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Research Analysis The market research report profiles well-balanced information with previous as well as future results with an aim to offer a better understanding of the Recycled Thermoplastic Market. The market report further offers an in-depth view of the leading factors that are related to increasing the demand growth for Recycled Thermoplastic Market. Not only this but also in this study the readers can get an in-depth report of the possibilities in combination with the latest trends in the targeted market. It is also a detailed combination of 10 years old qualitative and quantitative analysis of the industry that has been presented in the report with an aim to help the market players to increase maximum profit in the sector. The market research report also provides information on the record of individual sales records that are made with the expected revenue over the forecast period. This research report provides an extensive examination of all the related segments present in the industry. Moreover, it throws light on the recent development as well as the opportunity is that is going on in the Recycled Thermoplastic Market. Get a Sample PDF File@ https //www.quincemarketinsights.com/request-sample-88267?pu Market Report Features Overview Of The Market Report The market research report offers a detailed quantitative as well as qualitative overview of the market for Recycled Thermoplastic Market on the basis of area, category, product, competitors, and application. In terms of expanded coverage, the market report is further extended in terms of end-user market analysis and the comprehensive producer profile. Market Segmentation Of Recycled Thermoplastic Market Market The market segmentation of the Recycled Thermoplastic Market is done on the basis of technology, product type, application, distribution channel, and end-user. Geographical segmentation is also being done to get valuable insights into the Recycled Thermoplastic Market. Geographical Analysis Doing the geographical analysis is very important to know about the broad feature of the market. In this section, the readers can get a comprehensive analysis of the Recycled Thermoplastic Market based on the geographical location. This section throws light on the demand and sales output for the Recycled Thermoplastic Market at the national and international levels. The study is being done taking into account some of the major geographic regions such as North America, Europe, Asia Pacific, South America, Middle East, and Africa. Make an Enquiry for purchasing this Report @ https //www.quincemarketinsights.com/enquiry-before-buying/enquiry-before-buying-88267?pu Market Key Highlights The market report on the Recycled Thermoplastic Market is a summary of the current market situation for the Recycled Thermoplastic Market. Moreover, the analysis provides information regarding the newly launched product and also the products that are to be launched during the forecast period. The study also includes minute details regarding market share, segment, trends, growth and forecast W Plastics, Plastipak Holdings, Inc., PARC Corporation, Clear Path Recycling, B. Schoenberg and Co., Custom Polymers Inc., RJM International Inc., Suez SA, Merlin Plastics Alberta Inc., Ricova International Inc. Quince Market Insights Top Trending Research Report* https //qmi189135117.wordpress.com/2022/09/16/cumene-sulfonic-acid-market-size-industry-growth-rate-global-share-upcoming-trends-leading-players-products-and-services-overview-forecast-to-2032/ https //qmi189135117.wordpress.com/2022/09/16/3-hexenyl-salicylate-market-key-findings-growth-prospects-and-size-by-country-top-manufacturer-expansion-plans-and-business-strategy-forecast-to-2032/ https //qmi189135117.wordpress.com/2022/09/16/ethylene-glycol-monostearate-market-trends-growth-size-swot-analysis-opportunity-assessment-by-forecast-to-2021-drivers-and-applications-are-pertinent-for-sustenance-during-the-forecast-period-20/ Details Contained In The Recycled Thermoplastic Market Report 2021 Market Overview 1.1 Market Introduction 1.2 Market Analysis By Type 1.2.1 Type 1 1.2.2 Type 2 1.3 Market Analysis By Applications 1.3.1 Application 1 1.3.2 Application 2 1.4 Market Analysis by Regions 1.4.1 North America 1.4.2 Europe 1.4.3 Asia Pacific 1.4.4 South America 1.4.5 the Middle East and Africa Market Scope Market Segmentation by type, application, end-users and regions Market Size estimation Market Competition Key Market Leaders Conclusions The market research report offers a detailed study of the Recycled Thermoplastic Market which include market shares, size and growth opportunities by applications, product types and geographic regions. Not only this but also the report also contains a detailed summary of the leading market players. The experts have also mentioned the market growth, threats, opportunities and risks. About Us QMI has the most comprehensive collection of market research products and services available on the web. We deliver reports from virtually all major publications and refresh our list regularly to provide you with immediate online access to the world’s most extensive and up-to-date archive of professional insights into global markets, companies, goods, and patterns. Contact us Quince Market Insights Phone +1 208 405 2835 Email sales@quincemarketinsights.com Website https //www.quincemarketinsights.com/
https://w.atwiki.jp/earthquakeinfo_en/pages/31.html
List of Trusted Funds Please make donations via public agencies, large firms and reliable routes. Every single time a large disasters like this happen, there are always scammers out there! AMERICAN RED CROSS These guys can handle disasters sizes that are unmanageable by the Japanese Red Cross. They respond quite quickly every time. Donate Here http //american.redcross.org/site/PageServer?pagename=ntld_main s_src=RSG000000000 s_subsrc=RCO_Donate_OnlineGiving GLOBALGIVING They disburse donations to Earthquake and Tsunami related disasters all around the world. Donate Here http //www.globalgiving.org/projects/japan-earthquake-tsunami-relief/ SAVE THE CHILDREN Immediate mobile humanitarian relief in the form of emergency health care and provides non-food stuff and shelters. Donate here https //secure.savethechildren.org/site/c.8rKLIXMGIpI4E/b.6617251/k.7E71/Donate_to_the_Japan_Earthquake_Tsunami_Children_in_Emergency_Fund/apps/ka/sd/donor.asp?msource=wellpaqkf311 AMERICARES Dispatches to anywhere in the world immediately in case of a major disaster for medical aid and relief. Donate Here INTERNATIONAL MEDICAL CORPS These guys have contacts in Japan, they mobilize to provide medical attention. Donate Here https //www.internationalmedicalcorps.org/SSLPage.aspx?pid=1967 SHELTER BOX They were the first ones to be in Japan for aid. Donate Here http //www.shelterbox.org/donate.php How to help Japan from US by New York Times WARNING There is currently an email circulating asking donations to the Japanese Red Cross. The Red Cross or most humanitarian agencies DOES NOT EVER ask for donations via email, and instead asks for donations on their legitimate website.
