約 5,373,730 件
https://w.atwiki.jp/battler/pages/5813.html
jixのキャラ。 概要 AKB48や秋葉原ではない。 都市部に時おり存在するアンケートに誘うおばさん=AKB(アンケートババァ)のことである。
https://w.atwiki.jp/akb48otoge/pages/355.html
花咲く!満開イベント! 特別チケット交換所 レアリティ:★4⇒★5 属性:青 アクセサリ:リボン メンバー名 パフォーマンス(初期) パフォーマンス(最大) メンタル(初期) メンタル(最大) スキル 渡辺 麻友 12339 25168 100 400 回復の心 渡辺 麻友 26261 55966 100 500 復活の心 松井 珠理奈 12423 24514 100 410 熱気の交響 松井 珠理奈 26301 55345 100 520 熱烈の交響 高橋 みなみ 12451 24355 100 440 熱気の歌声 高橋 みなみ 25946 56110 100 520 熱烈の歌声 島崎 遥香 12232 24655 100 440 熱意の鼓動 島崎 遥香 25588 54557 100 500 熱気の鼓動 横山 由依 12614 25191 100 410 熱意の旋律 横山 由依 25333 55044 100 510 熱気の旋律 柏木 由紀 12255 24515 100 430 熱意の刻 柏木 由紀 25975 56250 100 520 熱気の刻 小嶋 陽菜 12180 24512 100 440 不屈の魂 小嶋 陽菜 25760 56017 100 520 無敵の魂 川栄 李奈 12313 24798 100 430 冷静の魂 川栄 李奈 25522 55422 100 520 安静の魂 高城 亜樹 12435 24914 100 440 堅忍の魂 高城 亜樹 25964 55391 100 500 不屈の魂 北原 里英 12231 24449 100 400 忍耐の夢 北原 里英 26117 54510 100 500 堅忍の夢 入山 杏奈 12192 24943 100 420 復活の命 入山 杏奈 25377 55219 100 510 治癒の命 永尾 まりや 12311 24580 100 440 熱気の音 永尾 まりや 25711 55592 100 500 熱烈の音 倉持 明日香 12369 24462 100 430 平静の志 倉持 明日香 26123 54706 100 520 冷静の志 兒玉 遥 12464 24640 100 420 平静の魂 兒玉 遥 25606 54267 100 520 冷静の魂 田野 優花 12442 25068 100 420 堅忍の心 田野 優花 26265 55073 100 510 不屈の心 矢倉 楓子 12260 25298 100 400 復活の魂 矢倉 楓子 25590 54817 100 520 治癒の魂 武藤 十夢 12191 25280 100 430 復活の心 武藤 十夢 26201 55026 100 500 治癒の心 石田 晴香 12163 24691 100 400 冷静の心 石田 晴香 25772 54297 100 520 安静の心 前田 亜美 12190 24551 100 440 平静の心 前田 亜美 25792 55796 100 500 冷静の心 岩佐 美咲 12583 24875 100 440 回復の志 岩佐 美咲 25940 54079 100 510 復活の志 松井 咲子 12203 24915 100 410 堅忍の夢 松井 咲子 26056 54161 100 500 不屈の夢 伊豆田 莉奈 12355 25063 100 410 回復の命 伊豆田 莉奈 25720 56067 100 500 復活の命 岩田 華怜 12340 25255 100 420 安らぎの魂 岩田 華怜 25879 54348 100 510 平静の魂 大島 涼花 12328 25212 100 400 熱気の瞬間 大島 涼花 25955 55782 100 520 熱烈の瞬間 小林 茉里奈 12278 25288 100 440 熱意の瞬き 小林 茉里奈 26192 55522 100 500 熱気の瞬き 佐々木 優佳里 12424 24935 100 420 忍耐の魂 佐々木 優佳里 25901 54393 100 520 堅忍の魂 鈴木 まりや 12524 25280 100 410 熱気の瞬間 鈴木 まりや 26018 54953 100 520 熱烈の瞬間 高橋 朱里 12633 24807 100 430 不屈の夢 高橋 朱里 26063 56171 100 520 無敵の夢 森川 彩香 12631 24716 100 430 平静の命 森川 彩香 25712 54048 100 510 冷静の命 大森 美優 12600 24916 100 430 熱意の歌声 大森 美優 25379 55297 100 510 熱気の歌声 大家 志津香 12235 24999 100 430 不屈の命 大家 志津香 26089 56247 100 500 無敵の命 加藤 玲奈 12435 25235 100 430 不屈の心 加藤 玲奈 26212 54600 100 500 無敵の心 小嶋 菜月 12527 25226 100 440 冷静の夢 小嶋 菜月 25472 55411 100 520 安静の夢 竹内 美宥 12472 25060 100 430 忍耐の魂 竹内 美宥 25714 55235 100 510 堅忍の魂 田名部 生来 12155 24303 100 430 安らぎの夢 田名部 生来 25435 55023 100 520 平静の夢 中村 麻里子 12184 25189 100 440 忍耐の命 中村 麻里子 26215 55846 100 500 堅忍の命 名取 稚菜 12202 25080 100 430 熱気の刹那 名取 稚菜 26101 55122 100 510 熱烈の刹那 阿部 マリア 12517 24389 100 410 堅忍の心 阿部 マリア 26127 54549 100 510 不屈の心 内田 眞由美 12345 24962 100 440 熱気の歌声 内田 眞由美 25468 54570 100 520 熱烈の歌声 小林 香菜 12529 24369 100 400 熱気の鼓動 小林 香菜 25825 54522 100 510 熱烈の鼓動 島田 晴香 12253 25190 100 420 忍耐の心 島田 晴香 26053 55895 100 510 堅忍の心 鈴木 紫帆里 12355 24308 100 440 熱気の鼓動 鈴木 紫帆里 25393 55800 100 510 熱烈の鼓動 中田 ちさと 12172 24471 100 430 堅忍の夢 中田 ちさと 25550 54931 100 520 不屈の夢 平田 梨奈 12656 25000 100 410 熱意の音 平田 梨奈 26158 54864 100 500 熱気の音 藤田 奈那 12375 24646 100 420 堅忍の魂 藤田 奈那 25712 55871 100 500 不屈の魂 古畑 奈和 12197 24733 100 430 復活の志 古畑 奈和 26060 54193 100 500 治癒の志 宮崎 美穂 12314 25021 100 430 不屈の志 宮崎 美穂 25560 54702 100 520 無敵の志 相笠 萌 12381 25137 100 410 熱気の一時 相笠 萌 25333 54892 100 500 熱烈の一時 篠崎 彩奈 12649 25196 100 420 復活の夢 篠崎 彩奈 25463 55556 100 510 治癒の夢 茂木 忍 12464 24853 100 400 熱意の一時 茂木 忍 25603 54708 100 520 熱気の一時 岡田 奈々 12586 25271 100 430 堅忍の命 岡田 奈々 25613 55811 100 520 不屈の命 小嶋 真子 12391 24778 100 400 熱意の瞬間 小嶋 真子 25511 54471 100 510 熱気の瞬間 西野 未姫 12564 24951 100 400 熱気の旋律 西野 未姫 25461 54882 100 510 熱烈の旋律 峯岸 みなみ 12531 25044 100 410 熱気の刻 峯岸 みなみ 25390 55788 100 520 熱烈の刻 岩立 沙穂 12407 24869 100 420 熱意の旋律 岩立 沙穂 25822 56190 100 500 熱気の旋律 村山 彩希 12349 24920 100 440 熱意の交響 村山 彩希 25602 55326 100 510 熱気の交響 梅田 綾乃 12554 24314 100 440 熱気の旋律 梅田 綾乃 25394 55452 100 500 熱烈の旋律 岡田 彩花 12169 25213 100 410 堅忍の命 岡田 彩花 25405 55272 100 510 不屈の命 北澤 早紀 12638 25219 100 410 忍耐の志 北澤 早紀 25914 55163 100 510 堅忍の志 内山 奈月 12368 25005 100 430 熱気の音 内山 奈月 25930 55369 100 500 熱烈の音 橋本 耀 12194 25183 100 430 熱気の刹那 橋本 耀 25639 56190 100 500 熱烈の刹那 前田 美月 12632 24728 100 400 忍耐の心 前田 美月 25807 54780 100 520 堅忍の心 市川 愛美 12454 25294 100 430 熱意の瞬間 市川 愛美 25791 56062 100 500 熱気の瞬間 大和田 南那 12477 24427 100 430 忍耐の夢 大和田 南那 25960 56108 100 510 堅忍の夢 込山 榛香 12193 24404 100 430 回復の夢 込山 榛香 25430 55371 100 500 復活の夢 佐藤 妃星 12492 24536 100 440 堅忍の志 佐藤 妃星 25350 54797 100 520 不屈の志 土保 瑞希 12360 24445 100 440 不屈の魂 土保 瑞希 25492 54256 100 510 無敵の魂 福岡 聖菜 12465 24559 100 420 平静の魂 福岡 聖菜 25397 54618 100 510 冷静の魂 向井地 美音 12353 25151 100 430 冷静の命 向井地 美音 26309 55269 100 500 安静の命 湯本 亜美 12562 25241 100 420 熱気の音 湯本 亜美 25469 54435 100 520 熱烈の音 野澤 玲奈 12490 24403 100 410 不屈の命 野澤 玲奈 25406 54753 100 510 無敵の命 大川 莉央 12623 25238 100 440 熱気の鼓動 大川 莉央 26261 54571 100 520 熱烈の鼓動 達家 真姫宝 12479 25270 100 400 熱意の交響 達家 真姫宝 26031 54054 100 510 熱気の交響 西山 怜那 12306 24707 100 430 回復の命 西山 怜那 26016 54122 100 500 復活の命 田北 香世子 12300 24969 100 440 熱気の鼓動 田北 香世子 26208 55091 100 520 熱烈の鼓動 後藤 萌咲 