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css2, css3から新要素含め復習 cssファイルの呼び出し方@import link rel="stylesheet" type="tex/css" href=" " style type="text/css" /style style="" シンタックス全称セレクタ 文脈セレクタ css2から拡張(木構造から子孫、兄弟関係からの指定が可能)子孫セレクタ 子供セレクタ 隣接(兄弟)セレクタ 疑似クラスリンク関連の疑似クラス css2で追加 p first-child疑似要素 first-letter, first-line 疑似要素 before, after 疑似要素 一意セレクタ 属性セレクタ @規則@import url("http //~"), url('http //~'), "http //~", 'http //~' @charset @media @page @font-face cssファイルの呼び出し方 文書間で共有される外部スタイルシートは特定文書内の style 要素に上書きされ、文書内の要素間に共有される style 要素は特定要素内の style 属性に上書きされます。この順序の中に @import 声明で導入されるスタイルシートが割り込みます @import 規則は外部スタイル・シートの中に記述して構いませんが必ずファイルの冒頭に無ければなりません スタイル宣言よりも後ろの行に記述すると無視されなければなりませんがブラウザ (UA) によってサポートのばらつきがあります cool.css (外部スタイルシート) atomic.css (@import 規則) head 要素内の style 要素 開始タグ中での style 属性 @import 外部入力スタイルシート コンポーネント化(部品化) @import 規則は style 要素内または外部スタイルシートの冒頭に書かれなくてはならない link rel="stylesheet" type="tex/css" href=" " 外部スタイルシート html meta http-equiv="content-style-type" content="text/css" link rel="stylesheet" href="./atomic.css" type="text/css" xhtml meta http-equiv="content-style-type" content="text/css" / link rel="stylesheet" href="./atomic.css" type="text/css" / ?xml-stylesheet href="./atomic.css" type="text/css" ? exe) !-- 固定スタイルシート; -- link rel="stylesheet" href="atomic.css" type="text/css" / !-- 優先スタイルシート; -- link rel="stylesheet" title="cool" href="cool.css" type="text/css" / !-- 代替スタイルシート; -- link rel="alternate stylesheet" title="modern" href="modern.css" type="text/css" / link rel="alternate stylesheet" title="classic" href="classic.css" type="text/css" / 固定スタイルシート:rel 属性の値stylesheet title属性は指定しない 優先スタイルシート:rel 属性の値stylesheet title属性を指定する 代替スタイルシート:rel 属性の値 alternate stylesheet title属性を指定する UAに指定がなければ 固定スタイルシートと優先スタイルシートが選択される title属性を同じ名前にすることでグループ化できる ?xml-stylesheet href="./atomic.css" type="text/css" ? style type="text/css" /style ?xml version="1.0" encoding="Shift_JIS" standalone="no"? !DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.1//EN" "http //www.w3.org/TR/xhtml11/DTD/xhtml11.dtd" html xmlns="http //www.w3.org/1999/xhtml" xml lang="ja" head meta http-equiv="content-type" content="application/xhtml+xml; charset=Shift_JIS" / title XHTML 1.1 とはなんだろうか /title !-- CSS を使う宣言 -- meta http-equiv="content-style-type" content="text/css" / !-- style 要素 -- style type="text/css" xhtml meta http-equiv="content-style-type" content="text/css" / style type="text/css" 埋込みスタイルシート style="" インラインスタイル 要素内スタイル属性を個別に割り当てる シンタックス CSS書式、構文 セレクタ { プロパティ:値; プロパティ:値; } a {} グループ化 a, b, c { } タイプセレクタ:HTMLニ用意されている要素がセレクタ(拡張可能) 全称セレクタ * { } 文脈セレクタ a a-b { } a.class { } .class { } a.class1.class2 { } 優先度は等価 最後に記述されたものが適用される a.class=a.[class~=class] css2から拡張(木構造から子孫、兄弟関係からの指定が可能) 子孫セレクタ ul * li [ } 子供セレクタ body a 隣接(兄弟)セレクタ h1 + h2 { } 疑似クラス リンク関連の疑似クラス link a[href] link { color maroon } a link { color maroon } link { color maroon } 全て等価 visited active css2では任意の要素に適用 link, visitedは排他的だがactive は他の疑似クラスと共存可能 hover カーソルが上に乗っている&アクティブでない要素 focus テキスト入力にフォーカスされている要素 a hover が link, active よりも前に記述されていると、 a hover のスタイルは link, active のスタイルに上書きされてしまいます exe) link { color red } /* 未訪のリンク */ visited { color blue } /* 訪問済みのリンク */ a active { color lime } /* アクティブ中のリンク */ a hover { color yellow } /* カーソルが上に乗っているリンク */ css2で追加 first-child 疑似クラス first-child exe)body p first-child { } 或る要素が親要素の中で最初に現れる子供要素である場合にだけマッチする 擬似クラスですが、文書の木構造に依存して決定可能なこともある セレクタの中で、任意の場所に記述可能 p first-child p first-child は等価 lang 疑似クラス lang exe) lang(jp) { } p lang(en) { } lang属性を疑似クラスとしてセレクタに用いることができる 属性セレクタと同価 p lang(ja) p[lang="ja"] 疑似要素 first-letter, first-line 疑似要素 指定可能なプロパティ制限 first-line ブロック要素の一行目に整形された文字列 font properties、color properties、background properties、 word-spacing 、 letter-spacing 、 text-decoration 、 vertical-align 、 text-transform 、 line-height 、 text-shadow 、 clear first-letter 一部のブロック要素の一文字目 font properties、color properties、background properties、margin, padding, border, text-decoration 、 vertical-align 、 text-transform 、 line-height 、 text-shadow 、 float 、 clear first-letter 疑似要素は一文字目に引用符などの区切り文字だと二文字目も含むと規定 before, after 疑似要素 プロパティ display の指定可能な値に制約を受ける ブロックレベル要素 before, after の display に指定可能な値は、 none , inline , block , marker その他の値は、 block と等価 インラインレベル要素 before, after の display に指定可能な値は、 none , inline その他の値は、 inline と等価 exe)p.note before { content "Note " } 一意セレクタ a#idname { } #idname { } 優先度は一位セレクタが上 p#URI > p[id="URI"] 属性セレクタ a[href] { } a[target="_blank"] { } a[rel~="copyright] { } *[lang|="en"] { } @規則 @import url("http //~"), url( http //~ ), "http //~", http //~ screen tty tv print projection handheld print braille embossed(emboss) speech aural all メディアグループ interactive、static grid、bitmap visual、aural、tactile continuous、paged @charset @media @page @font-face
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else { header("Content-type text/html; charset=UTF-8"); require( /var/www/docs/jp/konami/mgs5/checkcookie.php5 ); $licencetype = check_cookie( jp , web , 1 , , index ); } ? !DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http //www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd" html lang="ja" xmlns og="http //ogp.me/ns#" xmlns fb="https //www.facebook.com/2008/fbml" head meta http-equiv="X-UA-Compatible" content="IE=edge,chrome=1" / meta http-equiv="Content-Type" content="text/html; charset=utf-8" / meta http-equiv="content-script-type" content="text/javascript" / meta http-equiv="content-style-type" content="text/css" / title METAL GEAR SOLID V THE PHANTOM PAIN - å…¬å¼WEBサイト /title meta name="description" content="METAL GEAR SOLID V THE PHANTOM PAIN - å…¬å¼WEBサイト" / meta name="keywords" content="Konami,コナミ,å°å³¶ãƒ—ãƒãƒ€ã‚¯ã‚·ãƒ§ãƒ³,MGS,TPP,メタルギア ソリッド V ファントムペイン,A Hideo Kojima Game,å°å³¶ç§€å¤«,æ–°å·æ´‹å¸,Foxエンジン" / !-- ICON -- link rel="apple-touch-icon" href="apple-touch-icon.png" / link rel="apple-touch-icon" sizes="57x57" href="apple-touch-icon-57x57.png" / link rel="apple-touch-icon" sizes="72x72" href="apple-touch-icon-72x72.png" / link rel="apple-touch-icon" sizes="114x114" href="apple-touch-icon-114x114.png" / !-- Faceebook -- meta property="og title" content="METAL GEAR SOLID V THE PHANTOM PAIN - 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D D Encounter 用キャラクター。 Josette ( ジョゼット ) Race Human Alignment Good Classes / Level Paladin ( Cavalier ) 1 Experience / Next Level 0 / 1,000 Hit Points Hit Points : 32 ( = 9 + 6 ( = 6 × 1Lv. ) + 12 Con Score + 5 Toughness ) / 0 Damage Bloodied Value : 16 ( = 32 ÷ 2 ) Healing Surge Value : 8 ( = 32 ÷ 4 ) Healing Surges / Day : 14 ( = 10 + 1 CON Mod. + 1 Spirit of Sacrifice + 2 Durable ) ① ② ③ ④ ⑤ ⑥ ⑦ ⑧ ⑨ ⑩ ⑪ ⑫ ⑬ ⑭ Action Points Action Points : ① Ability Scores 【 STR 】 18 ( + 4 / + 4 ) = 16 + 2 Racial 【 CON 】 12 ( + 1 / + 1 ) = 12 【 DEX 】 12 ( + 1 / + 1 ) = 12 【 INT 】 8 ( - 1 / - 1 ) = 8 【 WIS 】 10 ( + 0 / + 0 ) = 10 【 CHA 】 16 ( + 3 / + 3 ) = 16 Initiative Move Speed Initiative : + 1 = + 1 DEX + 0 Lv. Mod. Land Speed : 5 Squares ( Base 6 Squares, Heavy Armor ) Defense Armor Class : + 20 = 10 + 0 Lv. Mod. Mod. + 8 Armor + 2 Shield Fortitude : + 16 = 10 + 0 Lv. Mod. + 4 STR Mod. + 1 Racial + 1 Class Reflex : + 15 = 10 + 0 Lv. Mod. + 1 DEX Mod. + 1 Racial + 1 Class + 2 Shield Will : + 15 = 10 + 0 Lv. Mod. + 3 WIS Mod. + 1 Racial + 1 Class Atack Damage Modifiers Basis STR + Weapon : + 7 Attack = + 4 STR + 0 Lv. Mod. + 3 Proficient ( Longsword ) + 4 Damage = + 4 STR STR + Weapon : + 6 Attack = + 4 STR + 0 Lv. Mod. + 2 Proficient ( Javelin ) + 4 Damage = + 4 STR Basic Attacks Melee Longsword : STR + W vs. AC / 1 [ W ] + STR [ Normal ] / Melee 1 + 7 Attack / 1d8 + 4 ( 12 ) Damage Ranged Javelin : STR + W vs. AC / 1 [ W ] + STR [ Normal ] / Ranged 10 / 20 + 6 Attack / 1d6 + 4 ( 10 ) Damage Powers At-will Righteous Radiance : パワーソース [ 信仰 ] / ダメージ属性 [ 光輝 ] / ― / ― / HotFK 英:p.125 Class Attack Opportunity / Melee 1 / The Triggering Enemy / ― / ― ( ― ) このパワーは、Defender Aura の効果を受けている敵が、シフト、あるいは君か Defender Aura を起動している味方以外を攻撃したことをトリガに使用出来る。発動時、目標は 6 [ 光輝 ] ダメージ ( = 3 + 3 CHA Mod. ) を受ける。 Strike of Hope : パワーソース [ 信仰 ] / 道具属性 [ 武器 ] / ダメージ属性 [ 光輝 ] / STR + W vs. AC / 1 [ W ] + STR [ Radiant ] / HotFK 英:p.141 Class Attack Standard / Melee Weapon / One Creature / + 7 Attack / 1d8 + 4 ( 12 ) Damage ヒット時、君から 5 マス以内にいる味方 1 人に、一時的ヒット・ポイント 3 ( = 3 CHA Mod. ) を与える。その味方が重傷状態であった場合は、その一時的ヒット・ポイントに + 5。 Valiant Strike : パワーソース [ 信仰 ] / 道具属性 [ 武器 ] / STR + W vs. AC / 1 [ W ] + STR [ Radiant ] / HotFK 英:p.126 Class Attack Standard / Melee Weapon / One Creature / + 7 Attack / 1d8 + 4 ( 12 ) Damage 攻撃時、君に隣接する敵の数に等しい値のボーナスを、攻撃ロールに得る。 Defender Aura : パワーソース [ ― ] / その他属性 [ オーラ ] / ― / ― / HotFK 英:p.124 Class Utility Minor / Personal / ― / ― / ― ( ― ) オーラ 1 を起動する。このオーラは、マイナー・アクションで終了させるか、君が気絶するまで持続する。オーラの中にいる間、全ての敵は、君か Defender Aura を起動している君の味方を目標に含まない攻撃ロールに、- 2 のペナルティを受ける。マークされた状態の敵は、この効果を受けない。 Encounter Heroic Effort : パワーソース [ ― ] / ― / ― / HotFK 英:p.264 Racial No Action / Personal / ― / ― / ― ( ― ) このパワーは、攻撃をミスする、もしくはセーヴィング・スローを落とすことをトリガに使用出来る。トリガとなった攻撃ロールもしくはセーヴィング・スローに、+ 4 種族ボーナス。 Holy Smite : パワーソース [ 信仰 ] / ダメージ属性 [ 光輝 ] / ― / ― / HotFK 英:p.124 Class Feature Free / Personal / ― / ― / ― ( ― ) このパワーは、敵に無限回の武器攻撃パワーを使用することをトリガに使用出来る。発動時、目標は 5 [ 光輝 ] ダメージ ( = 2 + 3 CHA Mod. ) を受ける。また、トリガとなった攻撃がヒットした場合、目標は次の君のターン終了時まで、幻惑状態となる。 Righteous Shield : パワーソース [ 信仰 ] / ― / ― / HotFK 英:p.125 Class Utility Immediate ( I ) / Close Burst 3 / The Triggering Ally in Burst / ― / ― ( ― ) このパワーは、範囲内にいる味方が攻撃によってダメージを受けたことをトリガに使用出来る。発動時、トリガとなった味方へのダメージを、君がその味方の代わりに受ける。このダメージは、あらゆる抵抗、完全耐性を無視する。加えて、君の次のターン終了時まで、君は全ての攻撃ロールに + 2 のパワー・ボーナスを得る。 Special Abilities Bonus Feat : Racial / HotFK 英:p.264 / 1 レベル時に、追加で特技を 1 つ得る。前提は満たしている必要がある。 Bonus Skill : Racial / HotFK 英:p.264 / クラス技能を、追加で 1 つ修得済みとする。 Human Defense Bonuses : Racial / HotFK 英:p.264 / 頑健、反応、意思の各防御値に + 1 種族ボーナスを得る。 Spirit of Sacrifice : Classl / HotFK 英:p.141 / + 1 回復力使用回数。加えて、底力を使用することで、5 マス以内の味方 1 人のヒット・ポイントを、その味方の回復力値分回復させることが出来る。この場合、底力はマイナー・アクションで使用出来るが、通常の底力の効果を得ることは出来ない。 