https://w.atwiki.jp/exvsfbcheat/pages/19.html
Basic Cheat Engine setup on RPCS3 本体のダウンロードはこちら To use Cheat Engine on RPCS3, you need to set up a few things beforehand. MEM_MAPPED Settings First, we need to enable MEM_MAPPED option to let Cheat Engine have the ability to scan Mapped memory regions. As most of the games emulated are stored in mapped regions, this option is essential for using Cheat Engine in emulators. In Cheat Engine, go to Edit - Settings. Navigate to the Scan Settings tab, and ensure that all three MEM options are enabled, as shown in the figure below. Big Endian Support Most emulators operates in Big Endian value type. To put it simply, Big Endian is the reversal of a normal byte array. For example, 00 01 02 03 in Big Endian will be 03 02 01 00. By default cheat engine does not include Big Endian value type, so we will need to define it ourselves. In cheat engine, right click on the value type and select Define new custom type (Auto Assembler). A new window will pop up with codes in it. Delete it all and paste in the codes down below. alloc(TypeName,256) alloc(ByteSize,4) alloc(ConvertRoutine,1024) alloc(ConvertBackRoutine,1024) alloc(UsesFloat,1) alloc(CallMethod,1) TypeName db 2 Byte Big Endian ,0 ByteSize dd 2 ConvertRoutine [64-bit] xor eax,eax mov ax,[rcx] //eax now contains the bytes input pointed to xchg ah,al //convert to big endian ret [/64-bit] [32-bit] push ebp mov ebp,esp mov eax,[ebp+8] //place the address that contains the bytes into eax mov ax,[eax] //place the bytes into eax so it s handled as a normal 4 byte value and eax,ffff //cleanup xchg ah,al //convert to big endian pop ebp ret 4 [/32-bit] ConvertBackRoutine [64-bit] xchg ch,cl //convert the little endian input into a big endian input mov [rdx],cx //place the integer the 4 bytes pointed to by rdx ret [/64-bit] [32-bit] push ebp mov ebp,esp push eax push ebx mov eax,[ebp+8] //load the value into eax mov ebx,[ebp+c] //load the address into ebx xchg ah,al mov [ebx],ax //write the value into the address pop ebx pop eax pop ebp ret 8 [/32-bit] Once you have pasted it in, double check the script, and press OK After that, the value type you defined will be added in the value type selection, as shown below. Using the same method, add in the 4 byte Big Endian value type. alloc(TypeName,256) alloc(ByteSize,4) alloc(ConvertRoutine,1024) alloc(ConvertBackRoutine,1024) alloc(UsesFloat,1) alloc(CallMethod,1) TypeName db 4 Byte Big Endian ,0 ByteSize dd 4 ConvertRoutine [64-bit] xor eax,eax mov eax,[rcx] //eax now contains the bytes input pointed to bswap eax //convert to big endian ret [/64-bit] [32-bit] push ebp mov ebp,esp mov eax,[ebp+8] //place the address that contains the bytes into eax mov eax,[eax] //place the bytes into eax so it s handled as a normal 4 byte value bswap eax pop ebp ret 4 [/32-bit] ConvertBackRoutine [64-bit] bswap ecx //convert the little endian input into a big endian input mov [rdx],ecx //place the integer the 4 bytes pointed to by rdx ret [/64-bit] [32-bit] push ebp mov ebp,esp push eax push ebx mov eax,[ebp+8] //load the value into eax mov ebx,[ebp+c] //load the address into ebx bswap eax mov [ebx],eax //write the value into the address pop ebx pop eax pop ebp ret 8 [/32-bit] And the same for Float Big Endian alloc(TypeName,256) alloc(ByteSize,4) alloc(ConvertRoutine,1024) alloc(ConvertBackRoutine,1024) alloc(UsesFloat,4) alloc(CallMethod,1) TypeName db Float Big Endian ,0 ByteSize dd 4 UsesFloat db 01 ConvertRoutine [32-bit] push ebp mov ebp,esp mov eax,[ebp+8] //place the address that contains the bytes into eax mov eax,[eax] //place the bytes into eax bswap eax pop ebp ret 4 [/32-bit] [64-bit] mov eax,[rcx] //eax now contains the bytes input pointed to bswap eax ret [/64-bit] ConvertBackRoutine [32-bit] push ebp mov ebp,esp push eax push ebx mov eax,[ebp+8] //load the value into eax mov ebx,[ebp+c] //load the address into ebx bswap eax mov [ebx],eax //write the value into the address pop ebx pop eax pop ebp ret 8 [/32-bit] [64-bit] bswap ecx mov [rdx],ecx //place the integer the 4 bytes pointed to by rdx ret [/64-bit] Once you pressed OK, you are set to go! But just to be sure, check if your value type has 3 new selections available. And when you want to scan for values in game, please use their big endian counterpart.