12284 25027 100 410 不屈の心 後藤 萌咲 26004 55011 100 520 無敵の心 下口 ひなな 12585 25266 100 440 復活の命 下口 ひなな 25513 55690 100 510 治癒の命 横島 亜衿 12237 24538 100 400 熱意の旋律 横島 亜衿 25962 54858 100 520 熱気の旋律 川本 紗矢 12437 24460 100 410 堅忍の魂 川本 紗矢 25591 55688 100 520 不屈の魂 木﨑 ゆりあ 12358 25110 100 440 堅忍の心 木﨑 ゆりあ 26253 56205 100 510 不屈の心 山本 彩 12205 25306 100 430 堅忍の心 山本 彩 26239 54397 100 500 不屈の心 小笠原 茉由 12450 25188 100 400 回復の魂 小笠原 茉由 25402 56051 100 520 復活の魂 小谷 里歩 12336 24676 100 410 熱意の鼓動 小谷 里歩 25535 54948 100 500 熱気の鼓動 渋谷 凪咲 12396 24896 100 410 熱気の瞬間 渋谷 凪咲 25724 55430 100 520 熱烈の瞬間 宮脇 咲良 12375 24932 100 410 熱気の歌声 宮脇 咲良 25955 55973 100 520 熱烈の歌声 中西 智代梨 12509 24409 100 420 熱気の刻 中西 智代梨 25937 54656 100 500 熱烈の刻 朝長 美桜 12456 24624 100 440 堅忍の夢 朝長 美桜 26246 55574 100 500 不屈の夢 生駒 里奈 12323 24365 100 430 忍耐の魂 生駒 里奈 25850 54483 100 510 堅忍の魂 飯野 雅 12287 25083 100 400 堅忍の夢 飯野 雅 25691 55273 100 510 不屈の夢 谷口 めぐ 12560 24311 100 440 復活の魂 谷口 めぐ 25848 56226 100 500 治癒の魂
https://w.atwiki.jp/trivia-mike/pages/715.html
あけヴぃ 秋元康率いるヲタクが喜ぶ集団だ。 一般的に知られてるのがAKB48で、つんく♂率いるモーニング娘集団なんかを押しているが巻き返されそうだ。 関連 AKB(単位)
https://w.atwiki.jp/sakura0415/pages/19.html
iBATISのページ SQLMapとDAOを組み合わせたものらしい SQLMapとJDBCの設定はXMLでやっていたぽい O/Rマッピングツール
https://w.atwiki.jp/elvis/pages/1772.html
Raw Ten Speed Pr?Charlie Trotter?Roxanne Klein?Tim TurnerJason Smith? Tru A Cookbook from the Legendary Chicago Restaurant Random House Inc (T)?Rick Tramonto?Gale Gand?Mary Goodbody?Tim Turner Weber's Art of the Grill Deck Recipes for Outdoor Living (Discerning Tastes) Chronicle BooksJamie PurvianceTim Turner Titans Turner Pub?Tim Green? Jacques Pepin's Kitchen Encore With Claudine (Pepin, Jacques) Bay Books?Jacques Pepin?Madeleine Corson?Tim Turner Kinkead's Cookbook Recipes from Washington D.C.'s Premier Seafood Restaurant Ten Speed Pr?Bob Kinkead?Tim Turner Ruffians A Novel Turner Pub?Tim Green? The Story of Santa Claus Turner Pub?Scribbler Elf?Tim Paulson?Clement Clarke MooreElves? The Inn at Little Washington A Pictoral Guide to the Famed Restaurant and It' Cuisine (Great Restaurants of the World) Lebhar-Friedman Books?Jay Levin?Tim Turner Raw Ten Speed Pr?Charlie Trotter?Roxanne Klein?Jason Smith?Tim Turner Charlie Trotter's Recipes Ten Speed Pr?Charlie Trotter?Tim Turner El Pato Paco A First Look at Spanish (Pennant) Bob Jones Univ Pr?Anna Turner?Beth Kitching?Tim Davis? Switchblades Of Italy Turner Pub Co?Tim Zinser?Dan Fuller?Neal Punchard?Ben Saltzman? Omaha Steaks Meat Clarkson Potter?John Harrisson?Frederick J. Simon?Omaha Steaks?Tim Turner Charlie Trotter's Vegetables Ten Speed Pr?Charlie Trotter?Tim Turner FRCS MCQ Practice Exams in Applied Basic Sciences PasTest?Mary L. Forsling?Andrew Dickinson?Tim Briggs?Gareth Turner? The Gourmet Prescription High Flavor Recipes for Lower Carbohydrate Diets Bay Books?Deborah Friedson, M.D. Chud?Jain Lamos?Tim Turner Quick Healthy Cooking for Dummies (For Dummies (Computer/Tech)) John Wiley & Sons Inc?Lynn Fischer?Tim Turner The Inn at Little Washington Cookbook A Consuming Passion Random House Inc (T)?Patrick O Connell?Tim Turner Weber's Art of the Grill Recipes for Outdoor Living Chronicle BooksJamie PurvianceMike Kempster?Tim Turner Weber's Real Grilling Sunset Books (Lane)?Jamie PurvianceTim Turner New World Kitchen Latin American and Caribbean Cuisine Ecco Pr?Norman Van Aken?Janet Van Aken?Tim Turner Beef for All Seasons A Year of Beef Recipes Harpercollins?Frederick J. Simon?John Harrisson?Tim Turner Amuses-Bouche Little Bites That Delight Before the Meal Begins Random House Inc (T)?Rick Tramonto?Mary Goodbody?Tim Turner Shakespeare's Kitchen Renaissance Recipes for the Contemporary Cook Random House Inc (T)?Francine Segan?Patrick O Connell?Tim Turner Always a Good Show! Training Publications Ltd?Alan Penwarden?Tim Turner Patrick O'Connell's Refined American Cuisine The Inn at Little Washington Bulfinch Pr?Patrick O Connell?Tim Turner A Day with a Shopkeeper (Day in the Life) Hodder Wayland?Dorothy Turner?Tim Humphrey? Marauders Turner Pub?Tim Green? Jacques Pepin With Claudine Cooking Series Bay Books?Jacques Pepin?Tim Turner Board Racing Fernhurst Books?Geoff Turner?Tim Davison? A Printmaker's Handbook estamp?Silvie Turner?Tim Mara? Grown-Up People Xlibris Corp?Tim Turner A Day with a Secretary (A Day in the Life) Hodder Wayland?Dorothy Turner?Tim Humphrey? Southern Sandstone Climbers Club?Tim Daniells?Dave Turner?
https://w.atwiki.jp/bemanilyrics/pages/2711.html
TECH-BREAKS/IDC feat.REVERBEE (Mo'Cuts Ver)/DJ Mass MAD Izm* Artist DJ Mass MAD Izm* Lyrics/Vocals REVERBEE(MiYU Fine HiYO Ribery) ABC to XYZ Hey!! Say!! Yeah!! and make some noise Everybody in the house, hands up heads up!! Lazy daisy juice up yeah! Rolling shaking hanging out Stomp! you are making noise Stomp! you are making noise Jump! and you are in the air Jump! you are in the air Dance dance dance dance together (Let's) dance dance dance together (Jump) jump jump jump together (Let's) jump jump jump together Move your body, Move your body Move your body, Move your body Move your body, Move your body IDC Noddin' my head like yeah Movin my hips like yeah Let me see your hands up ahh Put your hands up to the sound Don't matter what you say No matter what they do Are you ready? Bring it back Jump! and you are in the air Jump! and you are in the air Clap! and you are making noise Clap! and you are making noise IDC how fancy IDC how messy IDC si merci IDC 我愛你 Let's jump jump jump together