Feats 1Lv. : Toughness / HotFK 英:p.320 / + 5 ヒット・ポイント。 1Lv. : Durable / HotFK 英:p.314 / + 2 回復力使用回数。 Skills Acrobatics : - 3 = + 1 DEX + 0 Lv. Mod. - 4 ACP Arcane : - 1 = - 1 INT + 0 Lv. Mod. ■ Athletics : + 5 = + 4 STR + 0 Lv. Mod. + 5 Trained - 4 ACP Bluff : + 3 = + 3 CHA + 0 Lv. Mod. ■ Diplomacy : + 8 = + 3 CHA + 0 Lv. Mod. + 5 Trained Dungeoneering : + 0 = + 0 WIS + 0 Lv. Mod. ■ Endurance : + 2 = + 1 CON + 0 Lv. Mod. + 5 Trained - 4 ACP □ Heal : + 0 = + 0 WIS + 0 Lv. Mod. □ History : - 1 = - 1 INT + 0 Lv. Mod. □ Insight : + 0 = + 0 WIS + 0 Lv. Mod. ■ Intimidate : + 8 = + 3 CHA + 0 Lv. Mod. + 5 Trained Nature : + 0 = + 0 WIS + 0 Lv. Mod. Perception : + 0 = + 0 WIS + 0 Lv. Mod. ■ Religion : + 4 = - 1 INT + 0 Lv. Mod. + 5 Trained Stealth : - 3 = + 1 DEX + 0 Lv. Mod. - 4 ACP Streetwise : + 3 = + 3 CHA + 0 Lv. Mod. Thievery : - 3 = + 1 DEX + 0 Lv. Mod. - 4 ACP Race Class Features Human Ability Score : + 2 to One Ability Score of Your Choice Size : Medium Speed : 6 Squares Vision : Normal Languages : Common, Choice One Language Bonus Feat Bonus Skill Human Defense Bonus Heroic Effort Paladin ( Cavalier ) Role : Defender Power Source : Divine Armor Proficiencies : Cloth, Leather, Hide, Chain, Scale, Plate, Light Shield, Heavy Shield Weapon Proficiencies : Simple Melee, Military Melee, Simple Ranged, Military Ranged Implement Proficiencies : Holy Symbol Bonus to Defense : + 1 Fort, + 1 Ref, + 1 Will Hit Points at 1Lv. : 15 + CON Score Hit Points / Lv. Gained : 6 Healing Surges / Day : 10 + CON Mod. Trained Skills : Choise of Four Class Skills ( Athletics, Diplomacy, Endurance, Heal, History, Insight, Intimidate, Religion ) Class Features : Defensive Aura Holy Smite Righteous Radiance Righteous Shield Spirit of Vature ( Spirit of Sacrifice ) Valiant Strike Virtue At-will Power ( Strike of Hope ) Language Common, Choice of One Other Gears Weapon Long Sword + 3 Atk / 1d8 Dmg [ Heavy Blade, Versatile ] 15.00gp Javelin × 2 + 2 Atk / 1d6 Dmg [ Spear, Heavy Thrown ] 10.00gp Armor Plate + 8 AC / - 2 ACP / - 1 Speed [ Heavy Armor ] 50.00gp Arms Heavy Shield + 2 AC, + 2 Ref / - 2 ACP [ Heavy Shield ] 10.00gp Feets Hands Head Neck Ring 1 Ring 2 Tattoo Waist Others Standard Adventurer s Kit 15.00gp ― Backpack ― Bedroll ― Belt Pouch ― Flint and Steel ― Rope ( Hempen ) 50 ft. ― Sunrod × 2 ― Trail Ration × 10 ― Waterskin Coins 0.00gp
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FUEL BRAKE BIAS DIFFERENTIALClutch Plates Preload Drive ramp angle Coast ramp angle CHASSISSpring rate Spring perch offset Camber Anti-roll bars Bump stiffness and Rebound stiffness Bumpstop gap Caster Toe-in Wing setting TIRES CONCLUSION [This guide has been updated to cover the changes for the NTM. The NTM is still very new at this time having only been out for 2-3 weeks, and learning its ins and outs is still an ongoing task. I share a lot of my setup secrets I have discovered so far about the NTM which are scattered throughout the guide in the relevant sections.] The NTM has transformed the Corvette substantially both in terms of driving technique and setup. The setup parameters still have the same effects they had before, but the sweet spots have definitely changed, and there are new nuances to understand. Heat is a very central element now. The Corvette can overheat its tires very easily... particularly if the tires are sliding around to any degree. So the new goal is smooth and quiet. It no longer pays to design sets around sliding the car effectively. In general, much less oversteer is called for than before. Now the main task is to plant both ends of the car as firmly as possible so that it doesn t eek out any noises while going fast as hell. There are a myriad of settings that can be changed. And they can all seem rather bewildering at first. Which setting gives me more oversteer, please? Well, there s not quite an easy answer to that. Many of the settings affect the car s balance. But the trick is that they each affect the balance under different circumstances. So in order to adjust the car properly, you need to feel out exactly where and when you want more or less oversteer, and know what settings affect that specifically. FUEL Fuel is always the first setting to work with. The fuel tank in the Corvette is located toward the rear of the car. So the amount of fuel being carried changes the balance of the car. Determine the amount of fuel you ll need, and set that first before you change anything else. Then take the car for a spin to see what it feels like. The fixed set starts with maximum fuel, and since you re probably going to run less fuel than that, the rear of the car is going to become lighter. This will lift the rear of the car, change the rake, and alter the wheel cambers... all of which would tend to make the car oversteer more. However, the great loss of weight rearward generally causes the car to understeer more overall. BRAKE BIAS Front brake bias Brake bias is the first real setting to work with on the car. It has significant impact on the driving style that will be used, and thusly how the remainder of settings will come into play. Front brake bias is the percentage of brake force that applies to the front wheels when you brake. A value of 63% is approximately neutral. 64% and higher will tend to lock up the fronts first. 62% and lower will tend to lock up the rears first. Beginning drivers tend to favor higher values here because the car is much more stable under braking with more forward bias. As they become more experienced, they ll tend to want to move the bias rearward. Brake bias below 63% tends to be used with gas on brake techniques to allow the driver greater dynamic range in their brake bias from moment to moment. That is, a bit of throttle is applied to cancel some of the rear brake at will. The driver can intentionally lock the rears at any point by simply letting off the on the throttle while braking. Gas on brake techniques require either left foot braking or heel and toe. I don t think low bias values are generally used with straight braking. Low brake bias settings are one of the chief reasons why alien setups are slow and dangerously unstable in the hands of less advanced drivers. Fixed setups tend to have rather high brake bias settings of 64% or more. Dropping it down to 63% or 62% will reduce the braking distances, but also make the car much less stable under braking. Keep in mind that if you re struggling to keep the car under control while braking, the potentially shorter stopping distances aren t worth it. Don t try for a lower brake bias than feels comfortable, or you ll be slower, not faster. DIFFERENTIAL The Corvette as a car is defined by its massive power. The differential has a dramatic effect on what s going on with those meaty rears, and its affect on the balance and overall driving experience of the Corvette is more dramatic than many drivers might expect. The differential tends to lock the rear wheels together the tighter you set it. The main purpose of this is to prevent the car from wasting its power spinning the inside wheel at the exit of a turn while the outside wheel remains unpowered, as would happen with an open differential. The downside of locking the wheels together is that the car won t want to turn properly. Imagine lifting the front of the car off the ground and then trying to rotate the car on its rear wheels while they are locked together. They wouldn t roll. You d have to force them to slide to turn the car. When your differential is tight, your own tires resist against your car turning. This seems like it should promote understeer and stability, but it actually doesn t. The forces that are preventing your car from turning properly are actually subtracting from the available traction in your rear tires. Your rear tires are resisting _each other_! So loosening the differential promotes more understeer because then the rear tires aren t wasting their traction on infighting. This is a good thing to do as much as possible because there are more efficient ways of tuning that oversteer back in with other settings. Loosening the differential improves the overall traction of the car. The down side of loosening the differential is that you can start spinning that inside tire on turn exit. That will lose speed. So the general idea is to have the differential just tight enough to prevent that from happening. The fixed sets all feature tight differentials which exhibit their locking force all the time. There s speed to be gained by loosening them. Clutch Plates You can have between one and three clutch plates. More clutch plates makes the differential much tighter with the same other settings. It multiplies the effects of those settings. So two clutch plates will be twice as tight. And three clutch plates will triple the effects of the other settings. With the OTM, I never saw a need for more than one clutch plate. But the NTM seems to respond well to settings which are roughly twice as tight as before. So two clutch plates seems to be a good standard. Though I still sometimes run singles. Preload The tightness of the differential is variable depending on how much engine power is being applied. This setting determines how tight the differential is when no engine power is applied at all. I generally set this to 0. I prefer not having my rears resist each other from letting the car turn when I m neither accelerating nor decelerating. You may want to run with a preload if you find the balance transition of locking the rears together when you do get on the gas too jarring, but that s the only reason I can think of to do it. Note that reducing the preload on the car versus the fixed sets will add substantially more traction in the rear... and thus quite a lot of global understeer. Soften the front sway bar or tighten the rear to counteract this effect and restore your desired balance. Drive ramp angle The lower you