; proximity fuzes近接信管; cf.着発信管 contact fuse // impact fuse // impact fuze // percussion fuze a. Range of Munitions. The munitions at our disposal gave us excellent flexibility. The 81-mm munitions allowed us to deliver extremely close fires to friendly forces while we used larger caliber munitions to engage and destroy heavily fortified houses and bunkers. The standard table of organization and equipment (TOE) for a mechanized battalion does not include 81-mm mortars, something the Army should examine and correct. b. White Phosphorous. WP proved to be an effective and versatile munition. We used it for screening missions at two breeches and, later in the fight, as a potent psychological weapon against the insurgents in trench lines and spider holes when we could not get effects on them with HE. We fired “shake and bake” missions at the insurgents, using WP to flush them out and HE to take them out. c. Hexachloroethane Zinc (HC) Smoke and Precision-Guided Munitions. We could have used these munitions. We used improved WP for screening missions when HC smoke would have been more effective and saved our WP for lethal missions. We had several important targets, often reinforced houses that FOs had eyes on, that would have been more effectively engaged with a precision-guided munition, such as Copperhead with its shaped charge or the developmental Excalibur Unitary round that is concrete piercing (to be fielded in 2006). Barring the use of such precision-guided munitions, concrete-piercing (CP) fuzes would have been more effective than delay and PD fuzes were, but the latter were satisfactory. d. Ammo Resupply. The biggest challenge we had was ammunition resupply. The amount of munitions expended was surprising, and we had to struggle to keep our cannons and tubes supplied. The targeting officer at the TOC and the S4 did a fantastic job of obtaining ammunition, but in the future, it would be easier to over-anticipate ammunition needs before the fight and stockpile it. The Marines gave us what they had, and the location of the Paladin platoon on FOB Fallujah helped greatly. The fact that the Paladin platoon brought a palletized loading system (PLS) was a huge plus. It allowed the S4 to coordinate for ammunition and the Paladin platoon to pick it up. In the final analysis, it all worked, but I recommend we not put ourselves in that position again. We never ran out of ammunition, but we came close several times. 10. CAS. We used CAS well in this fight, dropping more than 15 guided-bomb unit-12s (GBU-12s), which are laser-guided 500-pound bombs; four 2,000-pound joint direct attack munition (JDAMs) penetrators; and one Maverick. We also had more than six hours of AC-130 Specter gunship support. a. CAS Effectiveness. We had problems with the GBU-12s. At least five duds were dropped, all from F/A-18s. The AC-130 was an awesome weapon, operating at night and prepping our deep battlespace with outstanding accuracy. The four JDAM penetrators were dropped on a bunker complex with excellent results. The bunker and more than 20 AIF were destroyed. Initially, we had difficulty working with Marine air. However, once our JTACs learned the system, it worked rather well. An air liaison officer (ALO) from the Marines at the TOC would have helped in the early stages and facilitated the use of more Marine CAS. b. Pulling Timely Air Assets. While the Air Force JTACs were useful on the ground, they had limited success pulling timely air assets. A TOC ALO is a must for two reasons first, a Marine ALO with direct access to higher will pull air assets more quickly and be able to disseminate their fires faster than an Air Force JTAC on the ground. Second, you need an officer who understands the Marine system attached to the FSE for better coordination. Air assets are requested through a different system than indirect lethal fires. An ALO with two radios tied in to higher and the battalion is a must and will cut air request times in half. Although air was planned, it often was difficult for the battalion JTAC to talk to the RCT-7 ALO and get air when needed. c. CAS and Other Indirect Fires. A big lesson is that CAS was not a substitute for responsive artillery and mortars. CAS was most effective in the deep fight, particularly when used on intelligence-driven targets. 