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NAME 黒兜 [7]Luckywindで活動中 KD：順調に下がってます。☆ミ Sensitivity 13~15 Crosshair 2or4 Resolution ? Gamma ? Accel CalorieOFF! FavoriteMap 3rd/WereHouse Main weapon AK-47/M4 Sub weapon B.92FS Knife Knife CPU Intel(R) Celeron(R)M processor 1.60GHz VGA ？ Memory 894MB Sound ？ Mouse LogicoolMX518 Mousepad DHARMA TACTICAL PAD SoftPAD
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USBフラッシュメモリ 読み：ゆーえすびーふらっしゅめもり 英語：USB Flash Memory 別名：USBメモリ, (持ち運びの)フラッシュメモリ 意味： USBフラッシュメモリとはUSB接続可能なフラッシュメモリのこと。 高速なデータ送受信と給電可能で現在のPC?ならほぼ持ち合わせている接続端子といったUSBの特性と、コンパクトで大容量といったフラッシュメモリの良い点を合わせポータビリティの高い最も手軽な記憶装置として現在は普及している。 反面その手軽さから紛失やデータの盗難といったセキュリティの面の諸さも問題となっている。 そのためわざとコンピュータのUSBポート?を塞ぐ企業もある。 2008年01月05日 USB フラッシュメモリ
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概要 USBインターフェイスを搭載した7chミキサー。Traktor 3 LE Deckadance LE付属。 スペック表 Professional, 7-channel, ultra-low noise DJ mixer 45mm crossfader with adjustable curve Built-in USB interface for recording and playback of any digital music file 5 dual stereo inputs plus 2 mono mic/line channels with mic preamps and gain control Long-wearing 100mm faders and sealed rotary controls on all input channels Headphone output with level and balance (PFL/Main) controls and switchable split mode Main Out, Sub Out, 2 Zone outputs for secondary room/area Golden terminals DJ Software Traktor 3 LE Deckadance LE included ■価格 $400前後（新品） DX-3000USB取扱説明書（英語） https //www.manualslib.com/manual/1027412/Dj-Tech-Dx3000usb.html
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Nb SD USB R 闇 4 クリーチャー：ソニック•コマンド/ナンバーコード 4000 ■G•ストライク ■自分の手札を1枚捨ててもよい。そうしたら、このクリーチャーの召喚コストを2少なくする。 ■自分のナンバーコードの召喚コストを1少なくする。ただしコスト0以下にはならない。 作者：96
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UL-SAYS うるせいず （故, 91）東京パフォーマンスドール内のサブユニット。米光美保、篠原涼子、穴井夕子の3人からなる。LFで「東京サウンドバズーカ音姫絵巻」という番組を持っていた為、伊集院と仲良し。ユニット名の由来は、劇場版「うる星やつら」のテーマ曲「Begin The 綺麗」を歌う為に急遽組まれたユニットであることと、メンバーがいつも騒がしいことから。
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【登録タグ C Nutts 初音ミク 曲】 作詞：Nutts 作曲：Nutts 編曲：Nutts 唄：初音ミク 曲紹介 『……あけてみる？ ――不思議な箱から生まれた少女は、世界を創ります。』 Nutts氏のボカロデビュー作。 これから頑張って新しい世界に行くんだ！とかいう気持ちで歌詞書いてたはずです。多分。（作者コメ転載） 本人曰く、この曲は現実的には演奏不可能というが、果たして…？ 後日リリースされたリミックス ver. では元曲から転調してます。 歌詞 誰もいない時の中で 夢うつつな私 消えてしまわないように 願いつつ そっと 手を伸ばして探す 僕を呼ぶ声が 時を越えて 届く 消えてしまいそうな その声が 心 包み込んで 響く たったひとつ 叶えたい この思いを 夢に描いて この手伸ばして さあ、扉を開こう LaLaLa CuriousBox あけたら 君の願い 溢れ出す 色の無い世界が 光、帯び始める 見上げれば 星空 君の願い 流れ出す 僕らの世界、輝くよ きっと 君とふたり 星の中で 魔法の箱 探す 何も無い世界で 少しずつ 夢を描いて 形にする 僕ら見る夢は 明日の道 照らす 遠くない未来に 叶うように 手を取り合って 空羽ばたく 新たな思い 星空の中 芽生える 夢に描いて この手伸ばして さあ、扉を開こう LaLaLa CuriousBox あけたら 君の願い 溢れ出す 動き出す世界を 優しく包み込む 見渡せば 海の色 君の願い 流れ出す 僕らの世界 導くよ... 水面（みなも）に映る 僕らの顔 見比べてみるよ こんな風にずっと 笑い合えるといいな LaLaLa CuriousBox あけたら 君の願い 溢れ出す 動き出す世界を 優しく 包み込む 見渡せば 海の色 君の願い 流れ出す 僕らの世界 導くよ... LaLaLa CuriousBox あけたら 君の願い 溢れ出す 新しい世界が 築き上げられていく 振り向けば 描いた 夢の形 そこにある 僕らの世界、輝くよ ずっと コメント 名前 コメント
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saveer /// / サヴェール ヴァストリアの1つ。ウムトナのもつ神矛 \ ridia sid \ [ vest ] \ サヴェール \ [ kirs ] \ ヴァストリアの1つ。ウムトナのもつ神矛 \
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原文：Audio Devices Rev. 2.0 Spec and Adopters Agreement(ZIP) Universal Serial Bus Device Class Definition for Audio Data Formats Release 2.0 May 31, 2006 11 2 Audio Data Formats Audio Data formats can be divided in two main groups • Simple Audio Data Formats • Extended Audio Data Formats Simple Audio Data Formats can then be subdivided into four groups according to type. The first group, Type I, deals with audio data streams that are transmitted over USB and are constructed on a sample-by-sample