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Wikipedia Guaranteed minimum income (2009-11-18T15 25 11)より転載。 Template POV Guaranteed Minimum Income (GMI) is a proposed systemHistory of Basic Income, Basic Income Earth Network (BIEN), retrieved on 18 June 2009 of social welfare provision that guarantees that all citizens or families have an income sufficient to live on, provided they meet certain conditions. Eligibility is typically determined by citizenship, a means test and either availability for the labour market or a willingness to perform community services. The primary goal of a Guaranteed Minimum Income is to combat poverty. If citizenship is the only requirement, the system turns into a Basic Income guarantee. Elements A system of Guaranteed Minimum Income can consist of several elements, most notably a minimum wage, either set by the government or resulting from negotiations of employers or their organizations with trade unions; a calculation of the social minimum, usually below the minimum wage; a safety net, to help citizens or families without sufficient financial means survive at the social minimum. This may be a transfer or, in some cases, a loan, and is generally conditional to availability for work, performance of community services, some kind of social contract, or commitment to a reintegration trajectory; child support by the government; Student loan|student grants and student loans; state pension for the elderly. Basic income Template Main A Basic Income is granted independent of other income (including salaries) and wealth, with no other requirement than citizenship. This is a special case of GMI, based on additional ideologies and/or goals. While most modern countries have some form of Guaranteed Minimum Income, a Basic Income is rare. A Basic Income is a proposed system of social security, that periodically provides each citizen with a sum of money that is sufficient to live on. Except for citizenship, a Basic Income is entirely unconditional. There is no means test; the richest as well as the poorest citizens would receive it. A Basic Income is often proposed in the form of a citizen s dividend (a [transfer]) or a Income TaxTax Negative Income Tax (a guarantee). A Basic Income less than the social minimum is referred to as a Partial Basic Income. A worldwide Basic Income, typically including income redistribution between nations, is known as a Global Basic Income. One of the arguments for a basic income was articulated by French economist and philosopher André Gorz The connection between more and better has been broken; our needs for many products and services are already more than adequately met, and many of our as-yet- unsatisfied needs will be met not by producing more, but by producing differently, producing other things, or even producing less. This is especially true as regards our needs for air, water, space, silence, beauty, time and human contact... From the point where it takes only 1,000 hours per year or 20,000 to 30,000 hours per lifetime to create an amount of wealth equal to or greater than the amount we create at the present time in 1,600 hours per year or 40,000 to 50,000 hours in a working life, we must all be able to obtain a real income equal to or higher than our current salaries in exchange for a greatly reduced quantity of work... Neither is it true any longer that the more each individual works, the better off everyone will be. The present crisis has stimulated technological change of an unprecedented scale and speed `the micro-chip revolution . The object and indeed the effect of this revolution has been to make rapidly increasing savings in labour, in the industrial, administrative and service sectors. Increasing production is secured in these sectors by decreasing amounts of labour. As a result, the social process of production no longer needs everyone to work in it on a full-time basis. The work ethic ceases to be viable in such a situation and workbased society is thrown into crisis... Andre Gorz, Critique of economic Reason (Galilée, 1989) The Basic Income Earth Network (BIEN) describes one of the benefits of a basic income as having a lower overall cost than that of the current means-tested social welfare benefits. However critics have pointed out the potential work disincentives created by such a program, and have cast doubts over its implementability. The Need for Basic Income An Interview with Philippe van Parijs , Imprints, Vol. 1, No. 1 (1996). In later years other proposals have been suggested.Basic Income Studies How it could be organised; Different Suggestions Examples of implementation The U.S. State of Alaska has a system which provides each citizen with a share of the state s oil revenues. The USA also has the Earned Income Tax Credit for low-income taxpayers. In 2006 a bill, written by members of the advocacy organization USBIG, to transform the credit into a partial basic income, was introduced in the U.S. Congress, but did not get passed. In 2008, a two year pilot project with a basic income grant was started in the Namibian village of Otjivero Basic Income Grants in Otjivero, Namibia , econoblog101 (1 November 2008) NAMIBIA Small town, BIG grant , IRIN Africa (4 November 2008). Positive News had a front page article about this in their Summer 2008 issue, and in their summer 2009 edition say this has been a success, with the new income, rather than encouraging apathy, has enabled people to invest time and money in setting up their own businesses. The survey also revealed other positive statistics the total of malnourished children fell from 42 per cent to 17 per cent, while the number of young people not attending school dropped by 50 per cent. There was also reduced child mortality and improved maternal health Otjivero’s BIG Shows It Can Work , Hilma Shindondola-Mote, New Era (12 June 2009). Advocates American revolutionary homas Paine advocated a basic Income Guarantee to all US citizens as compensation for loss of his or her natural inheritance, by the introduction of the system of landed property (Agrarian Justice, 1795). In his final book Where Do We Go From Here Chaos or Community? (1967) Martin Luther King Jr. wroteMartin Luther King jr., Where do we go from here Chaos or community? (New York Harper Row, 1967) Template In 1968, James Tobin, Paul Samuelson, John Kenneth Galbraith and another 1,200 economists signed a document calling for the US Congress to introduce in that year a system of income guarantees and supplements. In 1973, Daniel Patrick Moynihan wrote The Politics of a Guaranteed Income in which he advocated for the Guaranteed Minimum Income and discussed Richard Nixon s GAI proposal. In 1987, New Zealand s Zealand Labour Party Labour Finance Minister Douglas] announced a Guaranteed Minimum Family Income Scheme to accompany a new flat tax. Both were squashed by then Prime Minister Lange], who sacked Douglas. New Zealand Is Jolted By a Speedy Decontrol , Seth Mydans, The New York Times (24 February 1988) Modern advocates include Sinn] (Germany) and Buğra] (Turkey). Funding Many different sources of funding have been suggested for a guaranteed minimum income tax]es tax]es gains tax]es tax]es tax]es, e.g. tax] tax]es Elimination of current support program]s and deduction]s Repayment of the grant at death or retirement value tax|Land] and resource tax]es tax]es Fees from government created monopolies (such as the broadcast spectrum and utilities) resource ownership] stock ownership] A Mutual Fund] Money creation or [1]] [2]], the lottery, or taxes] Technology Taxes Tax] See also income] Income Earth Network] dividend] Income Supplement] in the United States] wage] minimum d insertion] Credit] welfare provision] slavery] References Template reflist External links Basic income for all-Philipp van Parijs, Boston Review Social minimum in the Stanford Encyclopedia of Philosophy Guaranteed Basic Income Studies How it could be organised, Different Suggestions About a Guaranteed Basic Income History Category Minimum wage Category Organizational studies and human resource management Category Labour relations Category Socialism Category Basic income Category Income distribution Category Socioeconomics Category Personal taxes Category Income Category Wealth Category Society Category Employment compensation Category Sociology Category Labor economics Category Employment Category Politics br ca da de es eo fr nl ja pt ru fi sv uk
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Release Note Release Date 15 Aug, 2009 Notes Cadencii requires ".NET Framework Runtime(version 2.0 or later)". Installer of this rumtime is available from the link below. .NET Framework Runtime Download .NET Framework 3.5 SP1 Cadencii can be launched with the latest version of mono. This enable you to use Cadencii with many platforms supported by mono. (Note Several functions using VOCALOID2 VSTi are not available in this case.) Mono is available from the link mono download Download Cadencii version 2.3.2 (639KB) How to get source codes Source code is available on SourceForege.JP. Please follow the instruction below for checking out the SourceForge.JP s SVN repository. svn checkout -r 416 http //svn.sourceforge.jp/svnroot/cadencii/branches/2.3 ./ These svn command is for checiking out "THIS" version of Cadencii. In order to get the latest source codes, please remove "-r" option.