https://w.atwiki.jp/kiwia/pages/13.html
Laut ausländischen Medien Berichte, wird der Benutzer jailbreak iOS Geräte wirken auf den Einsatz von raubkopierter Software-Entwickler ein Spiel machen gelitten, aber Apple Game Center Game Center unterstützt den Anwender läuft Raubkopien Software-Entwickler, ist diese Praxis so sehr enttäuscht . Dieser Entwickler ist es, 99 Cent iPhone und iPad Spiel FingerKicks Unternehmen GAMEized entwickeln. Das Unternehmen diese Woche auf seiner offiziellen Website veröffentlicht, sagte 91% der FingerKicks Spieler sind mit Software-Raubkopien. Der Grund, warum dieses Spiel-Entwickler finden diese Situation, weil viele benutzen Raubkopien FingerKicks Spiel offen erhalten ihre Noten auf Apples iOS Game Center Game Center veröffentlicht. Obwohl dieses Fußball-Spiel zum Thema nur verkauft 1163 Exemplare, aber die Entwickler gesagt, mindestens 15.950 Kopien raubkopierte Spiele angemeldet Apple-FingerKicks Spiel-Center. Dieses Spiel-Entwickler sind sehr enttäuscht, in Frage gestellt, warum Apple es nicht verhindern, dass der Einsatz von raubkopierter Software-Anwendern, ihre Spiel-Center-Service Game Center zu genießen. Game Center Rechnung, da der Benutzer aus dem App Store mit dem Apple-Store für Software-Anwendungen von Identität verwendet kaufen miteinander verbunden sind. "Das erstaunlichste ist, dass trotz hochkarätigen Apple behauptet, um die Piraterie und Diebstahl geistigen Eigentums zu bestrafen, aber es ist Game Center Game Center offenbar nicht alle Anti-Piracy-Features setzen. In der Tat ermöglicht es Apple Benutzer sicher genug in ihren Spiel-Center Einsatz von Software-Raubkopien, ohne sich über die Konsequenzen zu tragen Sorge "GAMEized Lewis -. Seite Seka (Luis Fonseca) schrieb. Obwohl Apple einfach nur dasitzen und beobachten Sie die Praxis der Piraterie war enttäuscht, aber die Entwickler noch sagen, sie sind Apple-Produkte und Dienstleistungen von treuen Fans, das heißt, sie sich nur entwickeln, iOS-Version des Spiels. Durch die "Prison Break" iOS Betriebssystem kann der Anwender installieren Raubkopien auf IOS-Geräten. Prison Break ist die Lizenz ungültig Prozess, der die iOS System Sicherheitslücken verwendet zu machen, ist der Zweck, dem Benutzer erlauben, nicht autorisierte Software zu ermöglichen. Prison Break ist legitim und kann für legitime Zwecke, wie z. B. benutzerdefinierte Themen und ändern iOS verwendet werden. Es kann aber auch für illegale Zwecke verwendet werden, wie offizielle App von Apple-Store-Anwendung aus dem Speicher, um die Anwendung zu stehlen. Apple hat Nutzer davor gewarnt, nicht zu fliehen, da dies zu Sicherheitsrisiken führen kann. Entfliehen Sie im Zusammenhang mit Piraterie, verpflichtet zu finden iOS Schlupflöcher für Hacker ist gleichbedeutend mit einer Schande. Anfang dieses Monats veröffentlicht ein neues Browser-jailbreak-Prozess, und bat sogar den Anwender "Bitte stellen Sie dieses jailbreak Programm zur Piraterie."
