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https://w.atwiki.jp/kai26cf/pages/197.html
(2005年08月20日) a-nation 05
https://w.atwiki.jp/conlang_arka/pages/68.html
Arka is good at literary and artistic expressions. Here is a sample from xistina, a picture book on Mel calendar. Every day in a year has its own color. The color of the day on the sample page is white. The name of the color is honoka which means snow in the language of Altia (Altian). Every day in a year has its own word. The word of the day on the sample page is honesty. It tells us snow is a symbol of honesty. There is a poem in the middle of the sample page. There is a picture which is related to the color. Next, read this article on Melidia . "Melidia" is a novel written in Arka. In this novel, a college student is murdered and the heroine named Sae become a suspect. A girl named Miina (it means a flower) thinks Sae is the murderer and makes the following remark el rens honoka til diasex. fien la fenvlen nekt tuuno enfrex, tyu klos xal laas til diasex i fiona yundi. They say snow doesn t tell a lie. But snow hides dirt on the ground. Do you really think the snow is still "intact"? Miina is a college student from the art department, so she knows xistina well. She knows snow is a symbol of honesty but says snow can hide dark secrets. What is the intention of her remark? There are three words which mean snow in her remark. Honoka is an Altian word for snow. "La fenvlen" is a Lutian word for something white and means snow in this case. Where is the third snow, then? It lies between lines. It is Sae whose name means snow in Arka. Yes, her remark implies that Sae told lies and is the murderer. She tells her idea without saying the suspect s name. It is a sophisticated euphemism. "La" of "la fenvlen" is a definite article of Lutian (the language of Lutia). Fenvl itself is just white. In Arka, la means that the following word is an animate noun, so "la fenvlen" also means "that white fellow". Who is the "fellow", then? It is Sae again. Remember what her name means. Miina s remark implies the suspected girl with a pale face. Thus Arka is good at literary and artistic expressions.
https://w.atwiki.jp/usb_audio/pages/58.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 16 2 Management Overview The USB is very well suited for transport of audio ranging from low fidelity voice connections to high quality, multi-channel audio streams. The USB has become a ubiquitous connector on modern PC’s and is well-understood by most consumers today. As such, it has become the connector of choice for many peripherals and is indeed the simplest and most pervasive digital audio connector available today. With the advent of the High Speed USB, consumers can count on this medium to meet all of their audio needs today and into the future. Many applications from communications, to entertainment, to music recording and playback, can take advantage of audio features of the USB. In principle, a versatile bus specification like the USB provides many ways to propagate and/or control digital audio. For the industry, however, it is very important that audio transport mechanisms be well defined and standardized on the USB. Only in this way can interoperability be guaranteed among the many possible audio devices on the USB. Standardized audio transport mechanisms also help to keep software drivers as generic as possible. The Audio Device Class described in this document satisfies those requirements. It is written and revised by experts in the audio field. Other device classes that address audio in some way should refer to this document for their audio interface specification. An essential issue in audio is synchronization of the data streams. Indeed, the smallest artifacts are easily detected by the human ear. Therefore, a robust synchronization scheme on isochronous transfers has been developed and incorporated in the USB Specification. The Audio Device Class definition adheres to this synchronization scheme to transport audio data reliably over the bus. This document contains all necessary information for a designer to build a USB-compliant device that incorporates audio functionality. It specifies the standard and class-specific descriptors that must be present in each USB audio function. It further explains the use of class-specific requests that allow for full audio function control. A number of predefined data formats are listed and fully documented. Each format defines a standard way of transporting audio over the USB. Provisions have been made so that vendor-specific audio formats and compression schemes can be handled. Many of the changes introduced in Version 2.0 of the USB Specification for Audio Devices take advantage of the new features provided in the USB 2.0 Specification. With the additional bandwidth made available, high speed USB operation allows the transport of multiple channels of high bit rate audio. This expands the range of solutions provided by USB audio devices but also challenges the way in which they operate. In addition to supporting the additional bandwidth, the specification supports new codec types for consumer audio applications, provides numerous clarifications of the original specification and extensions to support various changes in the core specification. The changes are not generally backwards compatible to 1.0 because that would too severely limit this new class of devices. 