set this value, the more tightly the rears will lock together when you get on the gas. The car will rotate more when you punch it. You generally don t want to set this value so low that the car wants to kick out when you get on the gas. With the OTM, this could be a desirable effect. But not with the NTM. Now what you re looking for is the rear to stay planted under heavy acceleration and not wash out into understeer. Coast ramp angle When you re completely off the gas, the engine drags, effectively applying a braking force to the rear wheels through the drive line. This setting determines how tightly the rears lock together when this happens. It s just like the Drive ramp angle, but the opposite direction. In general, it is no longer so effective to coast through the mid turn with the NTM as it was with the OTM. Instead, neutral throttle generally produces the best cornering speed. Therefore, the coast ramp no longer effects portions of the mid turn that it used to. The car has to coast for this setting to have any effect at all. Now the coast ramp is primarily of value only in the braking zone prior to the turn. Whereas locking the rear wheels together tends to reduce stability in the midturn, it has the opposite effect during straight line braking. It will tend to resist any tendency of the car to want to turn while in the brake zone, promoting stability as the car approaches turn in. The coast ramp is commonly set with lower values (tighter) than the drive ramp. This can seem counter intuitive, but remember that there s much less force being applied through the drive line on the coast side. So the same amount of locking requires a lower angle to achieve. CHASSIS Spring rate I subscribe to the notion that the purpose of springs is to keep the car s chassis from sitting on the ground. They are not a primary method of balancing the car. As such, we will fiddle with them early. The things to consider with spring rates are ride height and compliance with the road. The more bumpy a track is, or the more three dimensional it is with steep bankings, crowns, crests, and other non-flat features, the softer your springs need to be in order to keep the wheels in contact with the road at all times. The softer your springs are, the more ride height you ll need to keep the car from bottoming out. Stiffer springs allow you to lower the car more, but they only work well on tracks which are rather flat. And remember that curbing counts, too. The lower and stiffer you make the car, the more it will freak out over the curbs. Contrary to common belief, stiff springs _do not_ reduce weight transfer. The same amount of weight transfers from the inside to the outside in a turn whether the car leans on soft springs or not. However, reducing the ride height does reduce weight transfer. And stiffer springs allow lower ride height. So this may be the origin of the misconception. But understand that it s not the springs themselves. With the OTM, spring rates near the minimum (1000lb) were generally ideal. The NTM tires seem to have considerably more bounce to them, and so the suspension needs to be relatively stiffer to compensate. Values more toward the middle of the range (1300-1600) seem to work well. Note that if you re making a qualifying set with low fuel, you re removing quite a lot of weight. And consequently the springs will lift the rear of the car up. It can be a good idea to take some spring out of the car to compensate, dropping the car back down a bit. The car is lighter, so less spring force is needed to hold it at the same level. Spring perch offset This is the other end of the spring rate and ride height equation. This is how to directly adjust the ride height of the car. Higher numbers drop the car down. Keep in mind that you re not just lowering the car, you re also compressing the suspension which changes all of the geometry. In particular, your cambers will change when you adjust the ride height. Take note of what your cambers were prior to the change and then set the cambers back to what they were afterward. Now the goal here is not actually to lower the car as much as you possibly can before it bottoms out. There s a diffuser under the car, and it stalls at less than about 2 inches of clearance. The ideal ride height at the front of the car seems to be in the range of 2.2 to 2.5 inches. The rake of the car is important primarily because of its aerodynamic effect. That is, the lower the front of the car is compared to the rear end, the greater the angle on the otherwise fixed wing and other aero elements. That s right. We can t adjust the angle of the wing, so we just tip the whole car instead. Clever, no? Good values for the rake seem to be roughly 0.5-0.8 inches. The rear ride height should be in the range of 2.7-3.0 inches or so. There s a trade off here between getting the rear end of the car as low as possible for reduced weight transfer and raising it up higher for greater rake and thus down force. Or to put it another way, that s a trade off between better low speed turning (where aero is weak anyway) or better high speed turning (where down force is strong). Camber Negative camber tilts the tires inward so that when the car leans into a turn, the outside tire will be flat against the track. The NTM currently has unrealistically weak side walls, and so seems to run best with rather low cambers near -1.0 front and back. The fixed sets use considerably more camber, and this does seem to have a good feel to it, but it has less traction, produces very uneven wear on the tires over time, and seems to make the tires more susceptible to overheating (presumably because the heat isn t spread across the whole surface). In general, the more camber you run, the harder the car will turn (up to a point... which isn t very much right now). But the trade off is you lose straight line braking because the tires are not flat against the track surface when moving in a straight line. In the real world, camber is set by checking the outside, middle, and inside tire temperatures after running a few laps. These values are reported for the NTM, but they re unusable because the inside and outside temperatures are averaged with the sidewall temperatures. There are the tire wear percentages, too. Those do work properly and they do help, but it takes quite a few laps to get enough wear to see if the tires are wearing evenly. So your only real tool for setting camber at the moment is driving the car and feeling for it. You can tell whether a change in camber increased or decreased the car s traction if a change on one end of the car changes the balance of the car in that direction. For instance, if you add negative camber to the front of the car and the car starts oversteering more, then it worked! This is increasing the overall traction of the car, not just shunting the balance around like swaybar adjustments do, so it s definitely worth pursuing. Note that positive camber is never used in road course sets. Anti-roll bars The sway bars are your primary overall balance tuning devices for the car. They pretty much adjust the balance evenly across the board. Soften the front and/or stiffen the rear to produce more oversteer. Stiffen the front and/or softer the rear to produce more understeer. The more stiff the sway bars are overall, the less compliance the wheels will have with bumpy and unflat roads, just like using heavier springs. Bump stiffness and Rebound stiffness These are damper (shock absorber) settings. They affect the balance of the car just like swaybars do except that they only affect the stiffness of the suspension when it s in motion. So that means the stiffness of the suspension is momentarily increased when the car leans into a turn. Or when it levels back out again after a turn. You can tune these settings to make the car more lively so that it has a more oversteery edge when you first start to turn. Or you can set it opposite to ease into a turn more smoothly. One effect to watch out for in particular is when you turn the car, and the front end initially turns in very rapidly as if too spin, and then immediately washes out again and settles into the turn all on its own. This is what happens when your dampers are set for a lot of nervous oversteer while the springs/swaybars are set for much less. The balance difference is too extreme. In general, I like to set the dampers to the same relative stiffness front and back as the springs have. This will help the car maintain steady and predictable balance as it goes over bumps. Otherwise, if you were to make the front dampers relatively stiffer, for instance, then whenever the car passed over a bump during a turn, the balance of the car would momentarily shift toward understeer. That could be desirable in some circumstances, but in my opinion usually not. Bumpstop gap The bumpstops limit the suspension movement in an effort to prevent the car from ever bottoming out. Essentially, they re like very stiff springs which are reached only when the suspension compresses beyond a certain point. They would be important to work with on a real car, but in iRacing, there doesn t seem to be much downside to just letting the Corvette bottom out on the track if it s going to. So I always set these to the maximum gap possible. I also suspect that if they are set to a smaller value where they ll actually get hit before the car bottoms out, it becomes possible to break your suspension by just running over curbs on the track. Caster Caster is a wonderful thing. This is a rearward tilt of the wheel such that when the steering wheel is turned, negative camber is increased. This is great because it allows the wheels to have less camber when travelling in a straight line and more camber when turning. Theoretically, caster can be used in combination with static camber settings to tune the car s behavior in low speed and