https://w.atwiki.jp/bzspirit/pages/689.html
AKB48(エーケービー フォーティエイト)は、秋元康のプロデュースによる日本の女性アイドルグループ。東京都千代田区の秋葉原に専用劇場「AKB48劇場」を持ち、名前の由来も秋葉原( AK IHA B ARA)から。総合プロデュースは秋元康。 B z Wiki内に項目のあるメンバー 大家志津香(おおや しづか) 北原里英(きたはら りえ) 倉持明日香(くらもち あすか) 小嶋陽菜(こじま はるな) 高城亜樹(たかじょう あき) 高橋みなみ(たかはし みなみ) 田名部生来(たなべ みく) 松井珠理奈(まつい じゅりな)※SKE48と兼任。 峯岸みなみ(みねぎし みなみ) 山本彩(やまもと さやか)※NMB48と兼任。 渡辺麻友(わたなべ まゆ) B z Wiki内に項目のある元メンバー 指原莉乃(さしはら りの)※現HKT48 篠田麻里子(しのだ まりこ) 前田敦子(まえだ あつこ) B zとのオリコンチャート首位争い 2011年5月25日発売のシングル『Everyday、カチューシャ』が、2011年6月1日発売のB z『Don t Wanna Lie』とオリコンチャート首位を争い、B zのシングル連続首位獲得作品数記録を阻止するかどうかがネットを中心に話題となった。詳しくは「Don t Wanna Lie」を参照。 関連項目 ノースリーブス派生ユニットの一つ。 B z軍団日本テレビ「ものまねグランプリ」にて、AKB48メドレーを披露。 外部リンク 公式サイト 公式Youtubeチャンネル ~AKB48 TOKYO DOME までの軌跡~(公式ブログ) 名前 コメント 可愛い -- 登坂司苑 (2013-06-26 23 28 06)
https://w.atwiki.jp/d2x2ch/pages/15.html
Barbarian 日本名:バーバリアン 略称:Barb, 馬場 特徴 体力が高く、殴り合いが身上。自前のスキルでライフ、Def、レジをブースト出来るため非常に頑丈。 他のクラスが両手持ちしかできない両手装備剣を片手で扱う事ができる。 片手装備が可能な武器を手1つにつき1本持つ、二刀流装備が可能。 武器の達人で、Combat Masteriesの各種マスタリーを上げることで攻撃の威力と命中率をさらに増やせる。 Combat SkillsのWhirlwindは物理攻撃スキル中でも最強クラスで、PvMでもPvPでも大活躍。 WarcriesのBattle Ordersはライフ/マナを強烈にブースト出来る必修スキル。マルチプレイでも重宝する。 操作は単純で、序盤は初心者にも扱いやすい。中盤以降に進むと、急に難クラスに変わる。各種吼えスキルを駆使して戦線を上手にコントロールしないと、敵に対して力負けしやすい。強敵をねじ伏せるだけのプレイヤースキル、資産、育成計画の全てを求められる。 Life Mana Stamina Strength Dexterity Vitality Energy Default 55 10 92 30 20 25 10 UP/Lvl 2 1 1 UP/Pts 4 1 1 CastFrame 7 8 9 10 11 12 13 FCR(%) 200 105 63 37 20 9 0 Hit Recovery Frame 2 3 4 5 6 7 8 9 FHR(%) 4680 200 86 48 27 15 7 0 攻撃手段評価 ★1~★5まで5段階。by名無し熊。 Physical Fire Lightning Cold Poison Magic ★★★★★ ★ ★ ★ ★ ★★★★ ★1 殆ど無い。 ★3 無理すれば。 ★5 メインダメージ源たりえる存在。 スキルポイントや装備をそれ用に注ぎ込んだ場合の評価とする。 スキル Warcries Howl [1] Find Potion [1] Shout [6] Taunt [6] Find Item [12] Battle Cry [18] Battle Orders [24] Grim Ward [24] War Cry [30] Battle Command [30] Combat Masteries Sword Mastery [1] Axe Mastery [1] Mace Mastery [1] Polearm Mastery [6] Throwing Mastery [6] Spear Mastery [6] Increased Stamina [12] Iron Skin [18] Increased Speed [24] Natural Resistance [30] Combat Skills Bash [1] Double Swing [6] Leap [6] Double Throw [12] Stun [12] Leap Attack [18] Concentrate [18] Frenzy [24] Whirlwind [30] Berserk [30] Tips NPC Introduction 街のNPCには特定のクラスに異なる応対をしてくれる人がいる。 Act入り後初の会話(Talk→Introduction)がクラス専用となるNPCの対応表は以下の通り。 Act1 Act2 Act3 Act4 Act5 Charsi Geglash Meshif - Malah
https://w.atwiki.jp/simai/pages/1003.html
What is simai's Notation? Location of Note Numbers Chart Definition and Ending Definition of BPM Length of NotesHow to Define the BPM How to Define the Length Divider TAP HOLD SLIDE (Basics Shapes) SLIDE (Multiple Chaining)Multiple SLIDE Chaining SLIDE TOUCH, TOUCH HOLD, Firework EffectTOUCH TOUCH HOLD Firework Effect EACH EX Notes Other NotationsChange Normal TAP to Star-shaped TAP Change Star-shaped TAP to Normal TAP Notations of Pseudo-TAP HOLD and Pseudo-TOUCH TOUCH HOLD Pseudo EACH SLIDE without Star-shaped TAP ※BREAK's notation is summarized in the description of TAP, HOLD, and SLIDE. What is simai's Notation? simai's notation was created by Celeca in 2013 for denoting the various types of notes appeared in maimai in plain text. By using combinations of half-width alphanumeric characters according to the rules explained below, any maimai charts can be accurately denoted using only plain text theoretically. This notation was first used in simai, a chart simulator for maimai which was first released on February 5, 2013, by Celeca. Since then, various simulators inspired by maimai have been created by volunteers, and the simai's notation has often been used as their chart notation. While Celeca will be closing simai to the public on February 5, 2023, there are still a certain number of users who use simai's notation, which is why Celeca decided to create this page. Although some simulators may have extended/further developed simai's notation in their implementation, only the notation rules officially defined as "simai's notation" are listed here. For those who want to create a simulator supporting simai's notation, it is recommended to make the simulator able to handle the notation rules on this page. Also, if you make such a simulator, Celeca would appreciate it if you could inform Celeca, who has the rights to the simai's notation. Although it is not necessary to inform, Celeca would be glad to hear from you. Location of Note Numbers First, please look at the image below. ⑧① ⑦ ② ⑥ ③ ⑤④ This shows the numbered location of maimai's buttons and sensor areas. They are numbered 1 to 8 in clockwise order. For sensor areas, each numbered location is further divided into 4 alphabet-numbered sensor areas as explained