2.1 Overview of Key Differences between ADC v1.0 and v2.0 The following list is not an exhaustive list of all changes that have been introduced. For complete information, refer to the full specification. Pay special attention to Sections 1 through 6! • Complete support for high speed operation - no longer are audio class devices limited to full speed operation. • The notion of physical and logical Audio channel clusters. • The number of predefined spatial locations has increased. In addition, a virtual spatial location called Raw Data was introduced. • Use of the interface association descriptor - The standard Interface Association mechanism is used to describe an Audio Interface Collection. The former class specific mechanism was deprecated. • Descriptor updates fixed offsets associated with many descriptors and enlarged three byte fields into four bytes. • Extensive support for interrupts to inform the host about dynamic changes that occur on the different addressable Entities (Clock Entities, Terminals, Units, interfaces and endpoints) inside the audio function. • More clarification text on the audio function. USB Device Class Definition for Audio Devices Release 2.0 May 31, 2006 17 • Audio Control Changes. – Control attribute changes. – Mixer Unit control request (set/get pairs changed). – Many updates in the control descriptions. • Added support for clock domains, clock description and clock control. • Added additional Audio Controls inside a Feature Unit (Input, Gain, Input Gain Pad …) • Added bit pairs in descriptors to indicate presence and programmability of every Control • Prohibited the use of Alternate Setting switching to change sampling frequencies. Instead, Clock Entities are introduced that can be manipulated (through the AudioControl interface) to select operating sampling frequencies. • Split off the examples in a separate document. • Allowed binding between physical buttons on the audio function and the corresponding Audio Control. Prescribed how this is done. • Added an Effect Unit to group algorithms that work on logical channels separately but require multiple parameters to manipulate the effect (as opposed to basic (single parameter) manipulation, performed in a Feature Unit). • Introduced Parametric Equalizer Section Effect Unit. • Rearranged Reverb, Modulation Delay and Dynamic Compressor PUs under the new Effect Unit. • Added the concept of audio function Category. The Category indicates the primary use of the audio function as envisioned by the manufacturer. • Added the Sampling Rate Converter Unit. • Added a means to express Latency of individual building blocks within the audio function. • Added Encoder support. USB Device Class Definition for Audio Devices 3 Functional Characteristics 3.1 Introduction In many cases, audio functionality does not exist as a standalone device. It is one capability that, together with other functions, constitutes a “composite” device. A perfect example of this is a DVD-ROM player, which can incorporate video, audio, data storage, and transport control. The audio function is thus located at the interface level in the device class hierarchy. It consists of a number of interfaces grouping related pipes that together implement the interface to the audio function. An audio function is considered to be a ‘closed box’ that has very distinct and well defined interfaces to the outside world. Audio functions are addressed through their audio interfaces. Each audio function must have a single AudioControl interface and can have zero or more AudioStreaming and zero or more MIDIStreaming interfaces. The AudioControl (AC) interface is used to access the Audio Controls of the function whereas the AudioStreaming (AS) interfaces are used to transport audio streams into and out of the function. The MIDIStreaming (MS) interfaces can be used to transport MIDI data streams into and out of the audio function. The collection of the single AudioControl interface and the AudioStreaming and MIDIStreaming interfaces that belong to the same audio function is called the Audio Interface Collection (AIC). A device can have multiple Audio Interface Collections active at the same time. These Collections are used to control multiple independent audio functions located in the same composite device. An Audio Interface Collection is described through the standard USB Interface Association mechanism that expresses interface binding via