high speed corners seperately. However, I have found that maximum caster values seem to work best all of the time. Note that lower caster values also reduce steering wheel feel. Toe-in Theoretically, you can use positive toe-in to make the car more stable. And negative (toe-out) to make it less stable. In practice, I haven t found a reason to change these settings on the Corvette. I don t believe in toe settings very much because it s another example of making wheels fight each other. Wing setting Unless you re visiting the salt flats, leave this on the highest downforce setting for the Corvette. Always. TIRES The tires pane shows you the condition of the last set of tires that came off the car. That is... their condition at the moment that you left the track after slowing the car to a halt. Keep in mind what effects that will have. Tires heat up and cool down rather quickly. So if the last turn you did was a hard left sweeper, your right front tire is going to show more temperature. And if you just locked up all four tires while you came to a halt, your readings will pretty much all be garbage. Unfortunately, as I mentioned earlier, the tire temperatures being reported aren t very useable at this time. Only the center temperature is reported correctly, but it s not all that useful by itself other than telling you if you re overworking a tire. Values in the range of 220-240 degrees F are good. 250 and higher is around where the tire will lose traction due to overheating. If you are destroying a particular tire, the most common cause isn t setup. It s driving technique. The usual culprit is turning the steering wheel even further when the car won t turn any harder. Even if the tire doesn t emit smoke (which you currently wouldn t be able to see anyway, you re hurting it unnecessarily when you do this. This will show up as very high overall temperatures for that tire immediately after the turn in question. Setup can be used to try to make life easier on particular tires. You could try lowering that end of the car to reduce weight transfer to the outside tire. You could also concentrate on making that end of the car more planted so that it s sliding less. CONCLUSION Setting up the car is an iterative process. Make changes slowly and try them out for a while before giving them the yay or nay. Often times a good setup change will feel bad at first because you have to change the way you re driving to accomodate it. Save each iteration of your setup so that you can go back to it later if you decide that a whole direction you were going with the setup doesn t work (and that will happen). Also, don t consider a setup change to be an improvement unless you can actually produce a better lap time with it. I find it can be easy to just judge a setup change to feel better . But this can be deceptive because feeling better may just mean easier for you to drive and can easily be slower overall. Let me know if you found this guide helpful. I write up these materials to aid the Corvette community in general and promote participation for this awesome car. The more drivers it helps, the more motivated I am to write more of this stuff.
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原文:Audio Device Document 1.0(PDF) USB Device Class Definition for Audio Devices Release 1.0 March 18, 1998 41 The bNrInPins field contains the number of Input Pins (p) of the Mixer Unit. This evidently equals the number of audio channel clusters that enter the Mixer Unit. The connectivity of the Input Pins is described via the baSourceID() array, containing p elements. The index i into the array is one-based and directly related to the Input Pin numbers. BaSourceID(i) contains the ID of the Unit or Terminal to which Input Pin i is connected. The cluster descriptors, describing the logical channels entering the Mixer Unit are not repeated here. It is up to the Host software to trace the connections ‘upstream’ to locate the cluster descriptors pertaining to the audio channel clusters. As mentioned before, every input channel can virtually be mixed into all of the output channels. If n is thetotal number of logical input channels, contained in all the audio channel clusters that are entering the Mixer Unit ここに式 and m is the number of logical output channels, then there are n x m mixing Controls in the Mixer Unit, some of which may not be programmable. cite(Note) Both n and m must be limited to 254. Because a Mixer Unit can redefine the spatial locations of the logical output channels, contained in its output cluster, there is a need for a Mixer output cluster descriptor. The bNrChannels, wChannelConfig and iChannelNames characterize the cluster that leaves the Mixer Unit over the single Output Pin (‘downstream’ connection). For a detailed description of the cluster descriptor, see Section 3.7.2.3, “Audio Channel Cluster Format.” The Mixer Unit Descriptor reports which Controls are programmable in the bmControls bitmap field. This bitmap must be interpreted as a two-dimensional bit array that has a row for each logical input channel and a column for each logical output channel. If a bit at position [u, v] is set, this means that the Mixer Unit contains a programmable mixing Control that connects input channel u to output channel v. If bit [u, v] is clear, this indicates that the connection between input channel u and output channel v is non-programmable. Its fixed value can be retrieved through the appropriate request. The valid range for u is from one to n. The valid range for v is from one to m. The bmControls field stores the bit array row after row where the MSb of the first byte corresponds to the connection between input channel 1 and output channel 1. If (n x m) is not an integer multiple of 8, the bit array is padded with zeros until an integer number of bytes is occupied. The number of bytes used to store the bit array, N, can be calculated as follows IF ((n x m) MOD 8) 0 THEN N = ((n x m) DIV 8) + 1 ELSE N = ((n x m) DIV 8) An index to a string descriptor is provided to further describe the Mixer Unit. The following table details the structure of the Mixer Unit descriptor. Table 4-5 Mixer Unit Descriptor Offset Field Size Value Description 0 bLength 1 Number Size of this descriptor, in bytes 10+p+N 1 bDescriptorType 1 Constant CS_INTERFACE descriptor type. 2 bDescriptorSubtype 1 Constant MIXER_UNIT descriptor subtype. USB Device Class Definition for Audio Devices Release 1.0 March 18, 1998 42 Offset Field Size Value Description 3 bUnitID 1 Number Constant uniquely identifying the Unit within the audio function. This value is used in all requests to address this Unit. 4 bNrInPins 1 Number Number of Input Pins of this Unit p 5 baSourceID(1) 1 Number ID of the Unit or Terminal to which the first Input Pin of this Mixer Unit is connected. … … … … … 5+(p-1) baSourceID (p) 1 Number ID of the Unit or Terminal to which the last Input Pin of this Mixer Unit is connected. 5+p bNrChannels 1 Number Number of logical output channels in the Mixer’s output audio channel cluster. 6+p wChannelConfig 2 Bitmap Describes the spatial location of the logical channels. 8+p iChannelNames 1 Index Index of a string descriptor, describing the name of the first logical channel. 9+p bmControls N Number Bit map indicating which mixing Controls are programmable. 9+p+N iMixer 1 Index Index of a string descriptor, describing the Mixer Unit. 4.3.2.4 Selector Unit Descriptor The Selector Unit is uniquely identified by the value in the bUnitID field of the Selector Unit descriptor (SUD). No other Unit or Terminal within the same alternate setting of the AudioControl interface may have the same ID. This value must be passed in the UnitID field of each request that is directed to the Selector Unit. The bNrInPins field contains the number of Input Pins (p) of the Selector Unit. The connectivity of the Input Pins is described via the baSourceID() array that contains p elements. The index i into the array is one-based and directly related to the Input Pin numbers. BaSourceID(i) contains the ID of the Unit or Terminal to which Input Pin i is connected. The cluster descriptors, describing the logical channels that enter the Selector Unit are not repeated here. In order for a Selector Unit to be legally connected, all of the audio channel clusters that enter the Selector Unit must have the same number of channels. However, the spatial locations of these channels may vary from cluster to cluster. Therefore, the Host software should trace all Input Pins to find their ‘upstream’ connection to locate the cluster descriptors for all the Input Pins that enter the Selector Unit. This further implies that the cluster descriptor, associated with the Output Pin of the Selector Unit can change dynamically, depending on the currently selected position of the Selector Unit. An index to a string descriptor is provided to further describe the Selector Unit. The following table details the structure of the Selector Unit descriptor. USB Device Class Definition for Audio Devices Release 1.0 March 18, 1998 43 Table 4-6 Selector Unit Descriptor Offset Field Size Value Description 0 bLength 1 Number Size of this descriptor, in bytes 6+p 1 bDescriptorType 1 Constant CS_INTERFACE descriptor type. 2 bDescriptorSubtype 1 Constant SELECTOR_UNIT descriptor subtype. 3 bUnitID 1 Number Constant uniquely identifying the Unit within the audio function. This value is used in all requests to address this Unit. 4 bNrInPins 1 Number Number of Input Pins of this Unit p 5 baSourceID(1) 1 Number ID of the Unit or Terminal to which the first Input Pin of this Selector Unit is connected. … … … … … 5+(p-1) baSourceID (p) 1 Number ID of the Unit or Terminal to which the last Input Pin of this Selector Unit is connected. 