https://w.atwiki.jp/iracing_wiki/pages/42.html
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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VIERTE SZENE Eva ist auf die Strasse getreten, hat sich schüchtern der Werkstatt genähert und steht jetzt unbemerkt an der Tür bei Sachs EVA Gut n Abend, Meister! Noch so fleissig? SACHS fährt angenehm überrascht auf Ei, Kind! Lieb Evchen! Noch so spät? Und doch, warum so spät noch, weiss ich die neuen Schuh ? EVA Wie fehl er rät! Die Schuh hab ich noch gar nicht probiert; sie sind so schön und reich geziert, dass ich sie noch nicht an die Füss mir getraut. Sie setzt sich dicht neben Sachs auf den Steinsitz SACHS Doch sollst sie morgen tragen als Braut? EVA Wer wäre denn Bräutigam? SACHS Weiss ich das? EVA Wie wisst Ihr dann, dass ich Braut? SACHS Ei was! - Das weiss die Stadt. EVA Ja, weiss es die Stadt, Freund Sachs gute Gewähr dann hat. Ich dacht , er wüsst mehr. SACHS Was sollt ich wissen? EVA Ei seht doch! Werd ich s ihm sagen müssen? Ich bin wohl recht dumm? SACHS Das sag ich nicht. EVA Dann wärt Ihr wohl klug? SACHS Das weiss ich nicht. EVA Ihr wisst nichts? Ihr sagt nichts? Ei, Freund Sachs, jetzt merk ich wahrlich, Pech ist kein Wachs. Ich hätt Euch für feiner gehalten. SACHS Kind, beid , Wachs und Pech, vertraut mir sind. Mit Wachs strich ich die seid nen Fäden, damit ich dir die zieren Schuh gefasst heut fass ich die Schuh mit dicht ren Drähten, da gilt s mit Pech für den derb ren Gast. EVA Wer ist denn der? Wohl was Recht s? SACHS Das mein ich! Ein Meister, stolz auf Freiers Fuss, denkt morgen zu siegen ganz alleinig Herrn Beckmessers Schuh ich richten muss. EVA So nehmt nur tüchtig Pech dazu da kleb er drin und lass mir Ruh ! SACHS Er hofft dich sicher zu ersingen. EVA Wieso denn der? SACHS Ein Junggesell ‘s gibt deren wenig dort zur Stell . EVA Könnt s einem Witwer nicht gelingen? SACHS Mein Kind, der wär zu alt für dich. EVA Ei, was! Zu alt? Hier gilt s der Kunst, wer sie versteht, der werb um mich! SACHS Lieb Evchen! Machst mir blauen Dunst? EVA Nicht ich! Ihr seid s; Ihr macht mir Flausen! Gesteht nur, dass Ihr wandelbar; Gott weiss, wer Euch jetzt im Herzen mag hausen, glaubt ich mich doch drin so manches Jahr. SACHS Wohl, da ich dich gern auf den Armen trug? EVA Ich seh , ‘s war nur, weil Ihr kinderlos. SACHS Hatt einst ein Weib und Kinder genug. EVA Doch starb Eure Frau, so wuchs ich gross. SACHS Gar gross und schön! EVA Da dacht ich aus, Ihr nähmt mich für Weib und Kind ins Haus. SACHS Da hätt ich ein Kind und auch ein Weib! ‘s wär ein lieber Zeitvertreib! Ja, ja! Das hast du dir schön erdacht. EVA Ich glaub , der Meister mich gar verlacht? Am End auch liess er sich gar gefallen, dass unter der Nas ihm weg vor allen der Beckmesser morgen mich ersäng ? SACHS Wer sollt s ihm wehren, wenn s ihm geläng ? Dem wüsst allein dein Vater Rat. EVA Wo so ein Meister den Kopf nur hat! Käm ich zu Euch wohl, fänd ich s zu Haus? SACHS trocken Ach ja! Hast recht! ‘s ist im Kopf mir kraus. Hab heut manch Sorg und Wirr erlebt da mag s dann sein, dass was drin klebt. EVA wieder näher rückend Wohl in der Singschul ? ‘s war heut Gebot. SACHS Ja, Kind! Eine Freiung machte mir Not. EVA Ja, Sachs! Das hättet Ihr gleich soll n sagen; quält Euch dann nicht mit unnützen Fragen. Nun sagt, wer war s, der Freiung begehrt? SACHS Ein Junker, Kind, gar unbelehrt. EVA wie heimlich Ein Ritter? Mein, sagt! Und ward er gefreit? SACHS Nichts da, mein Kind! ‘s gab gar viel Streit. EVA So sagt! Erzählt, wie ging es zu? Macht s Euch Sorg , wie liess mir es Ruh ? So bestand er übel und hat vertan? SACHS Ohne Gnad versang der Herr Rittersmann. MAGDALENE kommt zum Hause heraus und ruft leise Pst! Evchen! Pst! EVA eifrig zu Sachs gewandt Ohne