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ATTO TERZO Scena Prima (Campo presso le mura di Limisso. Riccardo, con spada alla mano, seguito da soldati d Oronte, ed Oronte che viene con l esercito inglese al soccorso di Riccardo) Recitativo Accompagnato ▼RICCARDO▲ Perfido Isacio! traditor! tiranno! All assalto, alle stragi, alla vendetta! Corran sangue le vie, fiamme e ferro distruggan l empia città! Recitativo ▼ORONTE▲ Dall avanzate guardie della tenzon l avviso venne, e pronto al soccorso ero già. ▼RICCARDO▲ Prence, ottenuta Costanza era già presso a quella porta, improvviso turnulto sorge, e da mille armati siamo assaliti; i pochi miei seguaci muoiono alla difesa di Costanza e di me. Combatto e strage fo degli infami assalitori. Cresce più che spenta è la turba; i tuoi guerrieri chiamo in aiuto, e mostro il regio impronto; i pochi allor presenti vengono a mia difesa; si combatte ma, oh Dio! perdo l idol mio, la mia Costanza rapita è al fine; l infinita turba col numero e col peso, col valore non già, fuor delle mura ne spinge, e il ponte levator s estolle. Recitativo All assalto, alle stragi, alla vendetta, fedeli miei, d un così vile inganno! Perfido Isacio! traditor! tiranno! Recitativo ▼ORONTE▲ Sire, l assalto, alquanto tardi io vado ove son, che i miei fidi guardan nascosto varco in quelle mura onde a te venni. Or or sovra quei merli ventilare il mio candido stendardo vedrassi impeto allora facciano i forti inglesi; sol Pulcheria co suoi fidi si salvi, il resto muora. Aria Per mia vendetta ancor punito si vedrà l inganno dal valor, perà quel traditor, perà quell empio!… Chi manca altrui di fé, non merita mercé, dia quell infame cor oppresso dal rigor a i falsi esempio. Per mia vendetta ancor, etc. (Parte) Recitativo ▼RICCARDO▲ O voi, che meco del Tamigi in riva - patria di libertà, virtù, valore - nati, siete alle imprese di giustizia ed onore seguite il vostro Rè. La prima gloria di nostr armi nel perfido Oriente sia domar questa rea barbara gente; usate prove de Britanni sono debellare i superbi, e concedere altrui pace o perdono. Tosto la bianca Siriana insegna vedrem colà, s assalti il muro allora, acquistatemi un regno, vendicatemi; unite son nostre lodi, il vostro Rè seguite! Aria All orror delle procelle, al rigor d avverse stelle, cuori avvezzi in mare e in terra, guerra, guerra! Mia vendetta è il vostro onor… Del combattere la gloria non è in man della fortuna, solo è figlia la vittoria del comando e del valor. All orror delle procelle, etc. Scena Seconda (Cambiamento di Scena. Atrio) Recitativo ▼COSTANZA▲ Morte, vieni! ma in van ti chiamo, in van ti chiamo, o morte! Sei la fine de mali, e da me lunge ti vuol mia cruda insaziabil sorte. Morte, vieni! etc. ▼PULCHERIA▲ (che entra) A me nel mio rossore del par che a te nel tuo dolor dovrebbe volger un guardo di pietade il Cielo. Ma del padre i furori certo vedran la figlia degli avi augusti imitatrice, in breve calcar l orme d onor, ch egli ha smarrite. Torno sola a Riccardo, e prigioniera vado ostaggio per te; se il fiero Isacio a te sarà crudel, tale a me ancora sarà vedrà la figlia, d alma onorata e forte, gir teco incontro alla medesma sorte. ▼COSTANZA▲ D intrepida virtude illustre esempio, fida Pulcheria! Ma diversa, oh quanto, è nostra condizione! A un Rè cortese tu torni, e in preda io resto d un tiranno. ▼PULCHERIA▲ Ma in lui meno possente creder non posso la pietà paterna d un cieco furioso ingiusto ardore. ▼COSTANZA▲ Propizio arrida il Cielo all armi del mio Rè! Vo allor, ch il mondo la gratitudin mia al tuo bel cor venga altamente espressa. ▼PULCHERIA▲ Premio d opra d onore è l opra istessa. Aria Quell innocente, afflitto core, fedele amor, gentil beltà accendon sempre le più bell alme di dolce ardore e di pietà… Forte all onore, fida all affetto, per te amorosa, l alma pietosa sempre sarà. Quell innocente, afflitto core, etc. (Parte) Recitativo Accompagnato ▼COSTANZA▲ Alto immenso poter, dal cui sol cenno furon tutte create, e tutte ognor dipendono le cose, deh, per gloria maggior di tua potenza, proteggi la giustizia e l innocenza! (Entra Isacio.) Recitativo ▼ISACIO▲ Ingiustizia e furore dar moto all opre mie, tu credi, o bella, e pur forzate in me son dall amore. Ei benda gli occhi miei, l orecchio ei chiude, onde il giusto io non vegga, la ragion non ascolti. Avriami invan mandato un tanto bene fortuna amica, se il perdessi così? E regno e soglio t offro anch io. ▼COSTANZA▲ Ciel! che ascolto! ▼ISACIO▲ Io vo perire, ma perderti, mio ben, no, che non voglio. ▼COSTANZA▲ Promessa, e in sante leggi unita altrui, ascoltar m è vietato i cortesi tuoi voti. ▼ISACIO▲ Ancor non sei moglie a Riccardo; ma la forza sola deciderà. ▼COSTANZA▲ Deh! alla ragion ti rendi, per tua gloria maggior! ▼ISACIO▲ La gloria mia fia posseder tanta bellezza. Oltraggio non temer dal mio amore! Il premio esser tu dei del vincitore. ▼BERARDO▲ (che entra) Dall alta rocca avvicinar si vede a tue mura l esercito Britanno. Sire, la pace è in mano tua. ▼ISACIO▲ Vo guerra! la pace è figlia del timor. Mia bella, perderti è più che morte, e cederti è viltà. No, pria si mora; me impavido feriscan le ruine, se l orbe infranto sprofondasse ancora. Aria Nel mondo e nell abisso io non pavento tutto l orror che mai possa inventar il ciel, la terra e il mare… No, perdere non vo il mio contento; se mia tu non sarai, d altrui non ti vedrò nel mio penare. Nel mondo e nell abisso, etc. (Parte) Recitativo ▼BERARDO▲ Pulcheria vuol, che seco a Riccardo io me n vado; il tuo comando me il concede, o Regina! ▼COSTANZA▲ O mio fedele! vanne, la scorgi, ed al mio Rè dirai, quanto amor, quanto onore ha Pulcheria per noi; se poi ti chiede, per tema del tiranno, del mio amor, di mia fede, di all amato consorte, che un dì questi m avrà Riccardo o morte. Aria Bacia per me la mano dei caro idolo mio, digli, che per lui moro e son contenta… Dirai, ch è la mia pena il non vederlo, o Dio! ma che la pena sua più mi tormenta. Bacia per me la mano, etc. Scena Terza (Cambiamento di Scena. Il muro di Limisso assalito, che cadrà a colpi d ariete. Bellicosa Sinfonia, mentre s avanza l esercito) ▼RICCARDO▲ Atterrato il muro cada, poi crudel l ultrice spada empia tutto di stragi e d orror!… (Il muro cade, e vedesi per la breccia Isacio alla testa de suoi soldati, che con la spada nella destra tiene Costanza con la sinistra.) Recitativo ▼ISACIO▲ Arrestati, Riccardo, o qui la sveno! ▼RICCARDO▲ Mostro di crudeltà! ▼PULCHERIA▲ Sire, in vendetta me uccidi ancora, eccoti aperto il seno! ▼ISACIO▲ Che miro! ah figlia rea! ▼PULCHERIA▲ Padre, non voglio al tuo gran disonore sopravviver, né pure un sol momento. Costanza è di Riccardo a lui la rendi! ▼RICCARDO▲ L assalto cesserà. ▼COSTANZA▲ Pietate, o Cielo! ▼ISACIO▲ No! Costanza cadrà vittima al mio irritato furor, se un passo solo all assalto si move. ▼PULCHERIA▲ (dà di piglia alla spada d uno de soldati) Ah dispietato! tuo proprio sangue mira fuggir con l alma dal mio sen trafitto, pria che tu versi l innocente sangue della regal Costanza. ▼COSTANZA▲ Ah no! ▼RICCARDO▲ T arresta, o di vil padre generosa figlia! ▼ISACIO▲ No! la figlia rubelle lascia che paghi il fio del suo delitto. Ma Riccardo non parte? Il colpo io vibro. (Entra Oronte con soldati.) ▼ORONTE▲ Empio, perisci tu! ▼ISACIO▲ Ciel! son tradito. (fugge) ▼ORONTE▲ L inseguite, o miei fidi! cada la turba vil preda di morte. ▼RICCARDO▲ Facciasi strage sol di chi resiste. Vieni, Pulcheria! ▼PULCHERIA▲ Vincitor pietoso sarai! ▼RICCARDO▲ Per propria gloria. ▼PULCHERIA▲ A Costanza! ▼RICCARDO▲ Al mio bene! alla vittoria! ▼CORO▲ Alla vittoria! Scena Quarta (Sala) Recitativo ▼COSTANZA▲ Dal passato spavento ancor non ponno lo scampo e la vittoria ricovrarmi. ▼BERARDO▲ Tutto è sicuro, tutto è vinto in breve, avvinto da catene, a piedi tuoi supplichevol vedrai l empio tiranno, nella rocca ei fuggì; ma al forte assalto de Britanni guerrieri il tutto cede. ▼PULCHERIA▲ (che entra) Assalita è la rocca, e la vittoria certa saranne; salvo Isacio io spero, lo spero sì dal vincitor tuo sposo, da te lo spero ancor. ▼COSTANZA▲ La tua speranza certa è del par che la vittoria; io stessa andrò per te, fida Pulcheria, incontro al Rè vittorioso, a implorar il perdono; perder non devi e padre, e trono, e sposo. Aria Il volo così fido al dolce amato nido quell augellin non ha, no, no… Come al tuo nobil core quest alma, tutt amore, sempre fedel sarà. Il volo così fido, etc. Recitativo ▼PULCHERIA▲ Pietoso Ciel, tu m ispirasti sempre l orme seguir della virtude invitta; questa, fra gran perigli e avverse sorti, a vera pace in fin l alma conduce. ▼ORONTE▲ (che entra) Liete nuove, idol mio! persa è la rocca, Isacio alfin si rese, e il gran Riccardo estinse l ira e perdonò l offese. ▼PULCHERIA▲ Andiamo incontro al vincitor cortese. ▼ORONTE▲ Egli alla reggia viene, e a te mi manda, per tuo conforto pria ch ei venga a te. ▼PULCHERIA▲ Gioisci, anima mia! Aria Tutta brillanti rai per lungo scintillar, fuor d agitato mar mi scorge al caro lido amica stella… Mi scordo ogni rigor, e il guardo e l alma ancor io volgo a quella. Tutta brillanti rai, etc. (Partono tutti.) Scena Ultima (Cambiamento di Scena. Colonnato) Marche Recitativo ▼RICCARDO▲ Generosa Pulcheria! fu la vita d Isacio a te concessa. Or questo regno, mia conquista, io voglio che te acclami sul trono, e tu a parte del soglio chi più t aggrada avrai; sarà tuo dono. ▼PULCHERIA▲ O degno vincitor, cui serva il mondo! ▼COSTANZA▲ Nella tua contentezza ho il cor giocondo. ▼PULCHERIA▲ Ad Oronte or la destra io porgo, e pegno fia, che di Cipro il regal serto gemmato sul crine suo risplenda, poi ché mio genitor ceda al suo fato. ▼ORONTE▲ Or propizie mi son le amiche stelle! ▼RICCARDO▲ Voi coronate, o belle, e