the Interface Association Descriptor (IAD). Note All MIDI-related information is grouped in a separate document, Universal Serial Bus Device Class Definition for MIDI Devices that is considered part of this specification. The remainder of this document will therefore not mention MIDIStreaming interfaces and their specifics anymore. The following figure illustrates the concept Audio FunctionAudio-StreamingInterfaceINUSBAudio-StreamingInterfaceINAudio-StreamingInterfaceINAudio-StreamingInterfaceOUTAudio-StreamingInterfaceOUTAudio-StreamingInterfaceOUTAudioControl InterfaceAudio InterfaceCollectionAlternate Settings Figure 3-1 Audio Function Global View 18 Release 2.0 May 31, 2006 USB Device Class Definition for Audio Devices Release 2.0 May 31, 2006 19 All functionality pertaining to controlling parameters that directly influence audio perception (like volume) are located inside the central rectangle and are exclusively controlled through the AudioControl interface. Streaming aspects of the communication to or from the audio function are handled through separate AudioStreaming interfaces. The AudioStreaming interface is primarily used for transporting audio data between the audio function and the outside world. However, all control data that is related specifically to the streaming behavior is also conveyed through the AudioStreaming interface. In particular, all control data that is used to influence the decoder or encoder process that potentially resides between the actual streaming endpoint and the audio function (e.g. conversion from AC-3 encoded stream to 5.1 physical audio channels) is conveyed through the AudioStreaming interface. Note that in some cases an AudioStreaming interface is only used to perform controlling functions while no actual data is transported over the interface. A physical S/PDIF connection to the audio function is a typical example. Although the actual audio data is coming in from the outside world (not through the USB), it might be necessary to control some aspects of the S/PDIF connection. In that case, the S/PDIF connection is represented by an AudioStreaming interface so that it becomes addressable through USB. Also note that the connection between the AudioStreaming interfaces and the audio function is not ‘solid’. The reason for this is that when seen from the inside of the audio function, each audio stream entering or leaving the audio function is represented by a special object, called a Terminal (see further). The Terminal concept abstracts the actual AudioStreaming interface inside the audio function and provides a logical view on the connection rather than a physical view. This abstraction allows audio channels within the audio function to be treated as ‘logical’ audio channels that do not have physical characteristics associated with them anymore (analog vs. digital, format, sampling rate, bit resolution, etc.). 3.2 Audio Interface Collection (AIC) On USB, an audio function is completely defined by its interfaces. An audio function has one AudioControl interface and zero d into an Audio Interface e The Audio Function class and Subclasses can be further qualified by the Function Protocol code. The ion sion of this specification so that enumeration stantiated. or more AudioStreaming interfaces, groupe Collection. The standard USB Interface Association mechanism is used to describe the Audio Interface Collection i.e. to bind those interfaces together. Interface Association is expressed via the standard USB Interface Association Descriptor (IAD). Every Interface Association Descriptor has a FunctionClass, FunctionSubClass and FunctionProtocol field that together identify the function that is represented by thAssociation. The following paragraphs define these fields for the Audio Device Class. 3.3 Audio Function Class An Interface Association has a Function Class code assigned to it. This specification requires that the Function Class code be the same as the Audio Interface Class code. The Audio Function class code is assigned by this specification. For details, see Appendix A.1, “Audio Function Class Code”. 3.4 Audio Function Subclass The Audio Function class is divided into Function Subclasses. At this moment, the Function SubClass codeis not used and must be set to FUNCTION_SUBCLASS_UNDEFINED. The assigned codes can be found in A.2, “Audio Function Subclass Codes” of this specification. All other Subclass codes are unused and reserved by this specification for future use. 3.5 Audio Function Protocol Funct Protocol code is used to reflect the current versoftware can decide which driver versions need to be in The assigned Protocol codes can be found in Appendix A.3, “Audio Function Protocol Codes” of this specification. All other Protocol codes are unused and reserved by this specification for future use. USB Device Class Definition for Audio Devices Release 2.0 May 31, 2006 20 h USB belong to this class. t, f this