5+p iSelector 1 Index Index of a string descriptor, describing the Selector Unit. 4.3.2.5 Feature Unit Descriptor The Feature Unit is uniquely identified by the value in the bUnitID field of the Feature Unit descriptor (FUD). No other Unit or Terminal within the same alternate setting of the AudioControl interface may have the same ID. This value must be passed in the UnitID field of each request that is directed to the Feature Unit. The bSourceID field is used to describe the connectivity for this Feature Unit. It contains the ID of the Unit or Terminal to which this Feature Unit is connected via its Input Pin. The cluster descriptor, describing the logical channels entering the Feature Unit is not repeated here. It is up to the Host software to trace the connection ‘upstream’ to locate the cluster descriptor pertaining to this audio channel cluster. The bmaControls() array is an array of bit-maps, each indicating the availability of certain audio Controls for a specific logical channel or for the master channel 0. For future expandability, the number of bytes occupied by each element (n) of the bmaControls() array is indicated in the bControlSize field. The number of logical channels in the cluster is denoted by ch. An index to a string descriptor is provided to further describe the Feature Unit. The layout of the Feature Unit descriptor is detailed in the following table. Table 4-7 Feature Unit Descriptor Offset Field Size Value Description 0 bLength 1 Number Size of this descriptor, in bytes 7+(ch+1)*n USB Device Class Definition for Audio Devices Release 1.0 March 18, 1998 44 Offset Field Size Value Description 1 bDescriptorType 1 Constant CS_INTERFACE descriptor type. 2 bDescriptorSubtype 1 Constant FEATURE_UNIT descriptor subtype. 3 bUnitID 1 Number Constant uniquely identifying the Unit within the audio function. This value is used in all requests to address this Unit. 4 bSourceID 1 Constant ID of the Unit or Terminal to which this Feature Unit is connected. 5 bControlSize 1 Number Size in bytes of an element of the bmaControls() array n 6 bmaControls(0) n Bitmap A bit set to 1 indicates that the mentioned Control is supported for master channel 0 D0 MuteD1 VolumeD2 BassD3 MidD4 TrebleD5 Graphic EqualizerD6 Automatic GainD7 DelayD8 Bass BoostD9 LoudnessD10..(n*8-1) Reserved 6+n bmaControls(1) n Bitmap A bit set to 1 indicates that the mentioned Control is supported for logical channel 1. … … … … … 6+(ch*n) bmaControls(ch) n Bitmap A bit set to 1 indicates that the mentioned Control is supported for logical channel ch. 6+(ch+1)*n iFeature 1 Index Index of a string descriptor, describing this Feature Unit. 4.3.2.6 Processing Unit Descriptor The Processing Unit is uniquely identified by the value in the bUnitID field of the Processing Unit descriptor (PUD). No other Unit or Terminal within the same alternate setting of the AudioControl interface may have the same ID. This value must be passed in the UnitID field of each request that is directed to the Processing Unit. The wProcessType field contains a value that fully identifies the Processing Unit. For a list of all supported Processing Unit Types, see Section A.7, “Processing Unit Process Types.” The bNrInPins field contains the number of Input Pins (p) of the Processing Unit. The connectivity of the Input Pins is described via the baSourceID() array that contains p elements. The index i into the array is one-based and directly related to the Input Pin numbers. BaSourceID(i) contains the ID of the Unit or USB Device Class Definition for Audio Devices Release 1.0 March 18, 1998 45 Terminal to which Input Pin i is connected. The cluster descriptors, describing the logical channels entering the Processing Unit are not repeated here. It is up to the Host software to trace the connections ‘upstream’ to locate the cluster descriptors pertaining to the audio channel clusters. Because a Processing Unit can freely redefine the spatial locations of the logical output channels, contained in its output cluster, there is a need for an output cluster descriptor. The bNrChannels, wChannelConfig, and iChannelNames fields characterize the cluster that leaves the Processing Unit over the single Output Pin (‘downstream’ connection). For a detailed description of the cluster descriptor, see Section 3.7.2.3, “Audio Channel Cluster Format.” The bmControls field is a bitmap, indicating the availability of certain audio Controls in the Processing Unit. For future expandability, the number of bytes occupied by the bmControls field is indicated in the bControlSize field. In general, all Controls are optional. However, some Processing Types may define certain Controls as mandatory. In such a case, the appropriate bit in the bmControls field must be set to one. The meaning of the bits in the bmControls field is qualified by the wProcessType field. However, bit D0 always represents the Enable Processing Control for all Processing Unit Types. The Enable Processing Control is used to bypass the entire functionality of the Processing Unit. Default behavior is assumed when set to off. In case of a single Input Pin, logical channels entering the Unit are passed unaltered for those channels that are also present in the output cluster. Logical channels not available in the output cluster are absorbed by the Processing Unit. Logical channels present in the output cluster but unavailable in the input cluster are muted. In case of multiple Input Pins, corresponding logical input channels are equally mixed together before being passed to the output. If the Enable Processing Control is present in a Processing Unit, bit D0 must be set to one. Otherwise, it is set to zero, indicating that the Processing Unit cannot be bypassed. An index to a string descriptor is provided to further describe the Processing Unit. The previous fields are common to all Processing Units. However, depending on the value in the wProcessType field, a process-specific part is added to the descriptor. The following paragraphs describe these process-specific parts. The following table outlines the common part of the Processing Unit descriptor. Table 4-8 Common Part of the Processing Unit Descriptor Offset Field Size Value Description 0 bLength 1 Number Size of this descriptor, in bytes 13+p+n+x 1 bDescriptorType 1 Constant CS_INTERFACE descriptor type. 2 bDescriptorSubtype 1 Constant PROCESSING_UNIT descriptor subtype. 3 bUnitID 1 Number Constant uniquely identifying the Unit within the audio function. This value is used in all requests to address this Unit. 4 wProcessType 2 Constant Constant identifying the type of processing this Unit is performing. 6 bNrInPins 1 Number Number of Input Pins of this Unit p 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 ここを編集
https://w.atwiki.jp/openmusic/pages/237.html
|PROFILE| DERIVATION Arguments list start gr¡ [generic-function] *-*-------------------------- *------------------------------ *---------*------------------------*---------*---------*-*---------- ---------------*-----*-------------- *-*---------------- Ce module est la transcription musicale de l operation de derivation, appliquee a un profil melodique. Dans ce cas precis l intervalle tempporel entre les hauteurs est considere egal a un (1). Le resultat de ce module est toujours une liste de listes ou le premier element est le resultat de l operation de derivation represente comme une liste de hauteurs en listents. Et le reste des elements representent le baricentre des structures derivees. Si on procede a une derivation du premier degre cette deuxieme partie de la liste contiendra un element, on procede a une derivation du deuxieme degre cette deuxieme partie de la liste contiendra deux elements, et ainsi de suite. list est soit une liste simple de hauteurs en listents representant un profil, spoit une liste de listes originaire d un module integration . start menu derroulant qui permet de definir le mode de fonctionement de ce module. Si start egal a first l entree list doit tre une liste simple de hauteurs, en listents, representant un profil, le resultat de l operation sera la derivation de ce profil. Si start egal a orig l entree list doit tre une liste de listes, originaire d un module integration . Ce mode sert a la reconstitution d un profil suite a des derivations successives. gr¡ est l ordre de l operation de derivation.
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■News for the ‘1. Cultura é poder’ Category ■Origens e dimensões da palavra Cultura Raymond Williams, autor de Palavras-chave (2007), considera a palavra culture como uma das duas ou três mais complicadas da língua inglesa, devido ao seu complexo percurso etimológico. Em sua acepção mais longínqua, a matriz latina colere trazia o significado de cultivar, habitar, proteger e honrar com veneração. Desse radical, podemos reconhecer pelo menos dois desdobramentos colonus, que traz a idéia de habitação e cultus, que nos remete a “cultivo ou cuidado”, bem como seus significados medievais subsidiários “honra, adoração”, já “convergidos pela radicalização do temor divino e da moral na sociedade – personificação do Senhor no feudo”. Mas também couture, no francês antigo, por exemplo, associados à “lavoura, cuidado com o crescimento natural”. Dos séculos XVI ao XVII, segundo Williams, o termo passou a significar, por analogia, o cuidado com o desenvolvimento humano e o cultivo das mentes, deixando de se tratar apenas da terra e dos animais. Desde já destacando uma distinção arbitrária entre os que têm cultura dos que não têm, o termo assume o caráter de civilidade. Com a expansão da Europa e seu conseqüente processo de dominação política e econômica, o poder de distinção entre o culto e o não-culto foi de grande valia para implementar e manter o colonialismo. A partir dos séculos XVIII e XIX, o conceito passa a ser utilizado para designar o próprio estágio civilizatório da humanidade. Johann Gottfried von Herder escreveu Sobre a filosofia da história para a educação da humanidade (1784-91) “Nada