basis. Each audio sample is represented by a single independent symbol, contained in an audio subslot. Different compression schemes may be used to transform the audio samples into symbols. Note This is different from encoding. Compression is considered to take place on a per-audio-sample base. Each audio sample generates one symbol (e.g. A-law compression where a 16-bit audio sample is compressed into an 8 bit symbol). If multiple physical audio channels are formatted into a single audio channel cluster, then samples at time x of subsequent channels are first contained into audio subslots. These audio subslots are then interleaved, according to the cluster channel ordering as described in the main USB Audio Specification, and then grouped into an audio slot. The audio samples, taken at time x+1, are interleaved in the same fashion to generate the next audio slot and so on. The notion of physical channels is explicitly preserved during transmission. A typical example of Type I formats is the standard PCM audio data. The following figure illustrates the concept. ここに画像 Figure 2-1 Type I Audio Stream The second group, Type II, deals with those formats that do not preserve the notion of physical channels during the transmission over USB. Typically, all non-PCM encoded audio data streams belong to this group. A number of audio samples, often originating from multiple physical channels and taken over a certain period of time, are encoded into a number of bits in such a way that, after transmission, the original audio samples can be reconstructed to a certain degree of accuracy. The number of bits used for transmission is typically one or more orders of magnitude smaller than the number of bits needed to represent the original PCM audio samples, effectively realizing a considerable bandwidth reduction during transmission. Universal Serial Bus Device Class Definition for Audio Data Formats Release 2.0 May 31, 2006 12 ここに画像 Figure 2-2 Type II Audio Stream The third group, Type III, contains special formats that do not fit in both previous groups. In fact, they mix characteristics of Type I and Type II groups to transmit audio data streams over USB. One or more non-PCM encoded audio data streams are packed into “pseudo-stereo samples” and transmitted as if they were real stereo PCM audio samples. The sampling frequency of these pseudo samples matches the sampling frequency of the original PCM audio data streams. Therefore, clock recovery at the receiving end is easier than it is in the case of Type II formats. The drawback is that unless multiple non-PCM encoded streams are packed into one pseudo stereo stream, more bandwidth than necessary is consumed. The fourth group, Type IV, deals with audio streams that are not transmitted over USB. Instead, they interface with the audio function through an AudioStreaming interface that does not contain a USB isochronous IN or OUT endpoint. These streams typically connect via a digital interface like S/PDIF (or some other means of connectivity) but require interaction from the Host before they enter or leave the audio function. A typical example is an external S/PDIF connector that can accept an AC-3 encoded audio stream. This stream is first processed by an AC-3 decoder before the (decoded) logical audio channels enter the audio function through the Input Terminal that represents this S/PDIF connection. The capabilities of the AC-3 decoder are advertised by means of the AC-3 Decoder descriptor and the decoder Controls can be programmed through the AudioStreaming