class, the only requirement is that it exposes one in aming interfaces for consuming or ss code is assigned by the USB. For details, see Appendix A.4, “Audio Interface Class Code”. re part of a certain Interface • AudioStreaming Interface Subclass ion. the current version of this specification. . ion Category indicates the primary intended use for the audio function. The following . ne A device set up to record audio from audible sources. • Headset A device with at least one speaker and at least one microphone designed to be worn or held ck and voice input capabilities. o another converting audio data from one encoding format to another (e.g. th at least one microphone and at least one speaker that is d optical inputs and outputs for connection to other devices. 3.6 Audio Interface Class The Audio Interface class groups all functions that can interact with USB-compliant audio data streams. All functions that convert between analog and digital audio domains can be part of this class. In addition, those functions that transform USB-compliant audio data streams into other USB-compliant audio data streams can be part of this class. Even analog audio functions that are controlled throug In facor an audio function to be part of AudioControl interface. No further interaction with the function is mandatory, although most functionsthe audio interface class will support one or more optional AudioStre producing one or more isochronous audio data streams. The Audio Interface cla 3.7 Audio Interface Subclass The Audio Interface class is divided into Subclasses. All audio functions a Subclass. The following three Interface Subclasses are currently defined in this specification • AudioControl Interface Subclass • MIDIStreaming Interface Subclass The assigned codes can be found in Appendix A.5, “Audio Interface Subclass Codes” of this specificatAll other Subclass codes are unused and reserved by this specification for future use. 3.8 Audio Interface Protocol The Audio Interface class and Subclasses can be further qualified by the Interface Protocol code. The Interface Protocol code is used to reflect The assigned codes can be found in Appendix A.6, “Audio Interface Protocol Codes” of this specificationAll other Protocol codes are unused and reserved by this specification for future use. 3.9 Audio Function Category The Audio Funct Function Categories are currently defined in this specification • Desktop Speaker One or more speakers set up in a small environment to provide audio intended primarily for one person. • Home Theater Several speakers set up in a moderately sized environment to provide audio levels significantly louder than a Desktop Speaker setup and intended to be clearly heard by multiple people• Micropho by a user to provide personal audio playba• Telephone A Headset or handset type device that also connects to a telephone system, (e.g. POTs, PBX, VoIP) capable of making and receiving telephone calls. • Converter A device that allows conversion of audio from one electrical or optical format t electrical or optical format, and/or AC-3 to PCM, etc.). • Voice/Sound recorder A device set up wi designed to operate, at least some of the time, independently of the Host to record and store audible sources and play back its recorded content. • IO Box A device designed to deliver one or more, possibly different, electrical an 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/i_ro/pages/20.html
主要 FAQ Q Ragnarok Online って何？ Ragnarok Online (RO) は Massively Multiplayer Online Role Playing Game (MMORPG)という種類のゲーム 概要は Introduction to Ragnarok Online を参照 Q このゲームはどこで手に入る？ International Ragnarok Online の公式ウェブサイトがあるのでそこから ダウンロード 出来る また、 iRO Wiki 内のクライアント保管場所 からも落とせる Q 登録の仕方は？ Warp Portal 社 (？) ウェブサイトの 登録ページ から。手順はアカウント作成方法を参照 Q Mac OS X 版はある？ 正式に開発された Mac OS X 版クライアントは無いが CrossOver Games というソフトを使うと完全ではなくても動作するかも知れない また、Mac 上で Windows を動作させる BootCamp ( 日本語wiki ) というソフトを使う手もある Q 毎月料金を払わないとダメ？ Any unblocked account can play on the Valkyrie server free of charge. The basic monthly fee for the Premium Server, Ymir, is $10.00 USD a month using major credit/debit cards. There is also an hourly prepaid plan for $7.99 USD which expires after 30 hours of gameplay or 6 months, whichever comes first. Also see Payment Method Premium Serverに、基本的な月額料金(ユミル)は、1カ月の主要なクレジット/デビットカードを使用する10.00ドルのU.S.ドルです。 また、1時間ごとの前払いのプランが30時間のゲームプレイの後に期限が切れる7.99ドルのU.S.ドルか6カ月あります、どれが一番になっても 運営会社に止められているアカウントでもなければ無料の Valkyrie サーバーで遊べる プレミアムサーバーである Ymir Server の基本的な月額料金は 10.00 米ドルで、主要なクレジットカード/デビットカードで支払う。 Q クレジットカード/デビットカードを持ってなかったらどうすればいい？ 下記のように他の支払い方法が幾つもある： 1. Pay-by-Cash which can accept payment by mail through cash, check, or money order. Keep in mind this method will take longer to process. 2. PayPal where the basic cost will also stay the same. Q Sakray って何？ Sakray はテストサーバーで、ゲームのアップデート内容がテストされるが時々初期化される（プレイヤーのキャラもアイテムも全て消される） また、無料アカウントではアクセス不可 ゲーム内 FAQ Q キャラクターはどうやって作る？ 