later. These numbers are used to represent notes' position, so be sure to remember this. Chart Definition and Ending A chart in simai's notation is composed by a series of commas and note notations. Every comma occupies a certain length of time. For example, when a comma has a length of 1 second and there are 10 commas in the chart, the chart will have a total length of (10 × 1s =) 10 seconds. In this case, 【1,1,1,1,1,1,1,1,1,1,1,1,1,】 represents a chart with 10 TAP notes at BUTTON-1, in the density of 1 note per second. Once the chart definition has begun, the chart can be defined using commas and note notations. However, for dealing with songs beginning with a fade-in section, a large number of commas would be needed. To save the efforts, there is a parameter which determines how many seconds should pass since the music begins playing when the chart begins at the first comma of the chart. In simai, this is determined by the parameter "first". Since the timing of the beginning of the chart should be determined precisely and accurately, a number with decimal places such as 1.234 seconds is usually used. If "first" is 1.234 seconds, then the same 【1,1,1,1,1,1,1,1,1,1,1,】 chart will have 10 TAP notes at BUTTON-1 at 1.234, 2.234, 3.234, ..., and 10.234 seconds, respectively, after the music begins playing. Just as a real sheet music has an ending notation, an ending should be defined in simai's notation, otherwise the music may continue playing endlessly. ※In simai, when the chart definition is longer than the length of the MP3, the chart still ends when the MP3 is played to the end The end of a chart is denoted by an "E". If "first" is 1.234 seconds and the chart definition is 【1,1,1,1,1,1,1,1,1,1,1,1,1,E】, the chart progresses until 10.234 seconds, as described above, and since the last comma also has a length of 1 second, the chart ends at 11.234 seconds. A chart definition in simai's notation is a long string with a large number of commas and note notations and then an "E" at the end. Line breaks, spaces, and tabs can be inserted in the middle of this string for better readability. These characters are ignored when the chart definition is being parsed. Definition of BPM Length of Notes In the previous examples, a comma has the length of 1 second. Although the following example has a BPM which make the calculation difficult on purpose, the length of a 16th note at 174 BPM is 0.08620689655 seconds. If such length is assigned to every comma, notes with the length of a 16th note at BPM 174 can be placed correctly. However, it would be troublesome to calculate this manually every time. The per-comma length can be changed by adjusting the BPM and/or the length divider by using the following notations. How to Define the BPM (120) Input the BPM value and enclose it in a pair of round brackets. Since the BPM value should be accurate, a number with decimal places can be used. How to Define the Length Divider {2} Input the dividing value and enclose it in a pair of curly brackets. E.g., "{4}" specifies the per-comma length to be a quarter note, "{8}" to be an 8th note, and "{1}" to be the whole note. A number with decimal places can be used but should be avoided because it may cause confusions. The BPM must be defined before the length divider. Because the length of notes cannot be calculated unless the BPM value is defined, when these two parameters are defined together, the length divider should come after the BPM. E.g., 【(120){2}】 specifies the per-comma length to be a half note at 120 BPM (exactly 1 second). If the BPM value is B and the length divider is T, the per-comma length can be calculated using the following formula Per-comma length = 240 / B / T (seconds). Depending on the music, there might be cases where charting to a special sound effect or so with unknown BPM is attempted or matching the vocals precisely is desired. In these cases, 【{#0.35}】, for example, can be used, and the per-comma length after this will become 0.35 seconds. When this notation is used, the per-comma length is already determined, so there is no need to specify the length divider. These two parameters can be defined anywhere when necessary. TAP From here on, note notations which can be added before a comma will be explained. TAP is the most basic note type in maimai. TAP's notation is very simple and is denoted by a button number followed by a comma. TAP that occurs at BUTTON-1 ... 【1,】 TAP that occurs at BUTTON-5 ... 