é mais indeterminado que essa palavra e nada mais enganoso que sua aplicação a todas as nações e a todos os períodos”. Argumentava que era necessário grifar culturas, no plural, pois elas são específicas e variáveis em diferentes nações e períodos, tanto quanto em relação a grupo sociais e econômicos dentro de uma nação. Para Williams, podemos reconhecer três categorias amplas e ativas de uso do termo o processo de desenvolvimento intelectual, espiritual e estético; a referência a um povo, um período, um grupo ou da humanidade em geral; as obras e as práticas da atividade intelectual, particularmente a artística, sendo este último o seu sentido mais difundido “cultura é música, literatura, pintura, escultura, teatro e cinema”. Já o pensador Edgar Morin atribui três dimensões interdependentes à palavra cultura a antropológica, ou “tudo aquilo que é construído socialmente e que os indivíduos aprendem”; a social e histórica, que pode ser entendida como o “conjunto de hábitos, costumes, crenças, idéias, valores, mitos que se perpetuam de geração em geração” e a relacionada às humanidades, que “abrange as artes, as letras e a filosofia”. Para Terry Eagleton, no indispensável A idéia de cultura (2002), as palavras civilização e cultura continuam até hoje a intercambiar-se em seu uso e significado, sobretudo por antropólogos “cultura é agora também quase o oposto de civilidade”. Eagleton (2002) considera curioso que o termo hoje se aplique mais à compreensão de formas de vida “selvagens” do que para civilizados. “Mas se ‘cultura’ pode descrever uma ordem social ‘primitiva’, também pode fornecer a alguém um modo de idealizar a sua própria. Tanto para definir algo de domínio próprio de um indivíduo (o conhecimento adquirido) quanto para o exercício de poder em relação a grupos sociais distintos (o culto e o não culto, o civilizado e o não civilizado), o termo é utilizado até hoje como definidor de um campo simbólico determinado, quase sempre para distinguir ou identificar. Ações e políticas culturais, constituídas nos campos público e privado, exercem, inevitavelmente, esse domínio. Como provedor de acesso a conteúdos, processos e dinâmicas, aguça o espírito crítico e permite a apropriação, o empoderamento e o protagonismo do cidadão. Por outro lado, a cultura adquire, cada vez mais, sua corporificação como ente econômico e instrumento de lazer e entretenimento. Manuseadas por sociedades contaminadas por um modo de pensar linear e cartesiano, condicionadas a analisar todos os fenômenos por uma correlação de causa-efeito, deixa de ser essa matéria que significa e transforma as relações, para ser mera atividade econômica, estratégica por sua grande capacidade de gerar recursos, postos de trabalho e economia de escala, por meio de exploração de propriedade intelectual. Uma fórmula que exige difusão em massa para ser economicamente eficaz. E conteúdos de fácil assimilação, para ampliar sua capacidade de inserção mercadológica. Essa fórmula geralmente exclui diálogos mais profundos e complexos, desconectando-se de suas raízes culturais e das dinâmicas locais. Com formatos cada vez mais repetitivos e pasteurizados, são mais afeitas a uma cultura homogênea, linear, uníssona, voltada ao consumo. A falta de dispositivos claros e efetivos para lidar com esse campo simbólico é uma das mais graves doenças das sociedades contemporâneas. ■News for the ‘2. O poder da sociedade’ Category ■Sincretismos Mesmo após o fim da escravidão e o Estado laico-republicano, o negro vivia – e vive de certa forma até hoje – sob a condição tácita de comungar do credo católico. E aprendeu, assim como todo brasileiro mestiço, a acender uma vela para o santo e outra para o orixá. Ou ainda, no sincretismo mais clássico, a acender uma única vela para um santo-orixá, com características próprias de duas matrizes, com lógicas e dinâmicas completamente diversas, quando não antagônicas entre si. Essa capacidade própria do brasileiro, mas também presente em outras sociedades, é um poderoso antídoto contra os efeitos malignos da globalização. A capacidade de absorção e re-processamento de práticas, modos e crenças permite, por um lado, o esvaziamento das barreiras internas contra o avanço da camaleônica cultura do consumo, e, de outro, a possibilidade de avanço e diálogo com as outras formas de interação, convivência e expressão presentes na arena global. O que pode significar a abertura de mercados para as indústrias culturais brasileiras. Celebrar o sincretismo e a mestiçagem como um traço inerente e potencializador da cultura brasileira é questão de preservação e promoção da memória e das tradições. Um exemplo recente disso é o movimento Mangue-beat em Pernambuco. Ferozmente combatido pelos defensores da cultura tradicional e do maracatu, pois buscava elementos de raiz para dialogar com o pop e com a indústria cultural, o movimento só fez valorizar as tradições e as comunidades que praticam o maracatu rural, colocando, por exemplo, a cidade de Nazaré da Mata (PE) no mapa da música contemporânea universal. Tropicália, bossa-nova e muitos outros movimentos culturais brasileiros nascidos na indústria do entretenimento, partem desse jeito brasileiro de ativar e dialogar com o outro, a partir da valorização do seu próprio referencial simbólico. Mas como permitir o desenvolvimento artístico e o acesso a esses mercados a uma camada da população distante do Estado e dos meios de comunicação? ■Do-in antropológico Reconhecer e valorizar as diversas formas de manifestação cultural do Brasil. Essa é a função da proposta apresentada por Gilberto Gil em seu discurso de posse, em 2003, como titular da pasta da Cultura. Por analogia à tradição milenar chinesa, que reconhece e massageia pontos energéticos em benefício do bem estar do corpo e da mente, o ministro cunhou uma tradução que representa a complexidade da função política da cultura. Fortemente inspirado nas proposições de Marilena Chauí e nos recém-publicados documentos da UNESCO, sobretudo sobre diversidade cultural e patrimônio imaterial, o do-in antropológico consiste em universalizar os serviços culturais, com a presença de centros culturais, bibliotecas e telecentros em todo o país, a começar pelas regiões mais pobres e distantes; valorizar e dar autonomia para as diversas formas de manifestação cultural existentes no país, não somente as institucionalizadas e consagradas pela elite e a indústria cultural; buscar novas possibilidades de interlocução e diálogo com outras instâncias da sociedade, por meio de inserção econômica e desenvolvimento local. O do-in antropológico prepara ambientes favoráveis à interação de agentes culturais; o fomento à pesquisa e aos processos criativos; a atuação e a viabilização das expressões culturais, sua difusão, acesso, participação e articulação entre todas as esferas da sociedade. Esse conjunto de fatores busca gerar um círculo virtuoso que garanta o denvolvimento e a participação de toda a população nessa dinâmica. Para realizar essas ações, o ministro modificou a estrutura do seu cabedal administrativo, criando secretarias para desenvolver políticas, programas e articulação, além de valorizar o patrimônio, o audiovisual e a diversidade. O programa Cultura Viva, desenvolvido nesse contexto, visa formar uma rede nacional dessas iniciativas, e é, sem dúvida, a sua melhor tradução programática, embora também esteja presente em editais e prêmios de valorização de mestres de cultura popular e de manifestações culturais de pouca projeção na cultura institucionalizada. Como responsabilidade de cada cidadão em relação à cultura, o do-in antropológico pode ir muito além. A localização desses pontos de convergência, miscigenação e transmutação de realidades é fruto não somente da presença do Estado. Deve ser um desafio compartilhado por toda a sociedade em preservar e promover a Diversidade Cultural. ■Diversidade Cultural A recém-promulgada Convenção sobre a proteção e a promoção da diversidade das expressões culturais no âmbito da UNESCO é a consolidação de uma luta histórica contra a homogeneização cultural promovida por um oligopólio formado por estúdios de Hollywood e seus grupos empresariais, que reúnem conglomerados de mídia e fabricantes de equipamentos eletrônicos. Financiados por outros cartéis, como a indústria financeira, tabagista e alcooleira, essa cultura de consumo favorece setores, sobretudo o mercado do luxo e da celebridade. Encampado por organizações socioculturais, produtores independentes organizados em coalizões e redes por todo mundo, o movimento encontrou abrigo em países como a França, Canadá, Suécia e Brasil, que sentem os efeitos do estrangulamento cada vez mais visível de suas culturas locais, com o domínio dos meios de comunicação e difusão cultural nas mãos desses conglomerados multinacionais. A Convenção consolida outras pautas urgentes das sociedades contemporâneas, como a cultura de paz e o respeito das diferenças culturais, a sobrevivência das culturas autóctones, suas formas de vida, fazeres, economias e línguas, em oposição a um projeto global único, que pretende incluir todos os habitantes economicamente ativos do planeta, com metas de crescimento cada vez mais elevadas. Nesse cenário, torna-se urgente a composição de um cenário positivo e fértil para tratar do assunto, como uma das grandes pautas sociais do novo milênio, oferecendo subsídios concretos para apropriação de um glossário fundamental para a construção e consolidação de democracias multiculturais. Seu valor simbólico no âmbito da UNESCO pode ser medido pela votação para a promulgação da Convenção, em 2005. Com 151 votos a favor e apenas 2 contra (Estados Unidos e Israel), associou-se de maneira definitiva como peça de resistência ao imperialismo norte-americano e sua irresponsabilidade bélica e midiática. O documento passou a ser utilizado pelos diversos organismos e segmentos em busca de maior equidade nas trocas internacionais, assim como nos países-membros, que ratificaram a Convenção em sua legislação interna. O Brasil o fez em dezembro de 2006. Isso significa um compromisso do país com o estabelecimento de políticas concretas de preservação e promoção da diversidade. Traduzido para as políticas internas pelo então Ministro da Cultura, Gilberto Gil, como do-in antropológico, essas políticas visavam massagear as dinâmicas culturais já existentes por todos os pontos de ressonância do país. Para efetivar uma plataforma pública, abrangente e democrática, é preciso praticar o do-in antropológico, auto- massageando o corpo cultural, celebrar a diversidade, promover o sincretismo, estimular a auto-representação, valorizar as identidades, participar da Cidadania Cultural e garantir os direitos culturais a todos os cidadãos. Não podemos, no entanto, enxergar como uma receita fechada, mas considerá-la uma sistematização prática de elementos emergentes da nossa realidade cultural. Como um plano propositivo para visualizarmos novos efeitos de mundo, baseados em resultados consistentes e processos enriquecedores para a sociedade brasileira. ■