interface. In addition to the Simple Audio Data Formats described above, Extended Audio Data Formats are defined. These are based on the Simple Audio Data Formats Type I, II, and III definitions but they provide an optional packet header and for the Extended Audio Data Format Type I, an optional synchronous (i.e. sample accurate) control channel. Type IV Audio Data Formats do not have an Extended Audio Data Format definition. Section A.1, “Format Type Codes” summarizes the Audio Data Formats that are currently supported by the Audio Device Class. The following sections explain those formats in more detail. 2.1 Transfer Delimiter Isochronous data streams are continuous in nature, although the actual number of bytes sent per packet may vary throughout the lifetime of the stream (for rate adaptation purposes for instance). To indicate a temporary stop in the isochronous data stream without closing the pipe (and thus relinquishing the USB Universal Serial Bus Device Class Definition for Audio Data Formats Release 2.0 May 31, 2006 13 bandwidth), an in-band Transfer Delimiter needs to be defined. This specification considers two situations to be a Transfer Delimiter. The first is a zero-length data packet and the second is the absence of an isochronous transfer in a USB (micro)frame that would normally have an isochronous transfer. Both situations are considered equivalent and the audio function is expected to behave the same. However, the second type consumes less isochronous USB bandwidth (i.e. zero bandwidth). In both cases, this specification considers a Transfer Delimiter to be an entity that can be sent over the USB. 2.2 Virtual Frame and Virtual Frame Packet Definitions To better describe packetization for audio the concept of a “virtual frame” (VF) is introduced. A virtual frame is defined as VF = (micro)frame * 2(bInterval-1) In addition, a “virtual frame packet” (VFP) is introduced. A virtual frame packet is defined as a packet that contains all the samples that are transferred over the bus during a virtual frame. For full-/high-speed endpoints, the virtual frame packets are exactly the same as the physical packets that are transferred over USB. However, for high-speed high-bandwidth endpoints, the virtual frame packet is the concatenation of the two or three physical packets that are transferred over the bus in a microframe. Note The USB Specification already considers the 2 or 3 transactions of a high-speed high-bandwidth transfer to be part of a single packet. See Section 5.12.3, “Clock Synchronization” The above definitions provide a model of ‘one (virtual frame) packet per (virtual) frame’, irrespective of the actual transactions on the USB. 2.3 Simple Audio Data Formats 2.3.1 Type I Formats The following sections describe the Audio Data Formats that belong to Type I. A number of terms and their definition are presented. 2.3.1.1 USB Packets Audio data streams that are inherently continuous must be packetized when sent over the USB. The quality of the packetizing algorithm directly influences the amount of effort needed to reconstruct a reliable sample clock at the receiving side. The goal must be to keep the instantaneous number of audio slots per virtual frame, ni as close as possible to the average number of audio slots per virtual frame, nav. The average nav must be calculated as follows ここに数式 where TVF is the duration of a virtual frame and Δt is the sample time (1/FS). In most cases nav will be a number with a fractional part. If the sampling rate is a constant, the allowable variation on