Gnade? Wie? Kein Mittel gäb s, das ihm gedieh? Sang er so schlecht, so fehlervoll, dass nichts mehr zum Meister ihm helfen soll? SACHS Mein Kind, für den ist alles verloren, und Meister wird der in keinem Land; denn wer als Meister geboren, der hat unter Meistern den schlimmsten Stand. MAGDALENE vernehmlicher rufend Der Vater verlangt. EVA immer dringender zu Sachs So sagt mir noch an, ob keinen der Meister zum Freund er gewann? SACHS Das wär nicht übel! Freund ihm noch sein! Ihm, vor dem sich alle fühlten so klein? Den Junker Hochmut, lasst ihn laufen, mag er durch die Welt sich raufen; was wir erlernt mit Not und Müh , dabei lasst uns in Ruh verschnaufen hier renn er uns nichts über n Haufen, sein Glück ihm anderswo erblüh ! EVA erhebt sich zornig Ja, anderswo soll s ihm erblühn als bei euch garst gen, neid schen Mannsen; wo warm die Herzen noch erglühen, trotz allen tück schen Meister Hansen! - zu Magdalene Gleich, Lene, gleich! Ich komme schon! Was trüg ich hier für Trost davon? Da riecht s nach Pech, dass Gott erbarm ! Brennt er s lieber, da würd er doch warm! Sie geht sehr aufgeregt mit Magdalene über die Strasse hinüber und verweilt in grosser Unruhe unter der Tür des Hauses SACHS sieht ihr mit bedeutungsvollem Kopfnicken nach Das dacht ich wohl. Nun heisst s schaff Rat! Er ist während des Folgenden damit beschäftigt, auch die obere Ladentüre so weit zu schiessen dass sie nur ein wenig Licht noch durchlässt er selbst verschwindet so fast gänzlich MAGDALENE Hilf Gott! Wo bliebst du nur so spat? Der Vater rief. EVA Geh zu ihm ein ich sei zu Bett im Kämmerlein. MAGDALENE Nicht doch! Hör mich! Komm ich dazu? Beckmesser fand mich, er lässt nicht Ruh , zur Nacht sollst du dich ans Fenster neigen, er will dir was Schönes singen und geigen, mit dem er dich hofft zu gewinnen, das Lied, ob das dir nach Gefallen geriet. EVA Das fehlte auch noch! - Käme nur er! MAGDALENE Hast David gesehn? EVA Was soll mir der? Sie späht aus MAGDALENE für sich Ich war zu streng; er wird sich grämen. EVA Siehst du noch nichts? MAGDALENE tut, als spähe sie ‘s ist, als ob Leut dort kämen. EVA Wär er s? MAGDALENE Mach und komm jetzt hinan! EVA Nicht eh r, bis ich sah den teuersten Mann! MAGDALENE Ich täuschte mich dort, er war es nicht. Jetzt komm, sonst merkt der Vater die Geschicht ! EVA Ach, meine Angst! MAGDALENE Auch lass uns beraten, wie wir des Beckmessers uns entladen. EVA Zum Fenster gehst du für mich. Sie lauscht MAGDALENE Wie, ich? - für sich Das machte wohl David eiferlich? Er schläft nach der Gassen! Hihi, ‘s wär fein! EVA Da hör ich Schritte. MAGDALENE zu Eva Jetzt komm, es muss sein! EVA Jetzt näher! MAGDALENE Du irrst! ‘s ist nichts, ich wett . Ei, komm! Du musst, bis der Vater zu Bett. POGNERS STIMME von innen He! Lene! Eva! MAGDALENE ‘s ist höchste Zeit! Hörst du s? Komm! Dein Ritter ist weit. Sie zieht die sich sträubende Eva am Arm die Stufen zur Tür hinauf FÜNFTE SZENE Walther ist die Gasse heraufgekommen; jetzt biegt er um die Ecke herum Eva erblickt ihn, reisst sich von Magdalene los und stürzt Walther auf die Strasse entgegen EVA Da ist er! MAGDALENE Da haben wir s! Nun heisst s gescheit! Sie geht eilig in das Haus EVA ausser sich Ja, Ihr seid es! Nein, du bist es! Alles sag ich, denn Ihr wisst es; alles klag ich, denn ich weiss es; Ihr seid beides, Held des Preises und mein einz ger Freund! WALTHER leidenschaftlich Ach, du irrst! Bin nur dein Freund, doch des Preises noch nicht würdig, nicht den Meistern ebenbürtig. Mein Begeistern fand Verachten, und, ich weiss es, darf nicht trachten nach der Freundin Hand! EVA Wie du irrst! Der Freundin Hand, erteilt nur sie den Preis, wie deinen Mut ihr Herz erfand, reicht sie nur dir das Reis. WALTHER Ach nein, du irrst! Der Freundin Hand, wär keinem sie erkoren; wie sie des Vaters Wille band, mir war sie doch verloren. »Ein Meistersinger muss er sein, nur wen Ihr krönt, den darf sie frein!