【5,】 To change a TAP into a BREAK TAP, add a "b" before the comma, e.g., 【1b,】, 【5b,】. HOLD To place a HOLD, in addition to the button number, how long the button should be held down should also be specified. For example, for a hold to be held down for the length of a half note at 174 BPM, its held-down length would be 0.68965517241...... seconds. However, as with the BPM example above, this is also troublesome to calculate manually every time. If the current BPM is 174, then 【(174)】 has already been placed before. What is missing is the length divider, 【one half note】. The held-down length is written as 【[2 1]】 in simai's notation. The number before the colon denotes the length divider (half note), and the number after colon denotes the multiplier of the length divider (1×). Hence the total held-down length of such HOLD note is (1 × half note =) one half note. This way of denoting the length parameter is used in both HOLD and SLIDE. In the actual notation, a button number is specified, an "h" is specified after the button number to make it clear that the note is a HOLD, and then the held-down length is be specified after both of them. HOLD that occurs at BUTTON-5 with the held-down length of one half note ... 【5h[2 1],】 This is the basic notation. However, there might be cases where it is more convenient to specify the held-down length to be an exact number of seconds. HOLD that occurs at BUTTON-4 with a held-down length of 5.678 seconds ... 【4h[#5.678],】 HOLD that occurs at BUTTON-4 with a held-down length of one half note at 150 BPM ... 【4h[150#2 1],】 To change a HOLD into a BREAK HOLD, add a "b" after the "h" like 【5hb[2 1],】. It does not matter whether the "h" and the "b" are swapped, as in 【5bh[2 1],】. SLIDE (Basics Shapes) To place a SLIDE, many parameters should be specified, such as the starting and ending button numbers, how they are to be connected with the arrow track, and how long the tracing star is to move. Although SLIDE has gone through remarkable development in the history of maimai, and many features have been implemented to it, this section only describes the basic notation and the shapes of SLIDE. The format of SLIDE's basic notation is a combination of 【starting point, shape of track, ending point, and tracing length】. BUTTON-1 to BUTTON-4, straight shape, tracing length of 3 8th notes ... 【1-4[8 3],】 The 【[8 3]】 part at the end of the notation is specified using the same concept as the held-down length described for HOLD. For SLIDE, there is a waiting time after the approaching star-shaped TAP reaches the judgment line and before the tracing star actually begins to move. Specifically, it is one beat at the current BPM. The tracing length of the SLIDE and the waiting time for the tracing star to start moving can be directly specified in seconds as follows Status ... BUTTON-1 to BUTTON-4, straight shape, 120 BPM Waiting time is one beat at 160 BPM, tracing length is three 8th notes at 160 BPM ... 【1-4[160#8 3],】 Waiting time is one beat at 160 BPM, tracing length is 2 seconds ... 【1-4[160#2],】 Waiting time is 3 seconds, tracing length is 1.5 seconds ... 【1-4[3##1.5],】 Waiting time is 3 seconds, tracing length is three 8th notes at current BPM ... 【1-4[3##8 3],】 Waiting time is 3 seconds, tracing length is three 8th notes at 160 BPM ... 【1-4[3##160#8 3],】 The arrow track of a SLIDE has many possible shapes. "-" ... Straight shape Connects the start to the end in a straight line. " ", " ", "^" ... Arc shape Connects the start to the end along the circled judgment line. If the direction of travel is to the right, use " ". If left, use " ". If the distance is shorter than half the circle, "^" can be used and thinking of the direction is thus not needed. "v" ... v-shape Connects the start to the end through the screen center as the turning point in two straight lines. "p", "q" ... p-shape, q-shape Connects the start to the end while curving around the screen center. "s", "z" ... Thunderbolt shape Connects the start to the end with three short lines in the shape of a thunderbolt symbol (⚡). "pp", "qq" ... Grand p-shape, Grand q-shape Connects the start to the end while curving along an imaginary circle which is tangent to both the screen center and the circled judgment line. "V" ... Grand v-shape Connects the start to the end through a middle turning point in two straight lines. The line connecting the start to the middle turning point is always a short straight line. "w" ... Fan shape Connects the start to three ends in an expanding track in a shape similar to a folding hand fan. Three tracing stars going to each end are spawn for this SLIDE shape. For the "V" SLIDEs, the middle turning point is specified by an extra button number in addition to the button numbers of the starting and ending points. Starting point is BUTTON-1, turning point is BUTTON-3, ending point is BUTTON-5 ... 【1V35】 Every SLIDE has a constant tracing speed from the start to the end. To change the track of a SLIDE into a BREAK SLIDE, add a "b" after the "]" like 【1-4[8 3]b,】. The allowed positions of the ending point relative to the starting point are restricted by the shape of the SLIDE. The following table lists the possible combinations of starting and ending points of each SLIDE shape where the arrow track of the SLIDE can be drawn normally. SLIDE (Multiple Chaining) Multiple SLIDE Multiple SLIDE refers to a SLIDE note with two or more arrow tracks stating from a single star-shaped TAP. Each SLIDE arrow track is specified with its own set of parameters, since every set of parameters may be different for each SLIDE arrow track, except that the starting point is the same. The tracing speed can be different for each SLIDE arrow track, but these SLIDE arrow tracks are treated as EACH because their tracing stars begin to move at the same time. BUTTON-1 to BUTTON-4, straight shape, tracing length of 3 4th notes, plus BUTTON-1 to BUTTON-6, arc shape, tracing length of 5 8th notes ... 