di mirto e d allor la mia vittoria! (a Costanza) A te, mia cara, io giuro eterno amore; (a Pulcheria) a te, mia fida, un amistà sincera. Resta a bramar sol poi, che lungo il Ciel conservi i doni suoi. Aria Volgete ogni desir, bell alme, a sol gioir! Diviso il cor sarà (a Pulcheria) per te, tutto amistà, (a Costanza) e tutto amor per te… (a Pulcheria) E so, che tuo bel cor, (a Costanza) e tua costanza ancor amano tal mercé. Volgete ogni desir, etc Recitativo ▼ORONTE▲ Spargansi pur d oblio E gli affanni e le offese Se il Ciel propizio è all onorate imprese. ▼CORO▲ La memoria dei tormenti, Spar ai venti, Svanirà nell alto mar… E soavi dolci affetti, Bei diletti, Faran l alme in sen brillar. La memoria dei tormenti, etc. ATTO TERZO Scena Prima (Campo presso le mura di Limisso. Riccardo, con spada alla mano, seguito da soldati d Oronte, ed Oronte che viene con l esercito inglese al soccorso di Riccardo) Recitativo Accompagnato RICCARDO Perfido Isacio! traditor! tiranno! All assalto, alle stragi, alla vendetta! Corran sangue le vie, fiamme e ferro distruggan l empia città! Recitativo ORONTE Dall avanzate guardie della tenzon l avviso venne, e pronto al soccorso ero già. RICCARDO Prence, ottenuta Costanza era già presso a quella porta, improvviso turnulto sorge, e da mille armati siamo assaliti; i pochi miei seguaci muoiono alla difesa di Costanza e di me. Combatto e strage fo degli infami assalitori. Cresce più che spenta è la turba; i tuoi guerrieri chiamo in aiuto, e mostro il regio impronto; i pochi allor presenti vengono a mia difesa; si combatte ma, oh Dio! perdo l idol mio, la mia Costanza rapita è al fine; l infinita turba col numero e col peso, col valore non già, fuor delle mura ne spinge, e il ponte levator s estolle. Recitativo All assalto, alle stragi, alla vendetta, fedeli miei, d un così vile inganno! Perfido Isacio! traditor! tiranno! Recitativo ORONTE Sire, l assalto, alquanto tardi io vado ove son, che i miei fidi guardan nascosto varco in quelle mura onde a te venni. Or or sovra quei merli ventilare il mio candido stendardo vedrassi impeto allora facciano i forti inglesi; sol Pulcheria co suoi fidi si salvi, il resto muora. Aria Per mia vendetta ancor punito si vedrà l inganno dal valor, perà quel traditor, perà quell empio!… Chi manca altrui di fé, non merita mercé, dia quell infame cor oppresso dal rigor a i falsi esempio. Per mia vendetta ancor, etc. (Parte) Recitativo RICCARDO O voi, che meco del Tamigi in riva - patria di libertà, virtù, valore - nati, siete alle imprese di giustizia ed onore seguite il vostro Rè. La prima gloria di nostr armi nel perfido Oriente sia domar questa rea barbara gente; usate prove de Britanni sono debellare i superbi, e concedere altrui pace o perdono. Tosto la bianca Siriana insegna vedrem colà, s assalti il muro allora, acquistatemi un regno, vendicatemi; unite son nostre lodi, il vostro Rè seguite! Aria All orror delle procelle, al rigor d avverse stelle, cuori avvezzi in mare e in terra, guerra, guerra! Mia vendetta è il vostro onor… Del combattere la gloria non è in man della fortuna, solo è figlia la vittoria del comando e del valor. All orror delle procelle, etc. Scena Seconda (Cambiamento di Scena. Atrio) Recitativo COSTANZA Morte, vieni! ma in van ti chiamo, in van ti chiamo, o morte! Sei la fine de mali, e da me lunge ti vuol mia cruda insaziabil sorte. Morte, vieni! etc. PULCHERIA (che entra) A me nel mio rossore del par che a te nel tuo dolor dovrebbe volger un guardo di pietade il Cielo. Ma del padre i furori certo vedran la figlia degli avi augusti imitatrice, in breve calcar l orme d onor, ch egli ha smarrite. Torno sola a Riccardo, e prigioniera vado ostaggio per te; se il fiero Isacio a te sarà crudel, tale a me ancora sarà vedrà la figlia, d alma onorata e forte, gir teco incontro alla medesma sorte. COSTANZA D intrepida virtude illustre esempio, fida Pulcheria! Ma diversa, oh quanto, è nostra condizione! A un Rè cortese tu torni, e in preda io resto d un tiranno. PULCHERIA Ma in lui meno possente creder non posso la pietà paterna d un cieco furioso ingiusto ardore. COSTANZA Propizio arrida il Cielo all armi del mio Rè! Vo allor, ch il mondo la gratitudin mia al tuo bel cor venga altamente espressa. PULCHERIA Premio d opra d onore è l opra istessa. Aria Quell innocente, afflitto core, fedele amor, gentil beltà accendon sempre le più bell alme di dolce ardore e di pietà… Forte all onore, fida all affetto, per te amorosa, l alma pietosa sempre sarà. Quell innocente, afflitto core, etc. (Parte) Recitativo Accompagnato COSTANZA Alto immenso poter, dal cui sol cenno furon tutte create, e tutte ognor dipendono le cose, deh, per gloria maggior di tua potenza, proteggi la giustizia e l innocenza! (Entra Isacio.) Recitativo ISACIO Ingiustizia e furore dar moto all opre mie, tu credi, o bella, e pur forzate in me son dall amore. Ei benda gli occhi miei, l orecchio ei chiude, onde il giusto io non vegga, la ragion non ascolti. Avriami invan mandato un tanto bene fortuna amica, se il perdessi così? E regno e soglio t offro anch io. COSTANZA Ciel! che ascolto! ISACIO Io vo perire, ma perderti, mio ben, no, che non voglio. COSTANZA Promessa, e in sante leggi unita altrui, ascoltar m è vietato i cortesi tuoi voti. ISACIO Ancor non sei moglie a Riccardo; ma la forza sola deciderà. COSTANZA Deh! alla ragion ti rendi, per tua gloria maggior! ISACIO La gloria mia fia posseder tanta bellezza. Oltraggio non temer dal mio amore! Il premio esser tu dei del vincitore. BERARDO (che entra) Dall alta rocca avvicinar si vede a tue mura l esercito Britanno. Sire, la pace è in mano tua. ISACIO Vo guerra! la pace è figlia del timor. Mia bella, perderti è più che morte, e cederti è viltà. No, pria si mora; me impavido feriscan le ruine, se l orbe infranto sprofondasse ancora. Aria Nel mondo e nell abisso io non pavento tutto l orror che mai possa inventar il ciel, la terra e il mare… No, perdere non vo il mio contento; se mia tu non sarai, d altrui non ti vedrò nel mio penare. Nel mondo e nell abisso, etc. (Parte) Recitativo BERARDO Pulcheria vuol, che seco a Riccardo io me n vado; il tuo comando me il concede, o Regina! COSTANZA O mio fedele! vanne, la scorgi, ed al mio Rè dirai, quanto amor, quanto onore ha Pulcheria per noi; se poi ti chiede, per tema del tiranno, del mio amor, di mia fede, di all amato consorte, che un dì questi m avrà Riccardo o morte. Aria Bacia per me la mano dei caro idolo mio, digli, che per lui moro e son contenta… Dirai, ch è la mia pena il non vederlo, o Dio! ma che la pena sua più mi tormenta. Bacia per me la mano, etc. Scena Terza (Cambiamento di Scena. Il muro di Limisso assalito, che cadrà a colpi d ariete. Bellicosa Sinfonia, mentre s avanza l esercito) RICCARDO Atterrato il muro cada, poi crudel l ultrice spada empia tutto di stragi e d orror!… (Il muro cade, e vedesi per la breccia Isacio alla testa de suoi soldati, che con la spada nella destra tiene Costanza con la sinistra.) Recitativo ISACIO Arrestati, Riccardo, o qui la sveno! RICCARDO Mostro di crudeltà! PULCHERIA Sire, in vendetta me uccidi ancora, eccoti aperto il seno! ISACIO Che miro! ah figlia rea! PULCHERIA Padre, non voglio al tuo gran disonore sopravviver, né pure un sol momento. Costanza è di Riccardo a lui la rendi! RICCARDO L assalto cesserà. COSTANZA Pietate, o Cielo! ISACIO No! Costanza cadrà vittima al mio irritato furor, se un passo solo all assalto si move. PULCHERIA (dà di piglia alla spada d uno de soldati) Ah dispietato! tuo proprio sangue mira fuggir con l alma dal mio sen trafitto, pria che tu versi l innocente sangue della regal Costanza. COSTANZA Ah no! RICCARDO T arresta, o di vil padre generosa figlia! ISACIO No! la figlia rubelle lascia che paghi il fio del suo delitto. Ma Riccardo non parte? Il colpo io vibro. (Entra Oronte con soldati.) ORONTE Empio, perisci tu! ISACIO Ciel! son tradito. (fugge) ORONTE L inseguite, o miei fidi! cada la turba vil preda di morte. RICCARDO Facciasi strage sol di chi resiste. Vieni, Pulcheria! PULCHERIA Vincitor pietoso sarai! RICCARDO Per propria gloria. PULCHERIA A Costanza! RICCARDO Al mio bene! alla vittoria! CORO Alla vittoria! Scena Quarta (Sala) Recitativo COSTANZA Dal passato spavento ancor non ponno lo scampo e la vittoria ricovrarmi. BERARDO Tutto è sicuro, tutto è vinto in breve, avvinto da catene, a piedi tuoi supplichevol vedrai l empio tiranno, nella rocca ei fuggì; ma al forte assalto de Britanni guerrieri il tutto cede. PULCHERIA (che entra) Assalita è la rocca, e la vittoria certa saranne; salvo Isacio io spero, lo spero sì dal vincitor tuo sposo, da te lo spero ancor. COSTANZA La tua speranza certa è del par che la vittoria; io stessa andrò per te, fida Pulcheria, incontro al Rè vittorioso, a implorar il perdono; perder non devi e padre, e trono, e sposo. Aria Il volo così fido al dolce amato nido quell augellin non ha, no, no… Come al tuo nobil core quest alma, tutt amore, sempre fedel sarà. Il volo così fido, etc. Recitativo PULCHERIA Pietoso Ciel, tu m ispirasti sempre l orme seguir della virtude invitta; questa, fra gran perigli e avverse sorti, a vera pace in fin l alma conduce. ORONTE (che entra) Liete nuove, idol mio! persa è la rocca, Isacio alfin si rese, e il gran Riccardo estinse l ira e perdonò l offese. PULCHERIA Andiamo incontro al vincitor cortese. ORONTE Egli alla reggia viene, e a te mi manda, per tuo conforto pria ch ei venga a te. PULCHERIA Gioisci, anima mia! Aria Tutta brillanti rai per lungo scintillar, fuor d agitato mar mi scorge al caro lido amica stella… Mi scordo ogni rigor, e il guardo e l alma ancor io volgo a quella. Tutta brillanti rai, etc. (Partono tutti.) Scena Ultima (Cambiamento di Scena. Colonnato) Marche Recitativo RICCARDO Generosa Pulcheria! fu la vita d Isacio a te concessa. Or questo regno, mia conquista, io voglio che te acclami sul trono, e tu a parte del soglio chi più t aggrada avrai; sarà tuo dono. PULCHERIA O degno vincitor, cui serva il mondo! COSTANZA Nella tua contentezza ho il cor giocondo. PULCHERIA Ad Oronte or la destra io porgo, e pegno fia, che di Cipro il regal serto gemmato sul crine suo risplenda, poi ché mio genitor ceda al suo fato. ORONTE Or propizie mi son le amiche stelle! RICCARDO Voi coronate, o belle, e di mirto e d allor la mia vittoria! (a Costanza) A te, mia cara, io giuro eterno amore; (a Pulcheria) a te, mia fida, un amistà sincera. Resta a bramar sol poi, che lungo il Ciel conservi i doni suoi. Aria Volgete ogni desir, bell alme, a sol gioir! Diviso il cor sarà (a Pulcheria) per te, tutto amistà, (a Costanza) e tutto amor per te… (a Pulcheria) E so, che tuo bel cor, (a Costanza) e tua costanza ancor amano tal mercé. Volgete ogni desir, etc Recitativo ORONTE Spargansi pur d oblio E gli affanni e le offese Se il Ciel propizio è all onorate imprese. CORO La memoria dei tormenti, Spar ai venti, Svanirà nell alto mar… E soavi dolci affetti, Bei diletti, Faran l alme in sen brillar. La memoria dei tormenti, etc. Handel,George Frideric/Riccardo Primo