« So sprach er festlich zu den Herr n, kann nicht zurück, möcht er auch gern! Das eben gab mir Mut; wie ungewohnt mir alles schien, ich sang voll Lieb und Glut, dass ich den Meisterschlag verdien . Doch diese Meister! wütend Ha, diese Meister! Dieser Reim-Gesetze Leimen und Kleister! Mir schwillt die Galle, das Herz mir stockt, denk ich der Falle, darein ich gelockt! Fort in die Freiheit! Da hin gehör ich, da, wo ich Meister im Haus! Soll ich dich frei n heut, dich nun beschwör ich, komm und folg mir hinaus! Nichts steht zu hoffen; keine Wahl ist offen! Überall Meister, wie böse Geister seh ich sich rotten, mich zu verspotten mit den Gewerken, aus den Gemerken, aus allen Ecken, auf allen Flecken seh ich zu Haufen Meister nur laufen, mit höhnendem Nicken frech auf dich blicken, in Kreisen und Ringeln dich umzingeln, näselnd und kreischend zur Braut dich heischend, als Meisterbuhle auf dem Singestuhle, zitternd und bebend, hoch dich erhebend! Und ich ertrüg es, sollt es nicht wagen, gradaus tüchtig d rein zu schlagen? Man hört den starken Ruf eines Nachtwächterhorns Ha! ... Er hat mit emphatischer Gebärde die Hand an das Schwert gelegt und starrt wild vor sich hin EVA fasst ihn besänftigend bei der Hand Geliebter, spare den Zorn! ‘s war nur des Nachtwächters Horn. Unter der Linde birg dich geschwinde; hier kommt der Wächter vorbei. MAGDALENE ruft leise unter der Tür Evchen! ‘s ist Zeit mach dich frei! WALTHER Du fliehst? EVA lächelnd Muss ich denn nicht? WALTHER Entweichst? EVA mit zarter Bestimmtheit Dem Meistergericht. Sie verschwindet mit Magdalene im Hause Der NACHTWÄCHTER ist währenddem in der Gasse erschienen, kommt singend nach vorn, biegt um die Ecke von Pogners Haus und geht nach links ab Hört, ihr Leut , und lasst euch sagen, die Glock hat zehn geschlagen bewahrt das Feuer und auch das Licht, damit niemand kein Schad geschicht! Lobet Gott den Herrn! SACHS welcher hinter der Ladentür dem Gespräche gelauscht, öffnet jetzt, bei eingezogenem Lampenlicht, ein wenig mehr Üble Dinge, die ich da merk eine Entführung gar im Werk! Aufgepasst! Das darf nicht sein! WALTHER hinter der Linde Käm sie nicht wieder? o der Pein! - Eva kommt in Magdalenes Kleidung aus dem Hause; die Gestalt gewahrend Doch ja, sie kommt dort! - Weh mir, nein! Die Alte ist s! - Eva erblickt Walther und eilt auf ihn zu Doch aber - ja! EVA Das tör ge Kind da hast du s! Da! Sie wirft sich ihm heiter an die Brust WALTHER hingerissen O Himmel! Ja, nun wohl ich weiss, dass ich gewann den Meisterpreis! EVA Doch nun kein Besinnen! Von hinnen! Von hinnen! o wären wir schon fort! WALTHER Hier durch die Gasse dort finden wir vor dem Tor Knecht und Rosse vor. Nachtwächterhorn entfernt. Als sich beide wenden, um in die Gasse einzubiegen, lässt Sachs, nachdem er die Lampe hinter eine Glaskugel gestellt, durch die ganz wieder geöffnete Ladentür einen grellen Lichtschein quer über die Strasse fallen, so dass Eva und Walther sich plötzlich hell beleuchtet sehen EVA Walther hastig zurückziehend O weh, der Schuster! Wenn er uns säh ! Birg dich! Komm ihm nicht in die Näh ! WALTHER Welch and rer Weg führt uns hinaus? EVA Dort durch die Strasse doch der ist kraus, ich kenn ihn nicht gut; auch stiessen wir dort auf den Wächter. WALTHER Nun denn durch die Gasse! EVA Der Schuster muss erst vom Fenster fort. WALTHER Ich zwing ihn, dass er s verlasse. EVA Zeig dich ihm nicht er kennt dich! WALTHER Der Schuster? EVA ‘s ist Sachs! WALTHER Hans Sachs? Mein Freund! EVA Glaub s nicht! Von dir Übles zu sagen nur wusst er. WALTHER Wie, Sachs? Auch er? Ich lösch ihm das Licht. VIERTE SZENE Eva ist