何も無い枠（１アカウントに９ヶ所ある）の１つを選んで Make ボタンをクリックするだけ Q キャラ作成でステータスはどう割り振ればいい？ どの職業にするつもりかによってステータスの構成は変わってくる。各職業のページや、ここ以外のファンサイトの情報がキャラクタービルド (ステータスやスキルの構成) を考える上でいい資料になるだろう Q 歩いたり攻撃したりするには？ 概要は Basic Game Control× 参照 Q 育てた Novice の Job Level× が Level 10 で止まったままなんだけど？ そこでゲームの基礎訓練は完了したという事。 Novices はゲーム内にある色々な職業のどれか１つに転職出来る。 職業を参照 Q どの職が一番いい？ Each class is different in its own way. Some are more useful in PVM× while others are used more for PVP× and WoE×. Some are useful in almost all situations; these are generally the most popular classes. Q 今レベル xx なんだけど、どこで狩ればいい？ 一概にどこがいい狩場だとは答えられない。ただ、ゲーム歴の長いプレイヤーに礼儀正しく尋ねるのは、良い出発点になるレベル上げにいい狩場は職業・取得スキル・ステータスの振り方・持っている装備によって違ってくる各職業の育成タイプの幾つかには狩場情報が参考になるだろう Q こっちは何もしてないのにモンスターに攻撃されたよ？ それは好戦的なモンスターで、刺激しなくても攻めて来るようになっているモンスター達には多様な性格付けがされている。更に詳しくは Monsters× 参照 Q ギルドの作り方は？ 概要は Guild System× 参照 Q Game Master× って何？あと、その人への連絡方法は？ 概要は Game Master× 参照 Q 自分の持ちキャラをもう片っぽのサーバーに持ってけない？ Value Added Service を使えば Valkyrie サーバーのプレイヤーならプレミアムサーバーの Ymir に移行出来るSakray の場合はどちら方向にも移行は出来ない Q ステータスやスキルのリセットって出来る？ For characters under Base Level 40, talk to the Hypnotist in Prontera× (146, 232), who will give you a free Skill Reset. Up to November 4, talk to the Mesmerist in Prontera (155,185) for a free/zeny costing reset. After this date, resetting will require a reset stone from the kafra shop. Q キャラの作り直し無しで名前変えられないかな？ Value Added Service を使えばキャラ名変更は出来る。但し同じサーバー内で先に誰かが使っている名前には出来ない Q キャラの性別は変えられる？ 性別はゲームアカウントの登録をした時点で決定し、そのアカウント全体に適用される アカウントの性別を変える為には Value Added Service を使う事になるが、これはそのアカウントでプレイ出来る全てのサーバーの、 アカウント内にある全キャラクターの性別を一度に変える 各キャラ個別に性を変更する事は出来ない (１つのアカウント内に男キャラと女キャラの混在は不可能) もし分からない用語があったら 用語集 をチェックしてみて欲しい Etiquette Rules Q 動き回ってるけど話し掛けても返事しないキャラがいるんだけど、コレ何？あとどうしたらいい？ これは BOT (レベル上げその他の行動を自動で行わせる為にキャラの中の人が使っているプログラム) の可能性があるが たまに中の人が単に忙しいだけか会話の出来る状態でない場合もあるので注意 もし BOT の疑いがある場合は ill-mannered report オプションと共にサポートチケットを GM に送る事 (ill-mannered report はリンクが廃止されたのか、サポートページ内には見当たらない ここ には通報するならSSを撮って送れ [チケットを買えば優先的に見る] と書いてある らしい) Q ぐだぐだ話し掛けてきてウザい奴がいるんだけど、どう対応したらいい？ 先ず、チャット表示欄に表示される全体チャットを完全に遮断する /notalkmsg コマンドがある もしそいつが１：１会話を送り続けてくるなら /ex character name コマンドでそれを遮断出来る 鬱陶しい連中に対する最善の策は只管無視し続ける事だ Q 金とかアイテムをくれくれ言い続けてる奴がいるんだけど、どうしたらいい？ 最初は丁寧に断る。だが問題が段々エスカレートしていくようなら GM に通報してもいい もしそいつが要求に取引コマンドを使い続けてくるなら、自動でそれを拒否する /notrade というコマンドがある Q What is the best way to attract people s attention? Give greetings, and talk to them politely. Respect other people s needs to do other activities. For requesting heals or buffs, ask once or twice. There are many reasons people do not respond. In general, be nice and avoid being demanding. As with all etiquette online, avoid talking in all caps, swearing, or demanding. 人々の注意を引き付ける最も良い方法は何ですか? 挨拶をお願いします、礼儀正しく彼らと話してください。 他の活動をする他の人々のニーズを尊重してください。 ファン、要求が回復するか、または一度または二度尋ねてください。 人々が応じない多くの理由があります。 一般に、良くしてください、そして、過酷であることを避けてください。 すべてのオンラインであるエチケットのように、すべてのキャップ、宣誓、または要求で話すのを避けてください。 Troubleshooting F.A.Q. Q Why do I get "Failed to get xxx.rgz or xxx.gpf " when patching? This is either caused by a busy patch server or a previously failed patch. Wait a few minutes and then try again. Q Why do I experience lag when playing? A good connection between client and server depends on the internet service provider (ISP). With a good ISP, lag is minimal. Sometimes, it is the server that is bogged down. In this case, others will experience the lag as well. Frequently, lag problems are caused by problems with servers between the user and the Ragnarok Online server. Use of programs such as Tracert can help in determining what the source of the lag is. With some combinations of hardware and ISP, heavy uploads from other users on the connection will cause unacceptable lag - this would show up on a Tracert as high ping times at the first or second hop. In this case, performance can be improved by ensuring that nobody using the connection is using any peer-to-peer file sharing programs. Another possible cause of lag is the user s computer - this can be due to insufficient hardware for acceptable performance, other programs running in the background, or malware problems. In these cases performance can be improved by closing any other open programs, ensuring the computer is free of any malware, and playing with some of the graphics options (lightmap, fog, effects) disabled. Q My character is stuck. How do I become unstuck? If your character loads completely, and you are stuck in a location you cannot move from, using a Fly Wing or Butterfly Wing will fix the problem. Depends on the location, if you are a Taekwon Class, using Leap× will also work. Occasionally a character will become bugged and will not load completely (ex, items are not shown). Relogging will sometimes fix the problem, as will restarting and/or waiting several minutes. If the problem persists, re-install the program and re-patch. If that fails, contact a GM through the website. Q What is a Time Gap Error? It is an error caused by packet loss or extreme network latency (lag). It can sometimes be caused by