https://w.atwiki.jp/usb_audio/pages/59.html
原文：Audio Devices Rev. 2.0 Spec and Adopters Agreement(ZIP) USB Device Class Definition for Audio Devices Release 2.0 May 31, 2006 21 , e.g. piano, guitar, synthesizer, drum machine, etc. he expectation is of audio devices, such as a mixer panel. th e is sufficiently different from the above descriptions as to be ction Category Codes” of this specification. l ot 1 A C c a c t In g me audio function. 3.1 as defi sync y cloc o a c speed endpoi hat occurs at the beginning of every microframe to l lationship between different physical audio channels. Indeed, the virtual spatial position of an audio source is directly related to and influenced by the phase differences that are applied to the different physical audio channels used to reproduce the audio source. Therefore, it is imperative that USB audio functions respect the phase relationship among all related audio channels. However, the responsibility for maintaining the phase • Musical Instrument A musical instrument • Pro-Audio A device not typically used by consumers of audio, e.g. editing equipment, multitrack recording equipment, etc. •Audio/Video The audio from a device that also supplies simultaneous video where t that the audio is tightly coupled to the video, e.g. a camcorder, a DVD player, a television, etc. • Control Panel A device that is used to control the flow of audio through a system • Oer Any device whose primary purposconsidered a completely different form of device. The assigned codes can be found in Appendix A.7, “Audio Fun Alher Category codes are unused and reserved by this specification for future use. 0 Clock Domains 3. lock Domain is defined as a zone within which all sampling clocks are derived from the same master synchronous and their timing clok. Therefore, within the same Clock Domain, all sampling clocks are reltionship is constant. However, the sampling clocks can be at different sampling frequencies. The master clok can be generated in many different ways. An internal crystal could be the master clock, the USB star of frame (SOF) could be used or even an externally supplied clock could serve as a master clock. eneral, multiple different Clock Domains can exist within the sa 1 Audio Synchronization Types Each isochronous audio endpoint used in an AudioStreaming interface belongs to a synchronization type ned in Section 5 of the USB Specification. The following sections briefly describe the possible hronization types. 3.11.1 Asynchronous Asnchronous isochronous audio endpoints produce or consume data at a rate that is locked either to a k external to the USB or to a free-running internal clock. These endpoints cannot be synchronized t start of frame (SOF) or to any other clock in the USB domain. 3.11.2 Synchronous The clock system of synchronous isochronous audio endpoints can be controlled externally through SOF synhronization. Such an endpoint must lock its sample clock to the 1ms SOF tick. Optionally, a high-nt could lock its clock to the 125 μs SOF t improve accuracy. 3.11.3 Adaptive Adaptive isochronous audio endpoints are able to source or sink data at any rate within their operating range. This implies that these endpoints must run an internal process that allows them to match their naturadata rate to the data rate that is imposed at their interface. 3.12 Inter Channel Synchronization An important issue when dealing with audio, and 3-D audio in particular, is the phase re USB Device Class Definition for Audio Devices Release 2.0 May 31, 2006 22 dware, and all of the audio peripheral devices or l delay essed in number of (micro)frames and is due to the fact that the audio function must buffer at least one (micro)frame worth of samples to effectively remove Furthermore, some audio functions will introduce extra delay because and process the audio data streams (for example, compression and t of (micro)frame n) is the first sample of the packet it sends over USB during (micro)frame (n+δ). δ is the audio function’s internal delay expressed pplies for an audio sink function. The first sample in the packet, received ust be the first sample that is fully reproduced during (micro)frame ernal delays of all audio functions involved. Clock Entities and they are used to describe and manipulate the clock signals inside the audio function. inal e. ed together is a guarantee (by construction) that the protocol and format, used over these e Unit. Likewise, there is a Terminal descriptor (TD) for every Terminal in the audio function. In addition, these descriptors provide all e audio function. They fully describe how Terminals and relationis shared among the USB host software, har functions. To provide a manageable phase model to the host, an audio function is required to report its internafor every AudioStreaming interface. This delay is expr packet jitter within a (micro)frame. they need time to correctly interpret decompression). However, it is required that an audio function introduces only an integer number of (micro)frames of delay. In the case of an audio source function, this implies that the audio function must guarantee that the first sample it fully acquires after SOFn (star in (micro)frames. The same rule aover USB during (micro)frame n, m (n+δ). By following these rules, phase jitter is limited to ±1 audio sample. It is up to the host software to synchronize the different audio streams by scheduling the correct packets at the correct moment, taking into account the int 3.13 Audio Function Topology To be able to manipulate the physical properties of an audio function, its functionality must be divided into addressable Entities. Two types of such generic Entities are identified and are called Units and Terminals. In addition, a special type of Entity is defined. These Entities are called Units pvide the basic building blocks to fully descri robe most audio functions. Audio functions are built by connecting together several of these Units. A Unit has one or more Input Pins and a single Output Pin, where each Pin represents a cluster of logical audio channels inside the audio function (see Section 3.13.1, “Audio Channel Cluster”). Units are wired together by connecting their I/O Pins according to the required topology. Note that it is perfectly legal to connect the Output Pin of an Entity to multiple Input Pins residing on different other Entities, effectively creating a one-to-many connection. In addition, the concept of a Terminal is introduced. There are two types of Terminals. An Input Term (IT) is an Entity that represents a starting point for audio channels inside the audio function. An Output Terminal (OT) represents an ending point for audio channels. From the audio function’s perspective, a USB endpoint is a typical example of an Input or Output Terminal. It either provides data streams to the audio function (IT) or consumes data streams coming from the audio function (OT). Likewise, a Digital toAnalog converter, built into the audio function is represented as an Output Terminal in the audio function’smodel. Connection to the Terminal is made through its single Input or Output Pin. Input Pins of a Unit are numbered starting from one up to the total number of Input Pins on the Unit. The Output Pin number is always one. Input Terminals have only one Output Pin and its number is always onOutput Terminals have only one Input Pin and it is always numbered one. The information, traveling over I/O Pins is not necessarily of a digital nature. It is perfectly possible to use the Unit model to describe fully analog or even hybrid audio functions. The mere fact that I/O Pins are connect connections (analog or digital), is compatible on both ends. Every Unit in the audio function is fully described by its associated Unit descriptor (UD). The Unit descriptor contains all necessary fields to identify and describe th necessary information about the topology of thUnits are interconnected. This specification describes the following eight different types of standard Units and Terminals that are considered adequate to represent most audio functions available today and in the near future USB Device Class Definition for Audio Devices Release 2.0 May 31, 2006 23 re side le Clock Output pin. Clock Input Pins are lock gnal at en or Q. The values P and Q are fixed for a given Clock Multiplier. The new clock u f Clock Source, Clock