auf die Strasse getreten, hat sich schüchtern der Werkstatt genähert und steht jetzt unbemerkt an der Tür bei Sachs EVA Gut n Abend, Meister! Noch so fleissig? SACHS fährt angenehm überrascht auf Ei, Kind! Lieb Evchen! Noch so spät? Und doch, warum so spät noch, weiss ich die neuen Schuh ? EVA Wie fehl er rät! Die Schuh hab ich noch gar nicht probiert; sie sind so schön und reich geziert, dass ich sie noch nicht an die Füss mir getraut. Sie setzt sich dicht neben Sachs auf den Steinsitz SACHS Doch sollst sie morgen tragen als Braut? EVA Wer wäre denn Bräutigam? SACHS Weiss ich das? EVA Wie wisst Ihr dann, dass ich Braut? SACHS Ei was! - Das weiss die Stadt. EVA Ja, weiss es die Stadt, Freund Sachs gute Gewähr dann hat. Ich dacht , er wüsst mehr. SACHS Was sollt ich wissen? EVA Ei seht doch! Werd ich s ihm sagen müssen? Ich bin wohl recht dumm? SACHS Das sag ich nicht. EVA Dann wärt Ihr wohl klug? SACHS Das weiss ich nicht. EVA Ihr wisst nichts? Ihr sagt nichts? Ei, Freund Sachs, jetzt merk ich wahrlich, Pech ist kein Wachs. Ich hätt Euch für feiner gehalten. SACHS Kind, beid , Wachs und Pech, vertraut mir sind. Mit Wachs strich ich die seid nen Fäden, damit ich dir die zieren Schuh gefasst heut fass ich die Schuh mit dicht ren Drähten, da gilt s mit Pech für den derb ren Gast. EVA Wer ist denn der? Wohl was Recht s? SACHS Das mein ich! Ein Meister, stolz auf Freiers Fuss, denkt morgen zu siegen ganz alleinig Herrn Beckmessers Schuh ich richten muss. EVA So nehmt nur tüchtig Pech dazu da kleb er drin und lass mir Ruh ! SACHS Er hofft dich sicher zu ersingen. EVA Wieso denn der? SACHS Ein Junggesell ‘s gibt deren wenig dort zur Stell . EVA Könnt s einem Witwer nicht gelingen? SACHS Mein Kind, der wär zu alt für dich. EVA Ei, was! Zu alt? Hier gilt s der Kunst, wer sie versteht, der werb um mich! SACHS Lieb Evchen! Machst mir blauen Dunst? EVA Nicht ich! Ihr seid s; Ihr macht mir Flausen! Gesteht nur, dass Ihr wandelbar; Gott weiss, wer Euch jetzt im Herzen mag hausen, glaubt ich mich doch drin so manches Jahr. SACHS Wohl, da ich dich gern auf den Armen trug? EVA Ich seh , ‘s war nur, weil Ihr kinderlos. SACHS Hatt einst ein Weib und Kinder genug. EVA Doch starb Eure Frau, so wuchs ich gross. SACHS Gar gross und schön! EVA Da dacht ich aus, Ihr nähmt mich für Weib und Kind ins Haus. SACHS Da hätt ich ein Kind und auch ein Weib! ‘s wär ein lieber Zeitvertreib! Ja, ja! Das hast du dir schön erdacht. EVA Ich glaub , der Meister mich gar verlacht? Am End auch liess er sich gar gefallen, dass unter der Nas ihm weg vor allen der Beckmesser morgen mich ersäng ? SACHS Wer sollt s ihm wehren, wenn s ihm geläng ? Dem wüsst allein dein Vater Rat. EVA Wo so ein Meister den Kopf nur hat! Käm ich zu Euch wohl, fänd ich s zu Haus? SACHS trocken Ach ja! Hast recht! ‘s ist im Kopf mir kraus. Hab heut manch Sorg und Wirr erlebt da mag s dann sein, dass was drin klebt. EVA wieder näher rückend Wohl in der Singschul ? ‘s war heut Gebot. SACHS Ja, Kind! Eine Freiung machte mir Not. EVA Ja, Sachs! Das hättet Ihr gleich soll n sagen; quält Euch dann nicht mit unnützen Fragen. Nun sagt, wer war s, der Freiung begehrt? SACHS Ein Junker, Kind, gar unbelehrt. EVA wie heimlich Ein Ritter? Mein, sagt! Und ward er gefreit? SACHS Nichts da, mein Kind! ‘s gab gar viel Streit. EVA So sagt! Erzählt, wie ging es zu? Macht s Euch Sorg , wie liess mir es Ruh ? So bestand er übel und hat vertan? SACHS Ohne Gnad versang der Herr Rittersmann. MAGDALENE kommt zum Hause heraus und ruft leise Pst! Evchen! Pst! EVA eifrig zu Sachs gewandt Ohne Gnade? Wie? Kein Mittel gäb s, das ihm gedieh? Sang er so schlecht, so fehlervoll, dass nichts mehr zum Meister ihm helfen soll? SACHS Mein Kind, für den ist alles verloren, und