【1-4[4 3]*-6[8 5],】 After the starting button number at the beginning of the note notation, there is no need to repeat that button number. An "*" can be added after the second SLIDE arrow track to specify the third arrow track and so on. Chaining SLIDE Chaining SLIDE is a SLIDE note which composes of multiple SLIDE arrow tracks with their starting and ending points joined together and is treated as a single SLIDE arrow track. For example, the 【1V75】 arrow track is internally two SLIDE arrow tracks (【1-7】 and 【7-5】) combined into one. However, the combination is not limited to the grand V-shapes but can be any shape and two or more SLIDE arrow tracks joined together. No matter how long the chaining SLIDE is, the tracing speed is calculated from the tracing length to be a constant from the start to the end of tracing. BUTTON-1 to BUTTON-4 with straight shape, BUTTON-4 to BUTTON-7 with q-shape, BUTTON-7 to BUTTON-2 with straight shape, tracing length of two whole notes ... 【1-4q7-2[1 2],】 Specify a series of button numbers and SLIDE shapes and then specify the tracing length at the end. In the case of this SLIDE, the tracing star continues tracing at a constant speed from BUTTON-1 until it reaches BUTTON-2. However, there might be cases where different tracing lengths are desired for some of the SLIDE arrow tracks. In such cases, the tracing length for each SLIDE arrow track can be specified like 【1-4[2 1]q7[2 1]-2[1 1],】. However, be sure to specify the tracing speed for all individual SLIDE arrow tracks. Otherwise, an error may occur. To change it to BREAK SLIDE, add a "b" after the "]", which the same as for regular SLIDE. It is not possible to make only a section of chaining SLIDE into BREAK SLIDE. A chaining SLIDE note can only be either a normal SLIDE or a complete BREAK SLIDE. Therefore, even when different tracing speeds can be specified for some of the SLIDE arrow tracks, the "b" can be added only after the last "]". TOUCH, TOUCH HOLD, Firework Effect TOUCH In maimai DX series, there are 34 sensor areas on the screen which the player can touch. All of these can handle contact events, and SLIDEs require the contact events to be made in a specific order. Since maimai DX, there have been new types of notes that require directly touching the sensor. They are TOUCH and TOUCH HOLD. The sensor areas are also divided into five major groups Group A, located adjacent to the buttons; Group B, located between Group A and the center of screen; Group C, which is in charge of the center; Group D, which fills the space between the areas of Group A; and Group E, located slightly inward from Group D and adjacent to Group B. Group C is in the center and has 2 sensor areas, while each of the other groups has 8 sensor areas which are numbered in clockwise order. The following diagram shows the approximate location and positioning of the sensors. To place a TOUCH, the sensor number of the desired location is denoted in the same way as TAP. TOUCH that occurs at SENSOR-B1 ... 【B1,】 TOUCH that occurs at SENSOR-D4 ... 【D4,】 The sensor in the center is divided into two areas, C1 and C2. However, no TOUCHes appear separately for each of them, instead a TOUCH appears in the middle of the areas. Therefore, a TOUCH that occurs in the center can be denoted as 【C,】 without numbering. Denoting this as either 【C1,】 or 【C2,】 causes no errors and is treated the same as 【C,】. TOUCH HOLD TOUCH HOLD is a note that requires the sensor to be pressed and held. It is counted as "HOLD" in the play result. The awarded score is also the same as HOLD. This notation is a direct combination of TOUCH and HOLD. Just simply replace the button number of a HOLD with a sensor number. TOUCH HOLD that occurs at SENSOR-C with held-down length of 3 4th notes ... 【Ch[4 3],】 While TOUCH has appeared in all 34 sensor areas since DX FESTiVAL, TOUCH HOLD has only appeared on the C sensor since DX classic, at least until DX UNiVERSE PLUS. However, in simai's notation, TOUCH HOLD can appear anywhere if the sensor number is specified to be not C. Firework Effect Firework effect refers to the rainbow-colored radial effect that appears as if fireworks are spreading from a certain location when a specific TOUCH is touched. Since there was no official name for this effect at the time DX classic was launched, 3simai used the name "firework effect" for convenience. To enable firework effect, add an "f" after the sensor number. TOUCH that occurs at SENSOR-B7 with firework effect ... 【B7f,】 TOUCH HOLD that occurs at SENSOR-C with held-down length of two whole notes with firework effect ... 