Selector, and Clock Multiplier Entities, the most complex c nted and exposed to Host software. oc t Pins are fundamentally different from Input and Output Pins defined for Units and rry only clock signals and therefore cannot be connected to Unit or Terminal hey are only used to express clock circuitry topology. a single Clock Input Pin that is connected to a Clock Output Pin of a oc nal carried by that Clock Output Pin determines at which sampling frequency h y the Terminal is operating. ncies between which the Sampling Rate Converter Unit is converting. ch cribed by a Clock Entity descriptor (CED). The Clock Entity descriptor contains n tify and describe the Clock Entity. e etailed in Section 4, “Descriptors” of this document. at eric audio driver should be able to fully control the c • Input Terminal (IT) • Output Terminal (OT) • Mixer Unit (MU) • Selector Unit (SU) • Feature Unit (FU) • Sampling Rate Converter Unit • Effect Unit (EU) • Processing Unit (PU) • Extension Unit (XU) Besides Units and Terminals, the concept of a Clock Entity is introduced. Three types of Clock Entities adefined by this specification • Clock Source (CS) • Clock Selector (CX) • Clock Multiplier (CM) A Clock Source provides a certain sampling clock frequency to all or part of the audio function. A Clock Source can represent an internal sampling frequency generator, but it can also represent an external sampling clock signal input to the audio function. A Clock Source has a single Clock Output Pin that carries the sampling clock signal, represented by the Clock Source. The Clock Output Pin number is always one. A Clock Selector is used to select between multiple sampling clock signals that might be available inan audio function. It has multiple Clock Input Pins and a sing numbered starting from one up to the total number of Clock Input Pins on the Clock Selector. The COutput Pin number is always one. A Clock Multiplier is used to derive a new clock signal with a different frequency from the clock siits single Clock Input Pin. It does this by multiplying that clock signal frequency by a numerator P and thdividing it by a denominat signal is guaranteed to be synchronous with the input clock signal. A Clock Multiplier has one Input Pin and one Output Pin and their numbers are always one. Bysing a combination o clok systems can be represe Clk Input and Outpu Terminals. Clock Pins ca Input and Output Pins. T Each Input and Output Terminal has Clk Entity. The cloc k sigtheardware represented b Each Sampling Rate Converter Unit has two Clock Input Pins that are typically connected to the Clock Output Pins of two different Clock Entities. The clock signals carried by those Clock Output Pins determine the sampling freque Ea Clock Entity is des allecessary fields to iden Th descriptors are further d The ensemble of Unit descriptors, Terminal descriptors and Clock Entity descriptors provide a full description of the audio function to the Host. This information is typically retrieved from the device enumeration time. By parsing the descriptors, a gen audio function, except for the functionality represented by Extension Units. Those require vendor-specifiextensions to the audio class driver. USB Device Class Definition for Audio Devices Release 2.0 May 31, 2006 24 software must be notified of these changes to remain ‘in sync’ with the ck Sources, a Clock Selector, and two Clock onnected into the overall topology of the the onnector on the audio tion of a Headphone Out jack on the audio device. 6 lt is o nto the audio device and OT 11 could rding purposes. z for ut cy of 48 kHz to OT 9 for driving the headphone. Since all sampling freq he audio function are at all times derived from a single master clock (internal or external a The descri Entity is. F external co t indicates th the Output Pin of IT 1, Input Pin 2 is connected to the Output Important Note The complete set of audio function descriptors provides only a static initial description of the audio function. During operation, a number of events can happen that force the audio function to change its state. Host audio function at all times. An extensive interrupt mechanism is in place to report any and all state changes to Host software. Figure 3-2, “Inside the Audio Function” illustrates the concepts defined above. Using the iconic symbols defined further, it describes a hypothetical audio function that incorporates 16 Entities three Input Terminals, five Units, three Output Terminals, two Clo Multipliers. Each Entity has its unique ID (from 1 to 16) and descriptor that fully describes the functionality of the Entity and also how that particular Entity is c audio function. Input Terminal 1 (IT 1) could be the representation of a USB OUT endpoint used to stream audio fromHost to the audio device. IT 2 could be the representation of an analog Line-In c device whereas IT 3 could be an analog Microphone-In connector on the audio device. Selector Unit 4 (SU4) selects between the audio coming from the Host and the audio present at the Line In connector. Feature Unit 5 (FU 5) is then used to manipulate the audio (Volume, Bass, Treble …) before it is presented to Output Terminal 9 (OT 9). OT 9 could be the representa At the same time, all three input sources (USB OUT, Line In, and Mic In) are connected to a Mixer Unit(MU 6) that effectively mixes the three sources together. The output of the Mixer is then fed into a Processing Unit 7 (PU 7) that could perform some audio processing algorithm(s) on the mix. The resu in turn sent to FU 8 where some final adjustments to the audio (Volume …) are made. FU 8 is connected tOT 10 and OT 11. OT 10 could represent speakers incorporated i represent a USB IN endpoint used to send the processed audio to the Host for reco Clock Source 12 (CS 12) could represent an internal sampling frequency generator, running at 96 kHinstance. Clock Source 15 (CS 15) could be the representation of an external master sampling clock inpthat can be used to synchronize the device to an external source. Clock Selector 13 (CS 13) enables selection between the two available Clock Sources. The output of CS 13 provides a sampling frequency to IT 1, IT 2, IT3, OT 10, and OT 11 of 96 kHz. Clock Multiplier CM 14 further multiplies that clock signal by 0.5, providing a sampling frequen uencies used inside t ), ll audio streams in the audio function are synchronous. ptors, associated with each Entity clearly indicate to the Host what the exact nature of each or instance, the IT 2 descriptor contains a field that indicates to the Host that it represents an nnector on the device, used as an analog Line In. Likewise, the MU 6 descriptor has a field thaat its Input Pin 1 is connected to Pin of IT 2, and Input Pin 3 is connected to the Output Pin of IT 3. For further details on descriptor contents, refer to Section 4, “Descriptors” of this document. USB Device Class Definition for Audio Devices Audio Function Release 2.0 May 31, 2006 25 PU SU Descr.FU Descr.MU Descr Selector UnitFeature UnitMixer UnitProcessing Unit Feature Unit PU Descr.FU Descr.1234567891011USB OUTAnalogLine INOUT AnalogMic INHeadphone Speakers USB IN 12 Clock Source Clock Multiplier 14 15 ITITITIT Descr.IT Descr.IT Descr.OTOT OT OT Descr.OT Descr.OT Descr. Clock Source Clock Selector 13 CSD CSD CXD P/Q CMD Figure 3-2 Inside the Audio Function Inside an Entity, functionality is further described through Audio Controls. A Control typically provides access to a specific audio or clock property. Each Control has a set of attributes that can be manipulated or that present additional information on the behavior of the Control. A Control can have the following attributes • Current setting attribute • Range attribute triplet consisting of • Minimum setting attribute • Maximum setting attribute • Resolution attribute As an example, consider a Volume Control inside a Feature Unit. By issuing the appropriate Get requests, the Host software can obtain values for the Volume Control’s attributes and, for instance, use them to correctly display the Control on the screen. Setting the Volume Control’s current attribute allows the Host software to change the volume setting of the Volume Control. Additionally, each Entity in an audio function can have a memory space attribute. This attribute optionally provides generic access to the internal memory space of the Entity. This could be used to implement vendor-specific control of an Entity through generically provided access. information. Inside the audio function, complete abstraction is made of the actual physical representation 3.13.1 Audio Channel Cluster An audio channel cluster is a grouping of audio channels that carry tightly related synchronous audio 1 - 6 - 11 - 16 - 21 - 26 - 31 - 36 - 41 - 46 - 51 - 56 - 61 - 66 - 71 - 76 - 81 - 86 - 91 - 96 - 101 - 106 - 111 - 116 - 121 - 126 - 131 - 136 - 141 ここを編集
https://w.atwiki.jp/iracing_wiki/pages/29.html