11. Unmanned Aerial Vehicles. 12. Personnel Manning. 13. Training. 14. Conclusion. The contributions of indirect fires were a decisive part of the Battle of Fallujah and contributed tremendously to the outcome of the fight. They allowed the maneuver forces to rapidly move through the city with minimum casualties and demonstrated what a joint and combined arms team can do. The effects were physically and psychologically devastating. Not only did indirect fires destroy AIF personnel, but they also destroyed their will to stand and fight. Indirect fires also positively influenced our forces by demonstrating to commanders on the ground that overwhelming firepower was at their disposal. The Paladin platoon greatly increased the TF’s firepower, timeliness and flexibility, allowing us to move at an unprecedented pace through a fortified city. We learned to use indirect fires early and often in large volumes. During the course of the battle, more than 2,000 artillery and mortar rounds were fired and more than 10 tons of precision Air Force munitions were dropped. However, as successful as we were, had the battle lasted longer it would have been difficult to sustain fire support operations. We must learn from this fight to prepare for the future. At the end of the fight we thought back on some of the things we were the proudest of. What jumped to the forefront was infantry and tank platoon sergeants, platoon leaders and company commanders telling us that the artillery and mortars were awesome. At the end of the day, that is what it is all about our maneuver brethren recognizing why we are called the “King of Battle.” Captain James T. (Tom) Cobb has been assigned to 1st Battalion, 6th Field Artillery (1-6 FA), 1st Infantry Division, and served as the Fire Support Officer (FSO) for Task Force 2d Battalion, 2d Infantry, (TF 2-2 IN) in Operation Iraqi Freedom (OIF) II, including during the Battle of Fallujah. He also deployed with Kosovo Force (KFOR) 4B. First Lieutenant Christopher A. LaCour, assigned to 1-6 FA, has been the Targeting Officer for TF 2-2 IN in OIF II, including during the Battle of Fallujah. Also in OIF II, he was a Platoon Leader for 2/C/1-6 FA and, previously, a Fire Direction Officer in the same battery. Sergeant First Class William H. Hight, also assigned to 1-6 FA, has been TF 2-2 IN’s Fire Support NCO since September 2003, deploying in OIF II and fighting in the Battle of Fallujah. He also deployed to Bosnia as part of the Implementation Force (IFOR) and to Kosovo as part of KFOR 4B. Redleg CPT Jason Bender Selected Aviation Center Officer Instructor of FY04 CPTジェイソンベンダーが選択した砲手 FY04の航空センターのインストラクターの役員
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ライブ概要 商業アルバム『REBOOT』のリリースに伴い、2019年2月28日より始まった『岸田教団 THE明星ロケッツ REBOOT TOUR 2019』の5番目の公演である。 Twitterにおける関連ツイートのハッシュタグは『#リブートツアー』。 開催日時 2019年3月17日(日) 開場 17 30 開演 18 00 会場概要 Electric Lady Land(エレクトリック レディ ランド)は、愛知県名古屋市中区に存在するライブハウスである。略称は「名古屋E.L.L.(エル)」。収容人数は約600人。 セットリスト Never say Never Blood and Emotions ストライク・ザ・ブラッド 天鏡のアルデラミン 3 seconds rule ただ凛として クリアレイン literal world 暁を映して セブンスワールド 感情 in the black 群青 七色シューティングスター LIVE MY LIFE (アコースティックアレンジ) ストレイ HIGHSCHOOL OF THE DEAD Reboot:RAVEN stratus rain Code:Thinker GATE ~それは暁のように~ 星空ロジック 公演リスト 【岸田教団 THE明星ロケッツ REBOOT TOUR 2019】全国6公演 2月28日 CLUB CITTA 川崎 3月8日 バナナホール 3月10日 福岡 DRUM Be-1 3月17日 仙台 LIVE HOUSE enn 2nd 3月21日 名古屋 Electric Lady Land 3月23日 東京 EX THEATER ROPPONGI 関係各社 主催 ZOOM enterprise 後援 ワーナー・ブラザース・ホームエンターテイメント 企画制作 ソニーミュージックパブリッシング/スタジオK2