incorrect network or BIOS settings, but most often is is simply a result of lag. It often occurs in the event of a prolonged "lag spike". Q What does the "cannot init D3D or GRF file has a problem!" error mean? It is an error dealing with graphics. Run the RO setup program, and verify that a graphics mode has been selected in the first option box. If there are no options available, compatible graphics drivers are not installed. Please verify that hardware requirements are fulfilled and drivers are up-to-date. Also, please be sure to have the latest version of DirectX installed. Running Windows in 16-bit color mode may also solve this problem. Q Help! I keep getting a "Failed to connect to server." message! This problem is usually caused by a faulty connection between client and game server. First, make sure the internet is accessible, and that any software firewalls are configured to allow RO to access the internet. If the problem persists, the server may be down, or there may be problems with a server between the user and the Ragnarok Online server. Try again later and check the server status with sites such as this . As a last resort, contact a GM through the website. Q The patch server is down, can I play without patching? Yes, it is possible. To start the game and bypass the patcher, you need to start the game with an argument. Either from the command line or a shortcut, append to yggexe.exe "-1rag1" (for Premium servers) or to ragfree.exe "-1free1" (for Valkyrie server). Command line example C \Programs\Ragnarok Online Renewal ragfree.exe -1free1. Shortcut example "C \Programs\Ragnarok Online Renewal\RagFree.exe" -1free1 (with the quotes). However, without the latest patch, the game client stability is not at its best. External Links iRO オフィシャルページ FAQ Page 英 Wikipedia の Ragnarok Online のページ Category General Information
https://w.atwiki.jp/asigami/pages/3603.html
曲名 アーティスト フォルダ 難易度 BPM NOTES/FREEZE(SHOCK) CONNECT- BEMANI Sound Team "Sota Fujimori" A20+ 激13 150 531/5 STREAM VOLTAGE AIR FREEZE CHAOS 93 75 49 9 102 踊譜面(10) / 激譜面(13) 譜面 https //livedoor.blogimg.jp/yanmar195/imgs/0/a/0a3b1de1.png クリア難易度投票 スコア難易度投票 動画 https //www.youtube.com/watch?v=D36R4V-IiI4 (x3,NOTE) 解説 「BEMANI MusiQ FES」Vol.2解禁曲 (20/12/16 10 00～21/1/12 23 59)。 コメント コメント(感想など) 最新の10件を表示しています。コメント過去ログ BPM150を差し引いても14に片足突っ込んでる。13ではかなり多い方に入る500越えのノーツに譜面を通して全体的に配置された16分。16分も2連がメインだけど3連どころか5連も普通に入っておりそこに同時も混ざってくるので13適正に踏ませていいのかと思う。14最弱か入門クラスで挑んだ方がいい。 (2020-12-16 19 11 57) クリアは13上位か14だと思うがスコアを取る為に精度を重視して押そうとすると14中～くらいに化ける譜面、ここ迄くると今作の譜面に難易度付けしてる運営はテストプレイすらしてない説ある。 (2020-12-16 23 54 32) bpmや譜面を見るとオンバウ激が相互に練習になる……13とは？ (2020-12-17 13 33 34) 捻り以外の13の要素が詰め込まれた13卒業譜面 (2020-12-20 13 32 37) とにかく曲が長い。まだ続くのかよ、ってなる。13適正には体力的にもキツい。 (2021-06-22 11 50 46)
https://w.atwiki.jp/touhoukashi/pages/5820.html
【登録タグ Bloody†Nightmare S すばる ちょこふぁん スモーキングドラゴン 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 ); 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} /** 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/hust/pages/110.html
1 SAFETY1.1 Helping Those in Danger 1.2 Life-Saving Equipment and Personal Flotation Devices 2 FAIR SAILING 3 ACCEPTANCE OF THE RULES 4 DECISION TO RACE 5 ANTI-DOPING 1 SAFETY 1.1 Helping Those in Danger A boat or competitor shall give all possible help to any person or vessel in danger. 解説 No Data 1.2 Life-Saving Equipment and Personal Flotation Devices A boat shall carry adequate life-saving equipment for all persons onboard, including one item ready for immediate use, unless her classrules make some other provision. Each competitor is individually responsible for wearing a personal flotation device adequate for the conditions. 解説 No Data 2 FAIR SAILING A boat and her owner shall compete in compliance with recognized principles of sportsmanship and fair play. A boat may be penalized under this rule only if it is clearly established that these principles have been violated. A disqualification under this rule shall not be excluded from the boat’s series score. 解説 No Data 3 ACCEPTANCE OF THE RULES By participating in a race conducted under these racing rules, each competitor and boat owner agrees (a) to be governed by the rules; (b) to accept the penalties imposed and other action taken under the rules, subject to the appeal and review procedures provided in them, as the final determination of any matter arising under the rules; and (c) with respect to any such determination, not to resort to any court of law or tribunal. 解説 No Data 4 DECISION TO RACE The responsibility for a boat’s decision to participate in a race or to continue racing is hers alone. 解説 No Data 5 ANTI-DOPING A competitor shall comply with the World Anti-Doping Code, the rules of the World Anti-Doping Agency, and ISAF Regulation 21,Anti-Doping Code. An alleged or actual breach of this rule shall be dealt with under Regulation 21. It shall not be grounds for a protest and rule 63.1 does not apply. 解説 No Data