Sway Bar Diameterこれは何？ 効果 TIPS Sway Bar Arm Lengthこれは何？ 効果 TIPS Left Bar End Offsetこれは何？ 効果 TIPS Left Bar End Clearanceこれは何？ 効果 TIPS Attach Left Sideこれは何？ 効果 TIPS Sway Bar Diameter これは何？ "トーションビーム"が何かを知っているのであれば、スウェイバーの理解は難しくありません。普通の乗用車が一体型のスウェイバーを使用しているのと違い、ストックカーのスウェイバーは3つのパーツで出来ています。1本のまっすぐなスウェイ"バー"と、2本のスウェイバー"アーム"です（スウェイバーアームについては後述します）。 "Sway Bar Diameter"の項目では、このスウェイバーの直径を変更します。 Explanation If you understand what “Torsion Beam” suspension is, you basically already understand the sway bars on NASCAR-style stock cars. While your passenger cars usually have a single-piece sway bar, the sway bars on these stock-cars are known as “three-piece” sway bars. Instead of a solid bar, the “Three-piece” bar consists of a straight bar and two “arms”, which we’ll cover later. The “sway bar diameter” adjustment changes the diameter of the “bar” component on the sway bar. 効果 スウェイバーのサイズを変更することにより、スウェイバーに負荷が掛かった時にサスペンションへ及ぶ負荷が変わります。 サスペンションが縮むとき、サスペンションはスウェイバーアームをを引き上げ、スウェイバーには捻る力が作用します。スウェイバーの径が大きい場合は元の形に留まろうとする力も大きいため、結果的にサスペンション側に負荷を掛けることになります。 フロントのスウェイバーを大きくすることにより車はタイトになります。この効果は主にコーナーの中間で感じられますが、入り口/出口ではそれほどでもありません。 What does it do Changing the size of the sway bar changes how much force the bar applies to the suspension under loading. When the suspension compresses, it pulls up on the sway bar arms and twists the sway bar. The larger the diameter of the sway bar, the more the sway bar will work to return to its normal state, thus, more force will be exerted on the suspension. A larger front sway bar generally tightens the car up. This will be primarily felt in the center of the corner when the car makes its rotation, and not so much on entry/exit. TIPS この項目も、一度決めたら後はあまり触らないタイプの項目です。大抵のドライバーは自分の好みのサイズが決まっていて、0.125インチ程度の幅で調整します。もちろん、もっと大きな範囲で設定するのも車をあなた好みに仕上げるためには悪くありません。 スウェイバー径の決定はスプリングとショックの設定に依存します。コイル・バインディングスタイルのセットアップをしているのなら、1.750インチ以上の大きなスウェイバーが必要になるでしょう。これによりノーズを下げた姿勢を維持し、ターン中に車体左前方のボディ下から空気が入るのを防ぐことが出来ます。一方コンベンショナルスタイルのセットアップなら、固めのスプリングに合わせて小さな径のスウェイ・バーを用いるのが通常です。 十分なテストを行えば、スウェイバーとスプリングの良い組み合わせが見つかるでしょう。 Tips This is another “set once” adjustment. Nine times out of ten, the driver will have a sway bar diameter range he or she likes. This can vary by as little as .125” (2.000”-2.125”) or can be a large gap, but it’s good to find a sway bar diameter you like and build the car around that. The sway bar diameter also depends on how the front springs/shocks are configured. If you are running a coil-binding style setup, a larger bar (1.750”+) will keep the nose level, and prevent any aero-issues with air getting under the LF corner while in a turn, while a conventional-style setup will generally use a smaller sway bar due to the high rate of the front springs. Enough testing will give you a good idea where to put the sway bar with the springs you’ve put into the car. Sway Bar Arm Length これは何？ スウェイバーの両端にあり、サスペンションに固定されているのがスウェイバーアームです。 サスペンションが縮む時にスウェイバーにねじる力を伝えます。レバー型の形状をしており、違う長さのものと交換することが出来ます。シャーシにもよりますが、11インチか12インチ、もしくは14インチか16インチかを 選択することが出来ます。どちらの場合も長さについて考慮することは同じです。 Explanation On the ends of the actual sway bar itself, there are two arms that lead back to the suspension (see picture). These arms are what impart the twisting force on the sway bar when the suspension travels. Essentially a lever, these arms can be swapped out for different lengths. Depending on the chassis, you can choose from either an 11” or 12” arm, or the 14”16” arms, but regardless of the lengt idea is still the same. 効果 スウェイバーアームはサスペンションとスウェイバーの間に介在するシンプルな部品です。サスペンションに大きな荷重が掛かれば、スウェイバーアームにも大きな力が加わります。スウェイバーアームを11インチから12インチに交換すれば、アームの動作角度をおよそ10度ほど（この数値は例ですが）小さくすることが出来ます。 アームを長くすればスウェイバーからサスペンションへ伝わる力が小さくなり、コーナーの入り口・出口において車体がサスペンションの影響を受けにくくなります。反対に短くすれば、入り口・出口において車はタイトになります。 What does it do The sway bar arm is a very simple component between the suspension and the sway bar. much force is applied to the sway arm when the suspension is fully compressed. By swapping out the 11” arm for a 12” arm, you will decrease that travel to, say, 10°. Lengthening the arms will cause the bar to exert less forc on the suspension and free the car up on entry and exit (when the suspension is moving), and shortening the arms will tighten up the car on entry and exit. TIPS スウェイバーアームの選択を誤り、足回りのセッティングに問題が発生した場合原因がスウェイバーアームであると特定することは大変困難です。そのため、まずスウェイバーアーム長を決めてからその他のセッティングにとりかかるのが望ましいでしょう。 Tips It’s very difficult to distinguish a problem in the shock setup from incorrect sway bar arms. Therefore, it’s better to find the sway bar arm you prefer, and then build the car around that setting. Left Bar End Offset これは何？ スウェイバーアームの終端にはハイムジョイントがあり、これがスウェイバーアームとサスペンションのロウワー・コントロールアームを接続しています。 ハイムジョイントはねじ式のため長さを調整することが出来ます。この調整によりスウェイバー及びサスペンションに負荷を掛けることが出来ます。 Explanation On the ends of the sway bar arms, there is a Heim joint connecting the sway bar arm to the lower control arm on suspension. This Heim joint is threaded, allowing the length of the Heim to be adjusted. Adjusting the left end Heim joint will load the sway bar, and in turn, the suspension. 効果 ハイムジョイントの長さを変えることにより、静止状態の車のスウェイバーに負荷を掛ける（もしくはその反対）ことが出来ます。その結果、車高とクロスウェイトが変化します。 この項目の設定は"Left Bar End Clearance"（後述）の設定に影響を与えます。より詳しい情報は"Attach Left Side"の項目を参照してください。 What does it do By changing the length of the Heim joint, you will, like mentioned above, load or unload the sway bar when the car is at rest. As a result of loading sway bar, you will also see the ride heights change. This will also change the cross-weight in the car. Changing this setting will directly affect the "Left Bar End Clearance" adjustment(below). This will be looked into with greater detail in the “Attach Left Side” section. TIPS コーナー入り口でのハンドリングに問題がある場合、解決する手段としてこの項目を調整するのは良い方法です。なぜなら調整の効果が最も感じられるのはそこになるからです。 Tips This adjustment will primarily be felt upon corner entry and the initial cut into the corner, and once the springs and shocks have been set, it is a very good way to correct any handling issues on corner entry. Left Bar End Clearance これは何？ 車が静止状態の時にどれだけスウェイバーに負荷が掛かっているかを測る目安、と考えるとよいでしょう。この数値は"Left Bar End Offset"の設定により変化します。左側のハイムジョイントで測ります。 Explanation The best way to think of this measurement is as an indicator of how much load is on the sway bar when the car is at rest. This setting is changed as a result of changes in the End Offset, as this is measured at the left-side Heim joint. 効果 とてもシンプルです。数値が0/16インチならスウェイバーがサスペンションへ一切の負荷を掛けていないことを表します。数値がマイナスならスウィエバーはサスペンションへ負荷を掛けています（-0/16インチの場合もごく僅かに）。プリロード（負荷を掛けている状態）を大きくすれば、コーナーの入り口で車はタイトになります。数値がプラスの場合については"Attach Left Side"のセクションで説明します。 What does it do Put simply, a setting of 0/16” means the bar is not placing any load on the suspension at rest. This does not include settings of +0/16” or -0/16” because those represent a load from the sway bar (very small values of zero). A negative value on the End Clearance represents a pre-load on the sway bar, meaning the sway bar is placing a load on the suspension. More preload on the sway bar generally causes the car to tighten up upon corner entry. A positive value will be discussed more in the "Attach Left Side" section. TIPS この項目は、スプリングの調整を十分に行いショックの調整でもカバーし切れなくなった時に、最後の微調整として有効です。 クリアランスを大きくするとコーナーの入り口でルースに、小さくするとタイトになります。 Tips This is a fine-tune adjustment for when a spring adjustment would be too much, or a shock adjustment would be too little. Increasing the End Clearance will free up the car on entry, while decreasing the End Clearance will tighten the car on entry. Attach Left Side これは何？ ハイムジョイントは2種類あります。固定式で動かないタイプと、一方がスライドするタイプです。 Explanation There are two available types of Heim joints we can place on the car. There is a fixed type where there is no movement allowed and a “sliding” Heim joint in which one end of the Heim joint can move. This sliding type is known as a “detached” linkage. 効果 単純に、スウェイバーアームとの接続方法を固定式か可動式に変更します。 固定式の場合は左フロントサスペンションに掛かった負荷がそのままスウェイバーに伝わります。可動式の場合はスウェイバーに負荷が伝わる前に遊びがあります。遊びの量は、クリアランスをどれだけ持たせたかによります。例えばクリアランスが+4/16インチある場合は、サスペンションが4/16インチ以上動いてからはじめてスウェイバーへ負荷が伝わります。 Atlanta Motor Speedwayのようなバンピーなトラックを走る場合を考えます。ターン中に左フロントタイヤが段差に乗り上げた時、固定式の場合は衝撃がすぐにスウェイバーに伝わり、右フロントサスペンションは予期しない荷重が急に掛かることになります。これにより車体の右フロントが路面へ接触することもあります。可動式でかつ十分なクリアランスがあれば、段差は難なくクリアし車体は単に右へロールし、右フロントサスペンションへ急な荷重を掛けることもありません。 What does it do Detaching or attaching the sway bar merely changes the linkage on the left side of the sway bar. By having an “attached” sway bar, any force on the left front suspension will be transferred to the sway bar. By having a “detached” sway bar, you allow some play in the left front suspension before the bar is loaded. This is where your End Clearance comes into play. If you have the bar set as “detached”, then any positive End Clearance setting will mean that much play in the left front suspension. So, if you have +4/16” on your left end clearance, then the left front suspension will move 4/16” (1/4”) before it ever places a load on the sway bar. For these settings, we’ll use the same example. You are testing at a bumpy track, such as Atlanta Motor Speedway. Going through the corner, your left front suspension hits a rather large bump. If you had the sway bar set to “attached”, then the left front suspension would immediately place the load onto the sway bar and transfer it to the right front suspension. This sudden shock to the RF could cause the car to shoot up the track unexpectedly. If you had the bar set to “detached”, and assuming you had enough End Clearance, you could potentially hit the bump and the car would just roll right over it, and the RF would see no sudden load. TIPS このセッティングは一歩間違うと火傷します。固定式・可動式のどちらでセッティングするにしろ、きちんと調整されていなければ車は乗れたものではなくなります。バンピーなトラックで車体のフロントを地面によく擦ってしまうようなら、可動式にしてクリアランスを少し与えるといいでしょう。しかし可動式の場合はストレートでの挙動に慣れが必要になるかもしれません。 ちなみに、クリアランスの数値がマイナスの時に可動式にしても意味はありません。可動式でありながら既にスウェイバーに負荷を掛けた状態だからです。 Tips Playing with this adjustment is like playing with fire. You can truly ruin the car by either attaching or detaching the sway bar and not compensating for it. If you are at a bumpy track and you are constantly hitting bumps that upset the front end of the car (suddenly really tight), then you might want to go and detach the sway bar, and allow a little bit of End Clearance. However, with the left end detached, if you ever steer to the right while going in a straight line, the LF suspension will collapse, unload the RF, and you’ll spin off to the right, so it’s a feeling you have to get accustomed to. Also, if your End Clearance is a negative value, it makes no sense to have the left end detached, since it’s constantly loading the sway bar.