https://w.atwiki.jp/usb_audio/pages/44.html
原文:Audio Device Document 1.0(PDF) USB Device Class Definition for Audio Devices Release 1.0 March 18, 1998 76 Offset Field Size Value Description 0 bMute 1 Bool The setting for the addressed Mute Control’s CUR attribute. Muted when TRUE, not muted when FALSE. In the second form, the Channel Number field is set to 0xFF. The parameter block contains a list of settings for the CUR attribute for all available Mute Controls in the Feature Unit. Table 5-17 Second Form of the Mute Control Parameter Block Control Selector MUTE_CONTROL wLength Number of available Controls NrAv Offset Field Size Value Description 0 bMute(1) 1 Bool The setting for the CUR attribute of the first Mute Control. … … … … … NrAv-1 bMute(NrAv) 1 Bool The setting for the CUR attribute of the last Mute Control. 5.2.2.4.3.2 Volume Control The Volume Control is one of the building blocks of a Feature Unit. A Volume Control can support all possible Control attributes (CUR, MIN, MAX, and RES). The settings for the CUR, MIN, and MAX attributes can range from +127.9961 dB (0x7FFF) down to -127.9961 dB (0x8001) in steps of 1/256 dB or 0.00390625 dB (0x0001). The range for the CUR attribute is extended by code 0x8000, representing silence, i.e., -¥ dB. The settings for the RES attribute can only take positive values and range from 1/256 dB (0x0001) to +127.9961 dB (0x7FFF). The Volume Control honors the request to the best of its abilities. It may round the wVolume attribute value to its closest available setting. It will report this rounded setting when queried during a Get Control request. In the first form of the request, a particular Volume Control within a Feature Unit is addressed through the Unit ID and Channel Number fields of the Set/Get Feature Unit Control request. The valid range for the Channel Number field is from zero (the ‘master’ channel) up to the number of logical channels in the audio channel cluster. Table 5-18 First Form of the Volume Control Parameter Block Control Selector VOLUME_CONTROL wLength 2 USB Device Class Definition for Audio Devices Release 1.0 March 18, 1998 77 Offset Field Size Value Description 0 wVolume 2 Number The setting for the attribute of the addressed Volume Control 0x7FFF 127.9961 dB … 0x0100 1.0000 dB … 0x0002 0.0078 dB 0x0001 0.0039 dB 0x0000 0.0000 dB 0xFFFF -0.0039 dB 0xFFFE -0.0078 dB … 0xFE00 -1.0000 dB … 0x8002 -127.9922 dB 0x8001 -127.9961 dB 0x8000 -¥ dB (CUR attribute only) In the second form, the Channel Number field is set to 0xFF. The parameter block contains a list of settings for an attribute of all available Volume Controls in the Feature Unit. Table 5-19 Second Form of the Volume Control Parameter Block Control Selector VOLUME_CONTROL wLength (Number of available Controls NrAv)*2 Offset Field Size Value Description 0 wVolume(1) 1 Number The setting for the attribute of the first Volume Control. … … … … … (NrAv-1)*2 wVolume(NrAv) 1 Number The setting for the attribute for the last Volume Control. 5.2.2.4.3.3 Bass Control The Bass Control is one of the building blocks of a Feature Unit. The Bass Control influences the general Bass behavior of the Feature Unit. A Bass Control can support all possible Control attributes (CUR, MIN, MAX, and RES). The settings for the CUR, MIN, and MAX attributes can range from +31.75 dB (0x7F) down to –32.00 dB (0x80) in steps of 0.25 dB (0x01). The settings for the RES attribute can only take positive values and range from 0.25 dB (0x01) to +31.75 dB (0x7F). The Bass Control honors the request to the best of its abilities. It may round the bBass attribute value to its closest available setting. It will report this setting when queried during a Get Control request. Other parameters that also influence the behavior of the Bass Control, such as cut-off frequency, cannot be altered through this request. In the first form of the request, a particular Bass Control within a Feature Unit is addressed through the Unit ID and Channel Number fields of the Set/Get Feature Unit Control request. The valid range for the Channel Number field is from zero (the ‘master’ channel) up to the number of logical channels in the audio channel cluster. USB Device Class Definition for Audio Devices Release 1.0 March 18, 1998 78 Table 5-20 First Form of the Bass Control Parameter Block Control Selector BASS_CONTROL wLength 1 Offset Field Size Value Description 0 bBass 1 Number The setting for the attribute of the addressed Bass Control 0x7F +31.75 dB 0x7E +31.50 dB … 0x00 0.00 dB … 0x82 -31.50 dB 0x81 -31.75 dB 0x80 -32.00 dB In the second form, the Channel Number field is set to 0xFF. The parameter block contains a list of settings for all available Bass Controls in the Feature Unit. Table 5-21 Second Form of the Bass Control Parameter Block Control Selector BASS_CONTROL wLength Number of available Controls NrAv Offset Field Size Value Description 0 bBass(1) 1 Number The setting for the attribute of the first Bass Control. … … … … … NrAv-1 bBass(NrAv) 1 Number The setting for the attribute of the last Bass Control. 5.2.2.4.3.4 Mid Control The Mid Control is one of the building blocks of a Feature Unit. The Mid Control influences the general Mid behavior of the Feature Unit. A Mid Control can support all possible Control attributes (CUR, MIN, MAX, and RES). The settings for the CUR, MIN, and MAX attributes can range from +31.75 dB (0x7F) down to –32.00 dB (0x80) in steps of 0.25 dB (0x01). The settings for the RES attribute can only take positive values and range from 0.25 dB (0x01) to +31.75 dB (0x7F). The Mid Control honors the request to the best of its abilities. It may round the bMid attribute value to its closest available setting. It will report this setting when queried during a Get Audio Control request. Other parameters that also influence the behavior of the Mid Control, such as cut-off frequency, cannot be altered through this request. In the first form of the request, a particular Mid Control within a Feature Unit is addressed through the Unit ID and Channel Number fields of the Set/Get Feature Unit Control request. The valid range for the Channel Number field is from zero (the ‘master’ channel) up to the number of logical channels in the audio channel cluster. USB Device Class Definition for Audio Devices Release 1.0 March 18, 1998 79 Table 5-22 First Form of the Mid Control Parameter Block Control Selector MID_CONTROL wLength 1 Offset Field Size Value Description 0 bMid 1 Number The setting for the attribute of the addressed Mid Control 0x7F +31.75 dB 0x7E +31.50 dB … 0x00 0.00 dB … 0x82 -31.50 dB 0x81 -31.75 dB 0x80 -32.00 dB In the second form, the Channel Number field is set to 0xFF. The parameter block contains a list of settings for all available Mid Controls in the Feature Unit. Table 5-23 Second Form of the Mid Control Parameter Block Control Selector MID_CONTROL wLength Number of available Controls NrAv Offset Field Size Value Description 0 bMid(1) 1 Number The setting for the attribute of the first Mid Control. … … … … … NrAv-1 bMid(NrAv) 1 Number The setting for the attribute of the last Mid Control. 5.2.2.4.3.5 Treble Control The Treble Control is one of the building blocks of a Feature Unit. The Treble Control influences the general Treble behavior of the Feature Unit. A Treble Control can support all possible Control attributes (CUR, MIN, MAX, and RES). The settings for the CUR, MIN, and MAX attributes can range from 31.75 dB (0x7F) down to –32.00 dB (0x80) in steps of 0.25 dB (0x01). The settings for the RES attribute can only take positive values and range from 0.25 dB (0x01) to +31.75 dB (0x7F). The Treble Control honors the request to the best of its abilities. It may round the bTreble attribute value to its closest available setting. It will report this setting when queried during a Get Control request. Other parameters that also influence the behavior of the Treble Control, such as cut-off frequency, cannot be altered through this request. In the first form of the request, a particular Treble Control within a Feature Unit is addressed through the Unit ID and Channel Number fields of the Set/Get Feature Unit Control request. The valid range for the Channel Number field is from zero (the ‘master’ channel) up to the number of logical channels in the audio channel cluster. USB Device Class Definition for Audio Devices Release 1.0 March 18, 1998 80 Table 5-24 First Form of the Treble Control Parameter Block Control Selector TREBLE_CONTROL wLength 1 Offset Field Size Value Description 0 bTreble 1 Number The setting for the attribute of the addressed Treble Control 0x7F +31.75 dB 0x7E +31.50 dB … 0x00 0.00 dB … 0x82 -31.50 dB 0x81 -31.75 dB 0x80 -32.00 dB In the second form, the Channel Number field is set to 0xFF. The parameter block contains a list of settings for all available Treble Controls in the Feature Unit. Table 5-25 Second Form of the Treble Control Parameter Block Control Selector TREBLE_CONTROL wLength Number of available Controls NrAv Offset Field Size Value Description 0 bTreble(1) 1 Number The setting for the attribute of the first Treble Control. … … … … … NrAv-1 bTreble(NrAv) 1 Number The setting for the attribute of the last Treble Control. 5.2.2.4.3.6 Graphic Equalizer Control The Graphic Equalizer Control is one of the optional building blocks of a Feature Unit. The Audio Device Class definition provides for standard support of a third octave graphic equalizer. The bands are defined according to the ANSI S1.11-1986 standard. Bands are numbered from 14 (center frequency of 25 Hz) up to 43 (center frequency of 20,000 Hz), making a total of 30 possible bands. The following table lists the band numbers and their center frequencies Table 5-26 Band Numbers and Center Frequencies (ANSI S1.11-1986 Standard) Band Nr. Center Freq. Band Nr. Center Freq. Band Nr. Center Freq. 14 25Hz 24* 250Hz 34 2500Hz 15* 31.5Hz 25 315Hz 35 3150Hz 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 ここを編集