【Chf[1 2],】 In the case of TOUCH HOLD, when "h" for HOLD and "f" for FIREWORK effect are specified together, either "hf" or "fh" is fine. EACH If two or more notes occur at exactly the same time, they are treated as an EACH (BOTH). In the case of SLIDEs, even if their tracing length are different, they are still considered to be an EACH if their tracing stars begin to move at the same time. The notes treated as part of an EACH change their color to yellow, except for BREAK notes. An EACH is denoted by placing each composing note and separating each of them with a "/". TAP at BUTTON-1 and HOLD at BUTTON-8 with held-down length of one half note ... 【1/8h[2 1],】 Their order does not matter, so the notation 【8h[2 1]/1,】 works fine. However, for SLIDEs, for example, in 【1-4[8 1]/2-6[8 1],】, 【1-4[8 1]】 will be displayed as if it occurred before 【2-6[8 1]】. In other words, the SLIDE defined earlier will be displayed as if it occurred earlier. Three or more elements are also treated as an EACH and can be denoted as note A / note B / note C ... Only EACHes composing of only non-BREAK TAPs can be denoted like 【12】 without the "/". The "/" between each note cannot be omitted even if there is only a single non-TAP or BREAK note within the EACH. EX Notes TAP, HOLD, and BREAK can be specified as EX notes. EX notes are judged to be CRITICAL PERFECT if they are hit within the timing window of GOOD or better. Simulators that support only the autoplay mode always hit notes within the timing window of CRITICAL PERFECT regardless of the notes' EX setting. However, Celeca have defined the notation because demands are expected for the needs of reproducing official charts and/or charting for simulators that react to player's input. To change a note into an EX note, add an "x" in the similar manner for changing the notes into BREAKs. EX-TAP at BUTTON-1 ... 【1x,】 EX-HOLD at BUTTON-3 ... 【3hx[α β],】 EX-BREAK at BUTTON-5 ... 【5bx,】 EX-BREAK HOLD at BUTTON-7 ... 【7bxh[α β],】 When two or more of "x", "h", and "b" characters are specified together, they can be specified in any order. Other Notations The notations listed below allow charters to create special charts more easily, such as the UTAGE charts appeared in MURASAKi version. Change Normal TAP to Star-shaped TAP A BUTTON-1 TAP is denoted as 【1,】. But if a "$" is appended and denoted as 【1$,】, it changes into a star-shaped TAP that would appear if a SLIDE were placed. This can be used in conjunction with a BREAK TAP or an EX-TAP. When two or more of "$", "b", and "x" characters are specified together, they can be specified in any order. Also, if two "$" are stacked to form "$$", the star-shaped TAP rotates. Currently, the rotation speed of the star-shaped TAP is a pre-defined constant. Change Star-shaped TAP to Normal TAP When a SLIDE is described as 【1-5[8 1],】, the BUTTON-1 TAP automatically changes into a star-shaped TAP, but if a "@" is appended to the star-shaped TAP as in 【1@-5[8 1],】, this star-shaped TAP changes back into a normal TAP. The SLIDE is processed as usual, so the SLIDE arrow track appears to start from the normal TAP. This can be used in conjunction with a BREAK TAP or an EX-TAP too. When two or more of "@", "b", and "x" characters are specified together, they can be specified in any order. Notations of Pseudo-TAP HOLD and Pseudo-TOUCH TOUCH HOLD Assuming there is a HOLD denoted by 【3h[1 1],】, if its held-down length is shortened to the limit, the required held-down length becomes instant, and the visual length of the HOLD shrinks as well, giving it the appearance of a hexagonal TAP. Although such a HOLD can be denoted like 【3h[1000 1],】, it can be easily denoted by removing the held-down length notation like 【3h,】. The same notation can be used for TOUCH HOLD. For example, a TOUCH HOLD denoted as 【Ch,】 gives a judgment instantly when hit. This can be used to denote a pseudo TAP or pseudo TOUCH. Note that this notation is treated internally as if 【[1280 1]】 were specified. It is because the held-down length of such notes is implied to be set to the length of a 1280th note in the official fan book sold by SEGA. Pseudo EACH When denoting two TAPs that are almost but not exactly simultaneous, the notes in the nearby section would needed be very fine-tuned in this way {96} 1,2,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, {8} ~~~~~~ In the above example, the 96th note length divider was used for the timing gap, and specifying the notes to be closer to each other would be even harder. When strictly reproducing an official chart, this made it infeasible, and when creating a fan-made chart, this could be troublesome. In this case, 【1`2,】 can be used. It makes the BUTTON-2 TAP placed only slightly later than the BUTTON-1 TAP but still almost simultaneous. The BUTTON-2 TAP is processed internally as a TAP that is 1 millisecond later than the BUTTON-1 TAP. Since they are not exactly simultaneous to become a part of an EACH, the two TAPs do not turn yellow and do not