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Multiplayer The Stonehenge Chronicles - JANUARY 21, 2008 North America and Europe Only The Stonehenge Chronicles Update Notes Happy New Year! 2008 is upon us, and we’re thrilled to be kicking it off with our first major update – the Stonehenge Chronicles. We’ve got a lot in store for all of our players, so let’s get to it! In this update, you’ll see the first of the big balance sweeps we’re doing on all of the character classes. Both the Guardian and the Evoker got a lot of attention this time around, and we hope that players of those classes will dig into how the classes play now. We’re making it simple for these players to get a handle on the new balances by allowing them to completely respec their characters. PvP is starting to get more attention with the introduction of the Dueling Arena. This both makes dueling easier to accomplish and also gives us a better and more accurate way to track play habits and stats – a key to really increasing this section of the game. There’s also a whole slew of other overall improvements, tweaks, and additions, so take a couple of minutes to go through the release notes and see what’s new. For our Subscription Members, we’re opening the portal to Stonehenge! This is a completely new area that not only has new items and monsters, but also completely new ways to experience the game. The Essence Caves are the first of our non-linear style of play. You can repeat this long quest chain multiple times throughout the career of your character as it scales with your character (or party) level. The rewards are rich and many of them are unique to the Stonehenge area. The Wild is also a new type of game play since it is focused exclusively on group play. You need big groups to have success out there – and the deeper you get, the harder it gets. It’s time to get your friends together! We’ve got lots more in store, and we’re working on every aspect of the game. Thank you all for your support over the past couple of months. We’re listening and doing all we can to make Hellgate London what we all want. See you online! --- General Based on the number and depth of balance changes to skills in this update, certain characters will be provided a “respec token” that allows them to reassign their skill points. This token is automatically placed in the character’s inventory and can be used at any time. All Evokers and Guardians will receive respec tokens, as will all characters in Subscription Member accounts. 激しくスキル調整したクラスがあるんで、スキル振りなおしのアイテムあげよう。ただし、課金者には全キャラあげよう。 PvP A Dueling Arena has been built for those who wish to test their mettle against each other. When challenging another character to a duel, the invitation dialogue indicates that the duel will take place in the Arena. When the duel is accepted, both characters are instantly transported there. When both characters have loaded into the Arena, a countdown begins. During the countdown, characters can move, but they cannot use skills, activate items, cast spells, or attack their opponent. After a duel has been won, the defeated character is reset, as is their opponent and a new countdown clock begins. Players can leave the Dueling Arena by activating their Recall device. Players can still duel in other areas by joining the same party and activating their /pvp flag as before. Group Play Increased experience and treasure bonus for groups. Characters now receive more experience and treasure on a greatly accelerated scale based on number of players in a group. Fixed a bug where grouped players that were separated from the rest of their party were receiving extra experience for all of the other group members. Graphics Templar melee animations have been tweaked for smoother combat flow. Memory Manager Party members will now show up in higher resolutions. Players will not see the change until they move to a different zone and users must have Textures at least set to High. User Interface The Mini Map is now set to the top right of the screen with character state icons appearing below. The Chat Window is now scalable. To adjust the size of the chat window, hold down the ALT key. There is a small tab in the upper right hand corner of the chat interface that can be used to resize the window. The LFG interface has received new functionality. To activate the LFG Interface, simply press the ‘P’ key.The screen has been re-arranged to allow for more information and additional features. Party Leaders can advertise existing groups to add new members. Individuals can advertise themselves as being available for a group. To instead create an entirely new group, select the CREATE PARTY option. Otherwise, the character is listed as an individual looking for a group to join. New search filters have been added to better find the right group dynamic. Players can now Invite, Join and Whisper to individuals or groups listed in the LFG interface. Skills There are a wide variety of balance tweaks across the Templar and Cabalist factions. Cabalist Brom s CurseThis spell now heals a fixed amount based on the attacker s level instead of being based on a percentage of the attacker s health. The rank progression of this spell has been adjusted. Brom s Curse affects up to 4 targets for 5 seconds at rank 1. The maximum number of targets is increased by 1, the duration increased by 1 second, and the amount healed is increased by 12.5% per rank. This spell may now be cast while moving. The range of Brom s Curse has been increased to 20 meters. AfterlifeThe power cost of this spell has been reduced. Elemental DrainThe power cost of this spell has been greatly reduced. The casting time has been reduced by 1 second. Word of FearThe Fear Attack Strength of this spell now properly scales with the caster s level. The base Fear Attack Strength of this spell has been increased by 25%. The rank progression of this spell has been adjusted. Word of Fear now gains 33% more Fear Attack Strength per rank. Evoker Skill Rank bonus descriptions have been updated and normalized to be based on their initial rank 1 effect. For example, Spectral Bolt now displays no Phase Attack Strength bonus at rank 1, but displays a more clear bonus of 25% Phase Attack Strength per additional rank. Spectral CurseSpectral Curse now also reduces targets movement speed by 10%. The rank progression of this spell has been adjusted. Spectral Curse now affects up to 4 targets for a 5 seconds at rank 1. The maximum number of targets is increased by 1, the duration increased by 1 second, and movement speed penalty increased by 5% per rank. This spell may now be cast while moving. The power cost of has been reduced substantially, and the range has been increased to 20 meters. The explosion damage caused by Spectral Curse has been increased. Drain PowerThe damage of this spell has been increased significantly. Drain LifeThe damage of this spell has been doubled. Arcane ShieldThe rank progression of this spell has been adjusted, providing slightly less shields at lower ranks. Arcane Shield is unaffected by the Evoker s movement. This spell now lasts for 10 seconds with a 25 second recast time. Concentrate DamageThe rank progression of this spell has been adjusted. Concentrate Damage now provides a lower initial damage bonus, but grants a greater bonus per rank. Concentrate Damage s new damage bonus progression surpasses its previous curve damage bonus progression at rank 4. Summon EmberThe rank progression of this spell has been adjusted. Additional ranks of this skill now provide 15% more damage instead of 20%, but the base damage of the Ember pet is significantly higher across all ranks. The Ember s Health, Damage, Ignite Attack Strength, Critical Chance, Interrupt Strength, Interrupt Defense, and Armor have been increased. FirestormThe rank progression of this spell has been re-designed. Additional ranks of Firestorm now provide a 5% increase in damage rather than an increase in Ignite Attack Strength. Firestorm surpasses its previous damage at rank 3. The Ignite Attack Strength of this spell has been reduced. The range of this spell has been increased to 10 meters. FlameshardsThe Flameshards spell has been re-worked. The number of shards fired is now fixed at 7, but multiple shards stack with each other. Individual shard damage has been decreased slightly to take damage stacking into account. Increased ranks in Flameshards now increases each shard s Ignite Attack Strength by 25%. The spells now has a cool-down time of 2 seconds. This spell s power cost has been decreased. The base Ignite Attack Strength of this spell has been increased by 25%. The range of this spell has been increased to 25 meters. The explosion delay of Flameshards has been decreased to 1 second. HellfireThis spell s casting time and initial power cost have been reduced significantly. Additional ranks now provide a slightly smaller decrease in power cost. This spell now has a cool-down time of 2 seconds. The damage and Ignite Attack Strength of this spell have been increased substantially. The range of Hellfire has been decreased to 25 meters. The targeting of this spell has been fixed. Spectral BoltThe rank progression of this spell has been adjusted. Spectral Bolt now provides an additional 25% Phase Attack Strength per rank. The initial Phase Attack Strength of Spectral Bolt has been slightly increased. The power cost of this spell has been decreased, and the Phase duration has been increased by 1 second. The cooldown of Spectral Bolt has been decreased to 1 second. The base Phase Attack Strength of this spell has been increased by 25%. Spectral LashThe damage of this spell has been increased by 35%. Spectral Lash MasteryThe damage of the explosion caused by this spell has been doubled. The rank bonus of this spell is now applied to the explosion effect properly. Lightning FieldThe damage of the Lightning Field has been increased substantially. The power cost of this skill has been decreased. This spell now has a cool-down time of 2 seconds. The rank bonus tooltip now properly displays a 15% instead increase in radius. The splash damage of the initial effect has been increased by an additional 17%. TempestThe casting time, power cost, and cool-down of Tempest have been decreased. The base damage of Tempest has been decreased. The strike frequency bonus per rank of Tempest has been decreased to 10% per rank. Each Tempest cloud now lasts for 15 seconds and has a range of 15 meters. The rank bonus of this spell now properly increases the frequency of lightning strikes. Arc LegionThe rank progression bonus of this spell has been changed. Additional ranks now increase the Shock Attack Strength and Shock Effect Damage of Arc Legion by 25%. The range of this spell has been fixed at 18 meters. The damage of this spell has been increased. DemonspineThe rank bonus of this spell has been slightly adjusted to a 25% increase in Stun Attack Strength per rank. The power cost of this spell has been decreased. The damage of this skill has been increased. The base Stun Attack Strength of Demonspine has been increased by 20%. BoneshardsThe rank bonus of this spell has been slightly adjusted to a 50% increase in Stun Attack Strength per rank. The damage of this spell has been increased by 60%. The cooldown of this skill has been decreased to 6 seconds. The base Stun Attack Strength of Boneshards has been increased by 25%. The power cost of this skill has been increased. SkullsplitterThe rank progression of this spell has been adjusted. Skullsplitter now begins with 12 fragments and gains 2 additional fragments per rank. Skullsplitter now explodes into a significantly more predictable nova pattern. The power cost and cool-down of this spell have been slightly decreased. Venomous SpiritThe damage of this spell has been increased and the power cost has been decreased. The Fear Attack Strength of this spell now scales properly with the caster s level and has been increased significantly. Additional ranks of Venomous Spirit no longer provide an increase in Fear Duration. The travel speed of the Venomous Spirit has been increased significantly. Venom ArmorSeveral bugs with which allowed the swarms created by Venom Armor to bypass its intended cool-down time have been fixed. The damage of each swarm created by this spell has been increased, and each swarm now lasts for a fixed amount of time on their target. The initial armor provided by this spell has been decreased, but the absolute bonus to armor per rank has been increased, reaching the previous maximum armor bonus at rank 10. SwarmThe rank progression of this spell has changed. Additional ranks in Swarm now increase the Poison Attack Strength and Poison Duration of Swarm by 20%. The cool-down of this spell is now fixed at 6 seconds. The power cost of this spell has been decreased significantly. Templar Aura of Power, Aura of Renewal, Aura of Defense, and Aura of Salvation have been rebalanced. Additionally, their skill rank progressions have been normalized to provide a 33% increase in effectiveness per skill level. Blademasters and Guardians will now see more return on investment in these auras. Aura of PowerThe power regeneration granted by Aura of Power has been decreased. At rank 10, Aura of Power grants 94% of the power it gave previously.AoP Rank10で以前の94％程度、つまり弱体化。 