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STRINGTABLE LANGUAGE LANG_ENGLISH, 0x0 { 2016, "The land of dense forests and dangerous crags is dominated by the mountains of Snowdonia. The hill forts are reminders of a time when dragons roamed this area. This was always the terrritory of the mightiest tribes of Wales." 2017, "The hills and dark forests of Powys give shelter to many tribesmen who still follow the old ways, and not even Uther Pendragon could make them bend their knees." 2018, "The province where the sea meets the land and forms a huge marshland. On moonless nights eerie lights and voices remind the wanderers of the times before chivalry and honor. The rivalry among the nobles is continuous, but some say they just do it against the boredom." 2019, "Most of the hills are steep here and not fit for tending crops. The locals are herders mostly and they know that they have to avoid certain parts of the forest, where the crystal towers of the Sidhe appear and disappear like a dream.." 2020, " " 2021, "The treacherous land of thorns and shrubs, where mud slopes and shallow ponds hinder the movement. The inhabitants gather in the small towns around the old roads. Many knights come here to find adventures in the abandoned keeps, but they have to realize that for those not familiar with the ways of the wilderness it is a nightmare." 2022, "It used to be one of the most powerful provinces in Britannia, the region almost in the exact centre of Britannia where all the travel routes converged. Now it?s a sad place, where the refugees from the troubles in the North found temporary shelters." 2023, "The great part of this former Roman province is taken up by famous, windswept moorland where old stone mounds and rings stand. The towns on the plain wait for a new golden age, when the province claims back its former power." 2024, "The land where only the most adventurous knights dare to enter. The king?s cursed blood turned him into a monster and now the hills are tainted with red as well. The kingdom is infamous for its dangerous castles and the wonders there ? guarded by the best knights in the realm." 2025, "Unlike most part of Cumbria, the dangerous wilderness here harbors peaceful villages and wealthy castles, a whole prospering kingdom, where the locals learned that they have to be suspicious all the time, but certain pacts with the inhabitants of the forests have their advantages." 2026, "The ice-carved valleys are filled with deep, cold lakes, bounded by a range of almost impassable mountains. A wild land of outstanding natural beauty in the daylight ? a realm of frightful shadows at night." 2027, "Among the ash trees ancient stone barrows and towers stand. For a long time only the druids knew that these ruins belong to the Sidhe and the returning armies of the Fair Folk soon will try to claim back their enchanted keeps." 2028, "The land of deep forests, dark valleys and dangerous mountains gave birth to a very different chivalric tradition, where the knights face monsters regularly and learned to trust the old ways and even the Sidhe sometimes." 2029, "This strange land is now shrouded by the veil of mystery and terror. It used to be a beautiful kingdom, but the kings was seriously wounded in the strange catastophe and now his realm suffers just as he does his constant pain has already reduced the land to a terrible wasteland." 2030, "This powerful kingdom of the North saw many battles. In the cold mud of the rivers, skeletons and rusted weapons lie scattered, from the times of the legendary kings who fought and died here before written history." 2031, "This huge plain is mostly covered by a dark forest. The first kings of the clansmen built castles and towns here, introduced the idea of knighthood and preached Christianity, but now they have to fight against their northern brethrens who still follow the Old Faith." } STRINGTABLE LANGUAGE LANG_ENGLISH, 0x0 { 2016, "[T127]密林と危険な険しい岩山の土地は,Snowdoniaの山によってそびえられます。丘砦は,ドラゴンがこの地域を放浪した時を思い出させるものです。これは,常にウェールズで最も強力な種族のterrritoryでした。" 2017, "[T127]ポーイスの丘と暗い森はまだ古い方法に従う多くの部族民に保護を与えます,そして,ウーゼルペンドラゴンさえ彼らを彼らのひざを曲げさせることができませんでした。" 2018, "[T127]海が土地に会って,巨大な湿地を作る行政区。月のない夜に,不気味な明りと声は,騎士道的態度と名誉の前に放浪者に時代を思い出させます。貴族の間の競争は連続的です,しかし,何人かは彼らがちょうど退屈に対してそれをすると言います。" 2019, "[T127]大部分の丘はここで急で,収穫の世話をすることに適しません。地方住民は主に,連結係です,そして,彼らは彼らが森の特定の地域を避けなければならないということを知っています,そこで,Sidheの水晶の塔は現れて,夢のように消えます.." 2020, "[T127]" 2021, "[T127]泥斜面と浅い池が運動をじゃまするとげと潅木の危ない土地。住民は,古い道のまわりで小さな町に集まります。多くの騎士は冒険を捨てられたもので発見するためにここに来ますおきます,しかし,彼らは荒野の方法をよく知っていない人々のために,それが悪夢であると理解しなければなりません。" 2022, "[T127]それは,ブリタニア(ほとんどすべての旅行ルートが収束したブリタニアの正確な中心の地域)で最も強力な地方のうちの1つであったものです。現在それ?北部のトラブルからの難民が一時的な避難所を見つけた所で,嘆かわしい場所でs。" 2023, "[T127]この旧ローマの行政区の大きな一部は,古い石のマウンドとリングが立っている,有名な,吹きさらしの荒野によって始められます。平野の町は新しい黄金時代を期待します。そのとき,行政区はその前の力の返還を求めます。" 2024, "[T127]最も冒険好きな騎士だけが入ることをあえてする土地。王?s憎むべき血は彼を怪物に変えました,そして,現在,丘は同様に赤で腐ります。王国は,その危険な城とそこの驚きで悪名高いです?領域で最高の騎士によって守られます。" 2025, "[T127]カンブリアの大部分の一部と違って,ここの危険な荒野は静かな村と裕福な城(全成功している王国)を隠します,そこで,地方住民は彼らが常に疑わしくなければならないということを知りました,しかし,森の住民との特定の協定には彼らの利点があります。" 2026, "[T127]氷を刻まれた谷は深い,冷たい湖で満たされます。そして,ほとんど通れない山の範囲に囲まれています。日光の顕著な自然の美しさの野生の土地?夜に驚くべき影の領域。" 2027, "[T127]トネリコの木の間で,古代の石の手押し車と塔は,立っています。長い間,ドルイド僧だけはこれらの残骸がSidheとFolkがすぐに返還を求めようとするFairの帰りの軍に属するということを知っていました彼ら魅了しますおきます。" 2028, "[T127]深い森,暗い谷と危険な山の土地は非常に異なる騎士道の伝統に出産しました,そこで,騎士は定期的に怪物と向き合って,時々古い道とSidheさえ信頼することを学びました。" 2029, "[T127]この見知らぬ土地は,現在神秘と恐怖のベールによって覆われます。王国が王以外の変なcatastopheに重傷を負ったことは美であったものです,そして,現在,彼がそうするちょうどその時,彼の領域は被害を被ります:彼の恒常的な痛みは,土地をものすごい荒地にすでに引き下げました。" 2030, "[T127]北部のこの強大な王国は,多くの戦いを見ました。川の冷えた泥において,戦って,書面にした歴史の前にここで死んだ伝説的な王の時代から,骨格とさびられた武器は散らばっているままです。" 2031, "[T127]この巨大な平野は,大部分は暗い森によっておおわれます。同族の初の帝王は城と町をここで造って,ナイトの爵位についての考えを持ち出して,キリスト教を説きました,しかし,現在,彼らはまだOld Faithに続く彼らの北のbrethrensと戦わなければなりません。" }
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Weapon Offmap Artillery Defensive Offmap Artillery Defensive Damage 60-40 Fire Aim Time 0-0 Range Max 0 Min 0 L 0 Aim Multiplier L 1 AOE Distance L 6 M 0 M 1 M 5 S 0 S 1 S 2 Accuracy L 1 Ready Aim Time 0-0 AOE Accuracy L 1 M 1 Post Firing Aim Time 0 M 1 S 1 Post Firing Cooldown 0 S 1 Reload 10-10 AOE Damage L 0.25 1 Reload Multiplier L 1 Penetration L 1 M 0.5 1 M 1 M 1 S 1 1 S 1 S 1 AOE penetration L 1 Cooldown 0-0 Deflection Multiplier 1 M 1 Cooldown Multiplier L 0 Suppression L 0.1 S 1 M 0 M 0.1 AOE Suppression L 0.15 0 S 0 S 0.1 M 0.2 0 Wind Up 0 Nearby Supp. Multiplier 1 S 0.4 0 Wind Down 0 Nearby Supp. Radius 0 Setup Time 0 Vs. Supp. Targets A 1 Fire Cone Angle 5 Burst Duration 0-0 P 1 Tracking Vertical 90--90 Rate of Fire 0-0 D 1 Tracking Horizontal -180-90 Reload Frequency 25-5 S 1 Speed Vertical 90 Moving Accuracy 1 Speed Horizontal 90 Moving Burst 1 Scatter Angle 10 Moving Cooldown 1 Scatter Max 30 AA Weapon false Acc. Incremental 1 Scatter Offset 0.3 Attack Ground true Search Radius L 0 Scatter Ratio 0.5 Projectile offmap_axis_mortar_projectile M 0 FoW Angle Mult. 5 S 0 FoW Distance Mult. 2 Cover Type Accuracy Damage Suppression Penetration Default 1 1 1 1 Garrison 0.1 0.5 0 1 Halftrack 0.5 0.75 1 1 Heavy 1 1 0.5 1 Light 1 1 1 1 Negative 1 1 1.25 1 Open 1.25 1 1 1 Smoke 1 1 1 1 Trench 0.1 0.01 0 1 Water 1 1 1 1 Bunker 0 0 0 0 Emplacement 0.5 1 0.75 1 Target Name Acc Mov Dmg Pen R-Pen Sup Pri Infantry 1 1 1 1 1 1 80 Infantry Airborne 0.75 1 1 1 1 1 80 Airborne Inflight 1 1 1 1 1 1 50 Infantry Heroic 1 1 0.75 1 1 0.5 80 Infantry Elite 1 1 1 1 1 1 80 Infantry Sniper 1 1 1 1 1 1 80 Infantry Soldier 1 1 0.7 1 1 1 80 Bren Carrier 1 1 1 1 1 1 50 Motorcycle 1 1 2 1 1 1 80 Jeep 1 1 2 1 1 1 60 M3 Halftrack 1 1 2 1 1 1 60 Greyhound 1 1 2 1 1 1 55 Stuart 1 1 1 1 1 1 50 Sdkfz 234 Puma 1 1 2 1 1 1 55 Sdkfz 251 Halftrack 1 1 2 1 1 1 60 Sdkfz 22x 1 1 1 1 1 1 50 M10 TD 1 1 2 1 1 1 50 Sherman 1 1 2 1 1 1 50 Flak Panzer 1 1 2 1 1 1 50 Panther 1 1 2 1 1 1 50 Panther w/Skirts 1 1 2 1 1 1 50 Panzer IV 1 1 2 1 1 1 50 Panzer IV w/Skirts 1 1 2 1 1 1 50 StuG 1 1 2 1 1 1 50 StuG w/Skirts 1 1 2 1 1 1 50 Tiger 1 1 2 1 1 1 50 Churchill 1 1 1 1 1 1 50 Cromwell 1 1 1 1 1 1 50 Priest 1 1 1 1 1 1 50 Pershing 1 1 2 1 1 1 50 Marder III 1 1 1 1 1 1 25 Hetzer 1 1 1 1 1 1 25 Hummel 1 1 1 1 1 1 50 Jagdpanther 1 1 1 1 1 1 50 Team Weapon 1 1 1 1 1 1 25 Howitzer 1.5 1 2 1.5 1 1 25 Towed Gun 1.5 1 2 1.5 1 1 25 Flak 88 1.5 1 0.25 1.5 1 1 25 P47 Thunderbolt 1 1 1 1 1 1 25 Building Construction 1 1 2.5 1 1 1 25 Building 0 0 1 0 0 0 20 Checkpoint 0 1 0 0 1 1 40 Bunker 0 0 0 0 0 0 40 CW Emplacement 1 1 0.1 1 1 1 25 CW Emplaced HQ 1 1 0.25 1 1 1 25 CW Mobile HQ 1 1 0.75 1 1 1 25 Defenses 0 0 0 0 0 0 25 Defenses Construction 5 1 5 1 1 1 25 Trench 0.5 1 0.25 2 1 1 25 Mine 0 0 0 0 0 0 25 Mine Airdrop 1 1 1.5 2 1 1 40 Detector Radio 1 1 1 1 1 1 10 Bridge 0 0 0 0 1 1 25