count as an EACH on the play result. For example, in 【1`2`3/4,】, a BUTTON-2 TAP is placed 1 millisecond after the BUTTON-1 TAP, and an EACH composing of a BUTTON-3 TAP and a BUTTON-4 TAP is placed another 1 millisecond after the BUTTON-2 TAP. Note that, the "`" symbol can be entered by holding down Shift and pressing the "@" key right to the "P" key on a JIS layout keyboard and also by directly pressing the "`" key left to the "1" key on a US or UK layout keyboard. SLIDE without Star-shaped TAP When a SLIDE is placed, a star-shaped TAP normally always appears and approaches to the SLIDE's starting point, but this approaching star-shaped TAP can be eliminated. Assume that there is a SLIDE denoted by 【1-5[2 1],】. The tracing star fades in before starting to move ... 【1?-5[2 1],】 The tracing star does not fade in and suddenly appears when it begins to move ... 【1!-5[2 1],】 In both cases, the SLIDE arrow track fades in and the approaching star-shaped TAP does not appear. For creating a chart that letters, symbols, etc. are drawn using SLIDEs, it is recommended to use "?" to make it clear where to start tracing. For creating a chart with single-stroke SLIDEs, using "!" is recommended to avoid displaying extra stars on the screen. [pseudoEach] backtick (`) is located to the left of "1" on a US/UK layout keyboard. Its Alt code is 96. Alternatively you can copy and paste... -- cubruce1103 (2023-02-13 02 35 50) 名前 コメント
https://w.atwiki.jp/flstudio2/pages/81.html
Fruity Reeverb 2 Fruity Reeverb 2は音響空間をシミュレートします。Fruity Reeverb 2は、最大20秒の持続時間の青々とした滑らかな残響を作り出すことができ、FL Studioで最も洗練されたリバーブです。 Fruity Reeverb 2 概要リンク パラメータの説明カットオフ設定 ルームのシミュレート設定 リバーブの加工 リバーブの入出力設定 使用例深みのあるボーカルにするリバーブ処理 (リバーブのダッキング)作成したプリセット 概要 Fruity Reeverb 2は FL でリバーブの中で最も使い勝手の良いリバーブエフェクトです。 FLユーザーの動画を見るとこのリバーブがよく使われていますが、濃いRoom系のリバーブをかけたい場合は外部プラグインのValhalla Room、70年代〜80年代ビンテージの質感を再現できるValhalla VintageVerbがよく利用されている印象です。 リンク Fruity Reeverb 2の公式マニュアル パラメータの説明 カットオフ設定 パラメータ名 説明 MID / SIDE 入力信号のミッドまたはサイドコンポーネントを処理します。デフォルトはMID処理で、モノラル(左+右)です。SIDE処理が何らかの効果を持つ前に、入力にはステレオ情報が必要です。SIDEモードでの処理は、完全なミックスを処理しているときに役立ち、この状況ではリバーブが行う傾向があるように、詳細を洗い流すことなくスペースとリバーブの感覚を与えます。サイドリバーブ処理はL/Rステレオフィールドの音に影響しますが、中心の近くにパンされた楽器は影響を受けません。MID / SIDE信号の詳細については、Fruity Stereo Shaperを参照してください H.CUT(High Cut) ハイカットオフ周波数を変更します。これを使用して、リバーブから高周波を削除したり、部屋の音を鈍くしたりします L.CUT(Low Cut) ローカットオフ周波数を調整します。これを使用して、リバーブから低周波を削除します。たとえば、ドラムトラックにリバーブを追加する場合、L.Cutパラメータを使用すると、リバーブエンジンに渡される前に低音周波数を減衰させることで、バスドラムからの「ランブル」と泥だらけが減少します ルームのシミュレート設定 パラメータ名 説明 DELAY(Predelay) 直接入力信号と最初のリバーブ反射の間の遅延時間を制御します。「テンポベース」プリデレイを選択するTEMPOスイッチがあります。Predelayは、小さな部屋の控えめな値に設定する必要があり、"Room Size" に合わせて増やすことができます。Predelayは、雰囲気を追加し、信号を消すことができるスラップバックエコー効果を作成するので、賢明に使用してください SIZE(Room Size) このノブを使用して、シミュレートされる仮想部屋のサイズを設定します。(ディスプレイはフィードバックを提供します)リアルな効果を得るには、RoomのサイズはDelay timeに応じて調整する必要があります。小さなRoomはショート・ディレイでより良く聞こえ、大きなRoomはより長いリバーブ時間でより良く聞こえます DIFF(Diffusion) 仮想Roomの壁から跳ね返る反射の密度を制御します。低拡散設定は、密接に間隔をあけたエコーのように、反射をより明確でまばらに聞こえます。高拡散設定は、緻密な一連の反射を作成するので、近いので、一定の減衰ノイズのように聞こえます MOD(Modulation) リバーブ時間をモジュレートして、芸術的なリバーブに関連する「金属的な」共鳴音を分解します。小さな値は、リバーブの音をより滑らかで自然なものにします。極端な変調値は、リバーブにデチューンされたサウンドを追加することができます SPEED(MOD Speed) リバーブタイムの正弦波変調の速度 リバーブの加工 パラメータ名 説明 BASS(Bass Multiplier) リバーブにおける低音周波数の減衰時間を調整します。低音レベルは、バーチャルルームの全体的な「気分」やサウンドに影響を与えています。明るい部屋は低音の反応が少なく、暖かい部屋は低音の反応が少ない CROSS(Bass Crossover) ベースノブによってベース周波数がブーストされるポイントを決定します DEC(Decay) リバーブの減衰時間を制御します。これは、信号が-60dB(最大振幅の1/1000)に減衰するのにかかる時間です。小さなRoomには低い減衰時間(太るドラムの音に良い)を使用し、大きなRoom (ホールや教会の効果)には長い減衰時間を使用してください。 DAMP(High Damping) リバーブ信号の高周波の減衰を調整します。減衰とは、高周波が減衰する速度を指します。この効果により、音は徐々にこもり、暖かくなります。バイパス このパラメータを最大値に設定すると、ハイダンピングがバイパスされ、値フィールドにオフと表示されます。 リバーブの入出力設定 パラメータ名 説明 DRY(Dry Level) 出力に渡される(ドライ)入力信号の相対レベルを設定します。SendミキサートラックでReeverb 2を使用する場合は、0%(最小)に設定する必要があります ER(Early Reflection) リバーブの最初の反射の相対レベルを設定します。 WET(Wet Level) リバーブ(WET)信号の相対レベルを設定します。SendチャンネルでReeverb 2を使用する場合は、100%(最大)に設定する必要があります。 SEP(Stereo Separatiion) WETリバーブ信号のステレオ分離を調整します。リバーブをバイパスするドライ信号は変更されないままです。 使用例 深みのあるボーカルにするリバーブ処理 (リバーブのダッキング) 参考:FL Studioのモジュレーションやハモリ作成を駆使したシンプルかつ飽きさせないボーカル作り|解説:KO3 リバーブの値を以下のように設定します。 パラメータ名 値 L CUT 500Hz SIZE 最大まで上げる(大きめにする) DEC 3〜5s ただこれだけだと、リバーブでボーカルがぼやけるだけなので、WETをコントロールします。 Fruity Reeverb 2の下に Fruity Peak Controller をインサートします。 そうしたら Fruity Reeverb 2 に戻って、"WET" を右クリックします。 ポップアップメニューから "Link to controller"を選びます。 Internal controller から "Peak ctrl - Peak" を選び、Acceptをクリック。 そうすると、"WET" パラメータがFruity Peak Controllerにリンクします。 ただピークが上に張り付いてしまって、リバーブがかかりすぎてしまっているので調整します。 Fruity Peak Controllerを開いて "BASS" を 66% まで増やし、"VOL" を -200% (最低値) まで減らします。BASSを上げて、VOLをマイナスの値にするとピークと逆に動く「ダッキング」のような効果をもたらします。 これにより、Peakのカーブをコントロールする "TENSION" と "DECAY" でボーカルに張り付くようなリバーブが実現できます。(ピークが下に落ちてしまうとリバーブのかかりが汚れてしまうので、"BASS" と "VOL" を少し調整しました) パラメータ名 値 BASS 66% VOL -100% TENSION -100% DECAY 41% さらに Soundgoodizerをインサートして、Aを30~50%にしてボーカルを前に出します。 最後に Fruity Parametric EQ 2 でローカットして調整。 最終的にはこのようなスロット配置となりました。 作成したプリセット ボーカルに深みを与えるミキサートラックのプリセットを作成したので添付しておきます。 vocal_deep_reverb.fst ただ、Link Controllerの設定はプリセットに保存されないようなので、プリセット読み込み後に再設定する必要があります。