ni is limited to one audio slot, that is, Δni = 1. This implies that all virtual frame packets must either contain INT(nav ) audio slots (small VFP) or INT(nav) + 1 (large VFP) audio slots. For all i ni = INT(nav) | INT(nav) + 1 Note In the case where nav = INT(nav), ni may vary between INT(nav) - 1 (small VFP), INT(nav) (medium VFP) and INT(nav) + 1 (large VFP). Furthermore, a large VFP must be generated as soon as it becomes available. Typically, a source will generate a number of small VFPs as long as the accumulated fractional part of nav remains 1. Once the Universal Serial Bus Device Class Definition for Audio Data Formats Release 2.0 May 31, 2006 14 accumulated fractional part of nav becomes ≥ 1, the source must send a large VFP and decrement the accumulator by 1. Due to possible different notions of time in the source and the sink (they might each have their own independent sampling clock), the (small VFP)/(large VFP) pattern generated by the source may be different from what the sink expects. Therefore, the sink must be capable to accept a large VFP at all times. Example Assume FS = 44,100 Hz and TVF = 1ms. Then nav = 44.1 audio slots. Since the source can only send an integer number of audio slots per VF, it will send small VFPs of 44 audio slots. Each VF, it therefore sends ‘0.1 slot’ too few and it will accumulate this fractional part in an accumulator. After having sent 9 small VFPs of 44 audio slots, at the tenth VF it will have exactly one audio slot in excess and therefore can send a large VFP containing 45 audio slots. Decrementing the accumulator by 1 brings it back to 0 and the process can start all over again. The source will thus produce a repetitive pattern of 9 small VFPs of 44 audio slots followed by 1 large VFP of 45 audio slots. The following table illustrates the process Table 2-1 Packetization #VF nav ni Fraction Accumulator n 44.1 44 0.1 0.1 n+1 44.1 44 0.1 0.2 n+2 44.1 44 0.1 0.3 n+3 44.1 44 0.1 0.4 n+4 44.1 44 0.1 0.5 n+5 44.1 44 0.1 0.6 n+6 44.1 44 0.1 0.7 n+7 44.1 44 0.1 0.8 n+8 44.1 44 0.1 0.9 n+9 44.1 45 0.1 1.0 - 0 n+10 44.1 44 0.1 0.1 n+11 44.1 44 0.1 0.2 … … … … … *原文は枠線無し 2.3.1.2 Pitch Control If the sampling rate can be varied (to implement pitch control), the allowable variation on ni is limited to one audio slot per virtual frame. For all i ni+1 = ni | ni ± 1 Pitch control is restricted to adaptive endpoints only. AudioStreaming interfaces that support pitch control on their isochronous endpoint are required to report this in the class-specific endpoint descriptor. In addition, a Set/Get Pitch Control request is required to enable or disable the pitch control functionality. Universal Serial Bus Device Class Definition for Audio Data Formats Release 2.0 May 31, 2006 15 2.3.1.3 Audio Subslot The basic structure used to represent audio data is the audio subslot. An audio subslot holds a single audio sample. An audio subslot always contains an integer number of bytes. This specification limits the possible audio subslot sizes (bSubslotSize) to 1, 2, 3 or 4 bytes per audio subslot. An audio sample is represented using a number of bits (bBitResolution) less than or equal to the total number of bits available in the audio subslot, i.e. bBitResolution ≤ bSubslotSize*8. AudioStreaming endpoints must be constructed in such a way that a valid transfer can take place as long as the reported audio subslot size (bSubslotSize) is respected during transmission. If the reported bits per sample (bBitResolution) do not correspond with the number of significant bits actually used during transfer, the device will either discard trailing significant bits ([actual_bits_per_sample] bBitResolution) or interpret trailing zeros as significant bits ([actual_bits_per_sample] bBitResolution). 