Blademaster Call of the ChosenThe Taunt and Fear Attack Strengths of this skill now properly scale with the Blademaster s level.Taunt/Fearスキルの強さが、キャラレベルに合うようにで調整された。 Guardian Aura of RenewalThe initial health regeneration granted by Aura of Renewal has been slightly decreased. By rank 10, this aura provides significantly more health regeneration than it did previously.以前と比べて、Rank1は弱体化、Rank10は強化。 Aura of DefenseThe armor bonus granted by Aura of Defense has been decreased.AoD弱体化(以前の半分くらい)。 Aura of SalvationThe initial elemental attack defense granted by Aura of Salvation has been slightly decreased. By rank 10, this aura provides significantly more elemental attack defense than it did previously.AoRと同じ。 Grand AuraThis skill now provides an equal percentage increase to the Guardian s Holy Aura radius at each rank, ending with the same total increase at rank 5 as it did previously.20/30/40/50/60 - 12/24/36/48/60 ChallengeThe Taunt Attack Strength of this skill now properly scales with the Guardian s level.Tauntの強さのベースが、キャラレベルに見合った強さになった。 DenounceThe Taunt Attack Strength of this skill now properly scales with the Guardian s level.Challengeと同じ。 Quests Certain quests that could not be completed after defeating Sydonai because Emmera was no longer accessible can now be turned in to a new NPC named Sammy. Items Unique items that were found before Patch 0.5 that are missing special attributes may now be rerolled for free. The process is as follows All mods must first be removed using a Delux De-Modificator. This is available once at no cost for qualifying items. Once all the mods are removed, insert the item into an Augmentrex 3000. Now click any of the three "Add Property" buttons to reroll the item attributes. All item attributes will be rerolled and the item balance will be up-to-date. If the item level was previously upgraded with the Nano Forge, the additional item levels will be added to the newly generated base level after the item reroll. This means that the new item level may not be the same. The Stun Defense granted by the Gyro Stabilizer has been increased. Health and Power injectors now show up in high level stations. Fire Extinguishers now give the appropriate Ignite Defense. Monsters Monsters with the Infested ability have had their damage reduced. Crafting The limit on number of times an item can be upgraded has been raised to 10. Upgrading an item takes 50% less resources. A new, rare salvaged material crafting material called Nanoshards are now required to upgrade items.Nanoshards can be obtained from any item, but the chance to salvage one is increased when disassembling rarer items. The number of Nanoshards required to upgrade an item increases each time the same item is upgraded. Fixes The mini-game now has a timer. This is partly a fix for characters at level 50 who have finished all the quests and get the quest icon and therefore cannot finish it. Fixed a bug where characters would not save when they killed 65,534 monsters in one session. Grappler no longer changes a character’s position in PvP. Fixed a rare bug where equipping the Cleanser and a shield can delete the shield. Fixed a rare bug where Templar could equip both the Cleanser and a shield. --- Special Subscriber Features Stonehenge is a new, non-linear adventuring area that can be accessed through a special portal in Templar Base. The quests and areas around Stonehenge scale in difficulty to challenge characters of any level. This is to allow players to return to this section of the world numerous times and complete the longer associated quests, missions, and raid areas. Stonehenge itself is a new hub that holds a larger number of players than most Underground Stations. There are new NPCs, new quests, and most importantly, new adventuring areas that are unlike anything within the confines of London. Quests A new series of non-linear quests introduce the area surrounding the great druidic monument of Stonehenge. The Caste Caves These mystic caves can be found in the wilderness areas outside of Stonehenge. Each caste of demon - Beast, Necro, Spectral, and Primus – has a powerful overlord that resides in these caves. The caves themselves are sealed by the essential aspect of their master’s caste. These caves cannot be entered until the essence of five (5) Champions of the matching demonic caste has been collected. Essence can be collected from any Champion, so adventuring above and below the streets of London may gain you the keys to unlocking these special areas. Once a character has gathered the required essence of a single Caste, they can either solo or lead a party into the caves and battle against the resident overlord. Not only are there great and special riches to be won, but the head of the caste overlord is also claimed. Once a character has collected the heads of the Beast, Necro, Spectral, and Primus overlords, the adventure continues. Moloch’s Lair A great and powerful Demon known as Moloch resides in the rough countryside surrounding Stonehenge, and only the worthy may enter his domain. Characters that have collected the heads of the Beast, Necro, Spectral, and Primus overlords can then make their way deep into the realms of Moloch, the Pit Baron. Moloch has very unique items that can only be won by defeating him in combat, so the journey to his defeat can be well worth the effort. His soul is eternal, however, so the process of opening his sanctum and destroying his corporeal form is a never-ending challenge. The Wild The other main area that lies outside of Stonehenge is known only as The Wild. The challenges here are far greater than anywhere else in or around London, requiring raiding parties to properly navigate them. The Wild is divided into three increasingly difficult sections that are balanced for parties of six, seven, and eight. This is regardless of the number of characters that enter The Wild, so while you could try to make your way slowly with a smaller group, the going will not be easy. Items There are new weapons and armor that can only be found in the areas surrounding Stonehenge. These new items have very different appearances from those found within London, so keep a sharp lookout for them. 13 new base weapon types divided amongst the Templar, Cabalist, and Hunters. Each faction also has two all-new Helmet types. Environments Apart from the settlement that has secreted itself at the Stonehenge triliths, there are numerous new areas to explore. Chief amongst these are the various Caste Caves and grand expanses and dark forests of The Wild. There are also new undergrounds and interiors to explore scattered throughout the countryside. Monsters The areas around Stonehenge also have spawned new Demons. The Winged Imps rain death down from the skies and swoop in to sever heads of those foolish enough to seek them out. Burning Fiends move amongst the underbrush and between the windswept trees. Moloch, the Pit Baron, also makes his fiery presence felt for the first time. Patch Notes Disclaimer While we make every effort to include all upcoming changes in our patch notes, please be aware that occasionally some changes are unintentionally omitted.
https://w.atwiki.jp/cadencii_en/pages/36.html
English 日本語 Release Note Release Date 27 Sep., 2009 Notes Cadencii requires ".NET Framework Runtime(version 2.0 or later)". Installer of this rumtime is available from the link below. .NET Framework Runtime Download .NET Framework 3.5 SP1 Cadencii can be launched with the latest version of mono. This enable you to use Cadencii with many platforms supported by mono. (Note Several functions using VOCALOID2 VSTi are not available in this case.) Mono is available from the link mono download Download Cadencii version 3.0.1 (1015KB) How to get source codes Source code is available on SourceForege.JP. Please follow the instruction below for checking out the SourceForge.JP s SVN repository. svn checkout -r 495 http //svn.sourceforge.jp/svnroot/cadencii/branches/3.0 ./ These svn command is for checiking out "THIS" version of Cadencii. In order to get the latest source codes, please remove "-r" option.
https://w.atwiki.jp/cadencii_en/pages/34.html
English 日本語 Release Note Release Date 29 Sep., 2009 Notes Cadencii requires ".NET Framework Runtime(version 2.0 or later)". Installer of this rumtime is available from the link below. .NET Framework Runtime Download .NET Framework 3.5 SP1 Cadencii can be launched with the latest version of mono. This enable you to use Cadencii with many platforms supported by mono. (Note Several functions using VOCALOID2 VSTi are not available in this case.) Mono is available from the link mono download Download Cadencii version 3.0.3 (1015KB) How to get source codes Source code is available on SourceForege.JP. Please follow the instruction below for checking out the SourceForge.JP s SVN repository. svn checkout -r 500 http //svn.sourceforge.jp/svnroot/cadencii/branches/3.0 ./ These svn command is for checiking out "THIS" version of Cadencii. In order to get the latest source codes, please remove "-r" option.
https://w.atwiki.jp/cadencii_en/pages/35.html
English 日本語 Release Note Release Date 27 Sep., 2009 Notes Cadencii requires ".NET Framework Runtime(version 2.0 or later)". Installer of this rumtime is available from the link below. .NET Framework Runtime Download .NET Framework 3.5 SP1 Cadencii can be launched with the latest version of mono. This enable you to use Cadencii with many platforms supported by mono. (Note Several functions using VOCALOID2 VSTi are not available in this case.) Mono is available from the link mono download Download Cadencii version 3.0.2 (1015KB) How to get source codes Source code is available on SourceForege.JP. Please follow the instruction below for checking out the SourceForge.JP s SVN repository. svn checkout -r 496 http //svn.sourceforge.jp/svnroot/cadencii/branches/3.0 ./ These svn command is for checiking out "THIS" version of Cadencii. In order to get the latest source codes, please remove "-r" option.
https://w.atwiki.jp/cadencii_en/pages/45.html
English 日本語 Release Note Release Date 19 Jul, 2009 Notes Cadencii requires ".NET Framework Runtime(version 2.0 or later)". Installer of this rumtime is available from the link below. .NET Framework Runtime Download .NET Framework 3.5 SP1 Cadencii can be launched with the latest version of mono. This enable you to use Cadencii with many platforms supported by mono. (Note Several functions using VOCALOID2 VSTi are not available in this case.) Mono is available from the link mono download Download Cadencii version 2.2.0 (624KB) How to get source codes Source code is available on SourceForege.JP. Please follow the instruction below for checking out the SourceForge.JP s SVN repository. svn checkout -r 356 http //svn.sourceforge.jp/svnroot/cadencii/branches/2.2 ./ These svn command is for checiking out "THIS" version of Cadencii. In order to get the latest source codes, please remove "-r" option.