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The Inter-state exposition souvenir; containing a historical sketch of Chicago; also a record of the great Inter-state exposition of 1873, from its inception to its close; names of exhibitors, and description of articles exhibitedhttp //www.archive.org/details/interstateexposi00vana GREAT INTER-STATE EXPOSITION OF 1873 ？ http //www.archive.org/stream/interstateexposi00vana/interstateexposi00vana_djvu.txt EXPOSITION SOUVENIR. SECTION 8. Apparatus and Instruments for Instruction and Scientific Investigation, Optical Instruments, etc. 5. E. PAYSON PORTER, 159 LaSalle street, Chicago. Sholes Gledden s Type Writer.This is a truly novel little machine, by the use of which the operator is enabled to produce copy in the form of print with twice the rapidity of the penman, and with the most perfect ease, It is adapted for merchants, lawyers, editors, authors, etc. It requires no especial skill in its manipulation, and one may readily become able to write from sixty to eighty words per minute. The motion of the hand is free, easy, and unconstrained, so that the monotonous move- ment of the pen is avoided and the labor of writing performed with far less fatigue to the muscles of the hand and arm. This machine is in constant use at the National Telegraph College, of which the exhibitor is proprietor, and who is also agent for the sale of this valuable machine. The operation of this machine is simple. A set of keys similar to those of a piano, upon each of which is a letter of the alphabet. The operator presses upon a key, and by the mechan- ical construction of this machine a letter is printed upon the paper corresponding with the key touched. This little invention is destined to lessen the arduous labors of the copyist, and is hailed with favor by the telegraph operators and press of the country. OCN｜翻訳サービス http //www.ocn.ne.jp/translation/ E. PAYSON PORTER、159ラサル通り、シカゴ。 ショールズ GleddenのタイプWriter.Thisは、印刷という形でオペレータが筆記者の2倍の速さ、および最も最適の容易によってコピーを生産することが可能にされる使用で本当に斬新な小さいマシンであり それ 、マーチャント、弁護士、エディタ、作者などのために適応します それはそのマニピュレーションについての格別な手腕を全然必要とせず、それは、すぐに、60語／分から80語／分まで書くことが可能になるかもしれません。 手の動作は自由で、容易で、無連結式です。ペンの単調な動き-mentは避けられて、書き込みの労働者はずっと少ない疲労によって手とアームの筋肉に働き、従って、。 このマシンは全国電信大学で一定に使用されています。それで、展示者は、所有者、およびこの貴重なマシンの販売のためのエージェントでもあることです。 このマシンの操作は簡単です。 アルファベットの手紙であるそれぞれでピアノのそれらと同様なキーのセット。 オペレータがキー、およびmechan-を押し付ける 紙のように薄い一致と同時に手紙がキーでプリントされるこのマシンのical建築は触れました。 このほとんどの発明が写字生の困難な仕事を減らすことは運命づけられず、好意によって国の電信オペレータとプレスにより歓迎されます。 http //www.archive.org/stream/interstateexposi00vana#page/98/mode/2up link_trackbackcounter -
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MANILA, Philippines – In 2012, the Malampaya Deep Water Gas-to-Power project started making some money. The profits remitted to the government were supposed to be used for energy resource development and exploration programs. But under Presidential Decree 910signed in 1976, the President of the Philippines is allowed to determine “other purposes” which the earnings might be used for. These other purposes range from agricultural to rehabilitation projects. By 2004, P600 million was released for priority development projects for Palawan. Through the years, profits going to Palawan would increase especially after former president Gloria Macapagal Arroyo signed in 2007 Executive Order No. 683 authorizing the use of profits from the Malampaya gas project to fund projects in Palawan – the location of the Camago-Malampaya Reservoir. And then things started to go wrong. (READ How the Malampaya fund was plundered) ‘Other purposes’ The release of funds from Malampaya started to spike beginning 2008. That year, the Department of Budget and Management (DBM) released P6.601 billion to the Department of Agriculture (DA), Department of Public Works and Highways (DPWH), and the provincial government of Palawan. The year 2009 (prior to the 2010 presidential elections) saw the biggest release, almost P15 billion, going to DPWH, DA, National Housing Authority, Philippine Army, and Philippine National Police for rehabilitation, infrastructure and housing projects. It was also in 2009 when the Arroyo administration released P900 million to help the survivors of typhoons Ondoy and Pepeng. MALAMPAYA FUND. The Malampaya project has earned P173.280 billion as of June 30, 2013. Of that amount, P38.8 billion was released starting 2004 up to 2012. Graph courtesy of the Commission on Audit MALAMPAYA FUND. The Malampaya project has earned P173.280 billion as of June 30, 2013. Of that amount, P38.8 billion was released starting 2004 up to 2012. Graph courtesy of the Commission on Audit This P900 million was reportedly scammed through the use of non-governmental organizations (NGOs), some of which were linked to Janet Lim Napoles. Of course we know now that as early as 2007, Napoles had been employing a similar scheme to profit from the pork barrel of lawmakers. The Commission on Audit (COA) believes that the DBM’s “laxity” in the release of these funds contributed to the misuse. Because of such findings, the COA is calling for a criminal investigation against officials of the DBM. Senate committee on energy chairman Sherwin Gatchalian supports the investigation, saying that “It is clear that these anomalies are something we have to investigate. Those funds are meant to be used in building a brighter future for the Philippine energy sector. Their misuse will put that future in jeopardy.” Irregular disbursement The total P38-billion release from 2004 to 2012 consists of 184 Special Allotment Release Orders (SAROs). Of those 184, only in 4 instances of a SARO issuance were all rules followed. In 137 instances, 120 of which involved projects with the DPWH, there was even no letter of request from the implementing agency, or in most cases, the DPWH. In 173 cases, there were no endorsements from the Department of Energy (DOE), a requirement stated in Executive Orders 683 and 848. EO 848, signed in 2009, was Arroyo’s order to release funds for typhoon victims. In 171 cases, there was no proof of evaluation from the DBM, again a requirement that COA insists, is provided for under several laws. And in 7 cases, the SAROs did not even have specific projects. In an 80-page sectoral performance audit of the Malampaya fund, the COA already observed anomalies post-disbursement. For example, P958 million worth of funds which went to DA from 2008 to 2009 were found to be ghost projects. There are P20-million worth of projects supposedly for DA’s farm-to-market roads in Botolan, Zambales which were found to have violated the procurement law. Worse, the projects were reported completed, but a year later, an inspection found they were already “scoured, washed out, breached and certain sections not passable.” The PNP received P2.14 billion in 2009 to augment their operational and logistical requirements for search, rescue and rehabilitation efforts in calamity-hit areas. Instead, the money was used for the PNP’s operating expenses, and office and janitorial supplies. “The DBM’s laxity in the release of SAROs to IAs [implementing agencies] and without thorough evaluation, contributed to the misuse of funds by the IAs,” the COA said. Reasons given The officials whose comments were sought have their respective reasons for allowing the disbursements without some mandatory documents. But the COA is not buying some of them. For example, DBM Undersecretary Luz Cantor said that when EO 848 was signed in 2009, some of the requirements laid out by the 2007 EO 683 on the agreements by DBM, DOE, and the Department of Finance (DOF) were no longer applicable. Cantor was referring to the need to have a DOE requirement. But even assuming Cantor is correct on that point, COA said that wouldn’t explain why some SAROs did not have DOE endorsements even before 2009. And it also wouldn’t explain why some SAROs were issued with DOE endorsements from 2011 to 2012. These were SAROs covered during the time of former budget secretary Florencio "Butch" Abad. Five SAROs worth P11.5 billion during his time had DOE endorsements, but 5 other SAROs released during his time did not. Andaya’s defense Most of the projects were given the green light during the time of Arroyo’s budget secretary, Rolando Andaya. Andaya claimed that “it was never required by existing laws, rules and regulations that all aforementioned documents are submitted prior to the release of funds from the Malampaya fund.” Andaya also said that if there was misuse at the level of the implementing agency, then they should be blamed and not the DBM. The COA said that while they are not holding DBM officials accountable for the misuse of funds, they should be held accountable for the irregular disbursements. “DBM did not observe prudence in the release of SAROs and IAs in the disbursement of funds,” the COA said. The COA also noticed that the DBM categorized as "classified" some of the evaluation reports, which they had requested the department to submit for audit purposes. According to COA, there were no significant differences in the reports submitted to them and the reports deemed classified. “Hence it appears that the DBM has been selective in the submission of documents, which [became clearer when it did not specify] the reasons why some of the requested documents were considered classified,” the COA said. “Had DBM been cautious in the documentary requirements and in evaluating the request of IAs in the release of funds, the misuse and wastage of the government’s meager resources could have been averted,” the COA added. Under a memorandum of agreement, the Office of the Ombudsman should be putting this case on priority for filing and for preliminary investigation. The Senate also has the choice to let it go through a public inquiry. As Senator Gatchalian said “This investigation has been a long time coming.” – Rappler.com