2.3.1.4 Audio Slot An audio slot consists of a collection of audio subslots, each containing an audio sample of a different physical audio channel, taken at the same moment in time. The number of audio subslots in an audio slot equals the number of logical audio channels in the audio channel cluster. The ordering of the audio subslots in the audio slot obeys the rules set forth in the USB Audio Specification. All audio subslots must have the same audio subslot size. 2.3.1.5 Audio Streams An audio stream is a concatenation of a potentially very large number of audio slots, ordered according to ascending time. Streams are packetized when transported over USB whereby virtual frame packets can only contain an integer number of audio slots. Each packet always starts with the same channel, and the channel order is respected throughout the entire transmission. If, for any reason, there are no audio slots available to construct a VFP, a Transfer Delimiter must be sent instead. 2.3.1.6 Type I Format Type Descriptor The Type I format type descriptor starts with the usual three fields bLength, bDescriptorType, and bDescriptorSubtype. The bFormatType field indicates this is a Type I descriptor. The bSubslotSize field indicates how many bytes are used to transport an audio subslot. The bBitResolution field indicates how many bits of the total number of available bits in the audio subslot are truly used by the audio function to convey audio information. Table 2-2 Type I Format Type Descriptor Offset Field Size Value Description 0 bLength 1 Number Size of this descriptor, in bytes 6 1 bDescriptorType 1 Constant CS_INTERFACE descriptor type. 2 bDescriptorSubtype 1 Constant FORMAT_TYPE descriptor subtype. 3 bFormatType 1 Constant FORMAT_TYPE_I. Constant identifying the Format Type the AudioStreaming interface is using. 4 bSubslotSize 1 Number The number of bytes occupied by one audio subslot. Can be 1, 2, 3 or 4. 1 - 6 - 11 - 16 - 21 - 26 - 31 ここを編集
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14th. 2007.05.10 Release Disc 1 # 曲名 地低音 地高音 裏高音 フェイク(地) フェイク(裏) 備考 01 君の事以外は何も考えられない mid1C mid2G mid2Gは計14回使用 02 my confidence song mid1D mid2G mid2Gは計16回使用 03 雨のち晴れ Remix Version mid1D# hiA# hiA#はサビのみ；計6回使用：ラスサビで3連発 04 フラジャイル mid1G hiA# hiA#はサビのみ；計12回使用 05 また会えるかな mid1D mid2G mid2Gは計9回使用；内6つのロングトーンを含む；mid2F#が頻出 06 Love is Blindness mid1E hiA hiB hiAはサビのみ；計7回使用 07 旅人 mid1B mid2G# mid2G#はサビのみ；計3回使用；mid2F#がサビで頻出 08 デルモ mid1B mid2G フェイクを除いたmid2Gはサビのみ；計8回使用 09 独り言 mid1G mid2G mid2GはAメロのみ；計3回使用 10 Heavenly kiss mid1B mid2D# mid2F# フェイクを除いたmid2D#はサビのみ；計8回使用；内3つのロングトーンを含む 11 ニシエヒガシエ EAST Remix mid1F mid2G# mid2G#はCメロのみ；計2回使用；※Cメロはサビと同じメロディ；通常サビはmid2Gを使用 Disc 2 # 曲名 地低音 地高音 裏高音 フェイク(地) フェイク(裏) 備考 01 1999年、夏、沖縄 lowG mid2E mid2Eは計10回すべてロングトーンで使用；lowGはAメロなどで多数使用 02 花 mid1C hiA# hiA#はサビのみ；計8回使用 03 さよなら2001年 mid1B hiA hiA hiAはサビのみ；計4回使用；裏hiAはDメロのみ；計3回使用 04 I'm sorry mid1D mid2G mid2GはAメロのみ；計6回使用 05 妄想満月 mid1C mid2E mid2EはAメロのみ；計8回使用 06 こんな風にひどく蒸し暑い日 mid1D# mid2G# 転調でキー+2；mid2G#は計4回使用 07 ほころび mid1F# mid2G mid2Gは計13回使用 08 my sweet heart mid1C mid2C mid2CはAメロのみ；計2回使用 09 ひびき mid1B hiA hiAは計4回使用：内1つのロングトーンを含む 10 くるみ -for the Film- 幸福な食卓 mid1C# mid2G# hiE 転調でキー+1；オリジナルver.からキー-1されたアレンジmid2G#は2番Aメロの1ヶ所のみ；裏hiEはラスサビの1ヶ所のみ 11 ニシエヒガシエ WEST Remix インスト曲；終始、打ち込みで構成されている
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savanが重くなってきたので転職ｗ