Meister wird der in keinem Land; denn wer als Meister geboren, der hat unter Meistern den schlimmsten Stand. MAGDALENE vernehmlicher rufend Der Vater verlangt. EVA immer dringender zu Sachs So sagt mir noch an, ob keinen der Meister zum Freund er gewann? SACHS Das wär nicht übel! Freund ihm noch sein! Ihm, vor dem sich alle fühlten so klein? Den Junker Hochmut, lasst ihn laufen, mag er durch die Welt sich raufen; was wir erlernt mit Not und Müh , dabei lasst uns in Ruh verschnaufen hier renn er uns nichts über n Haufen, sein Glück ihm anderswo erblüh ! EVA erhebt sich zornig Ja, anderswo soll s ihm erblühn als bei euch garst gen, neid schen Mannsen; wo warm die Herzen noch erglühen, trotz allen tück schen Meister Hansen! - zu Magdalene Gleich, Lene, gleich! Ich komme schon! Was trüg ich hier für Trost davon? Da riecht s nach Pech, dass Gott erbarm ! Brennt er s lieber, da würd er doch warm! Sie geht sehr aufgeregt mit Magdalene über die Strasse hinüber und verweilt in grosser Unruhe unter der Tür des Hauses SACHS sieht ihr mit bedeutungsvollem Kopfnicken nach Das dacht ich wohl. Nun heisst s schaff Rat! Er ist während des Folgenden damit beschäftigt, auch die obere Ladentüre so weit zu schiessen dass sie nur ein wenig Licht noch durchlässt er selbst verschwindet so fast gänzlich MAGDALENE Hilf Gott! Wo bliebst du nur so spat? Der Vater rief. EVA Geh zu ihm ein ich sei zu Bett im Kämmerlein. MAGDALENE Nicht doch! Hör mich! Komm ich dazu? Beckmesser fand mich, er lässt nicht Ruh , zur Nacht sollst du dich ans Fenster neigen, er will dir was Schönes singen und geigen, mit dem er dich hofft zu gewinnen, das Lied, ob das dir nach Gefallen geriet. EVA Das fehlte auch noch! - Käme nur er! MAGDALENE Hast David gesehn? EVA Was soll mir der? Sie späht aus MAGDALENE für sich Ich war zu streng; er wird sich grämen. EVA Siehst du noch nichts? MAGDALENE tut, als spähe sie ‘s ist, als ob Leut dort kämen. EVA Wär er s? MAGDALENE Mach und komm jetzt hinan! EVA Nicht eh r, bis ich sah den teuersten Mann! MAGDALENE Ich täuschte mich dort, er war es nicht. Jetzt komm, sonst merkt der Vater die Geschicht ! EVA Ach, meine Angst! MAGDALENE Auch lass uns beraten, wie wir des Beckmessers uns entladen. EVA Zum Fenster gehst du für mich. Sie lauscht MAGDALENE Wie, ich? - für sich Das machte wohl David eiferlich? Er schläft nach der Gassen! Hihi, ‘s wär fein! EVA Da hör ich Schritte. MAGDALENE zu Eva Jetzt komm, es muss sein! EVA Jetzt näher! MAGDALENE Du irrst! ‘s ist nichts, ich wett . Ei, komm! Du musst, bis der Vater zu Bett. POGNERS STIMME von innen He! Lene! Eva! MAGDALENE ‘s ist höchste Zeit! Hörst du s? Komm! Dein Ritter ist weit. Sie zieht die sich sträubende Eva am Arm die Stufen zur Tür hinauf FÜNFTE SZENE Walther ist die Gasse heraufgekommen; jetzt biegt er um die Ecke herum Eva erblickt ihn, reisst sich von Magdalene los und stürzt Walther auf die Strasse entgegen EVA Da ist er! MAGDALENE Da haben wir s! Nun heisst s gescheit! Sie geht eilig in das Haus EVA ausser sich Ja, Ihr seid es! Nein, du bist es! Alles sag ich, denn Ihr wisst es; alles klag ich, denn ich weiss es; Ihr seid beides, Held des Preises und mein einz ger Freund! WALTHER leidenschaftlich Ach, du irrst! Bin nur dein Freund, doch des Preises noch nicht würdig, nicht den Meistern ebenbürtig. Mein Begeistern fand Verachten, und, ich weiss es, darf nicht trachten nach der Freundin Hand! EVA Wie du irrst! Der Freundin Hand, erteilt nur sie den Preis, wie deinen Mut ihr Herz erfand, reicht sie nur dir das Reis. WALTHER Ach nein, du irrst! Der Freundin Hand, wär keinem sie erkoren; wie sie des Vaters Wille band, mir war sie doch verloren. »Ein Meistersinger muss er sein, nur wen Ihr krönt, den darf sie frein!« So sprach er festlich zu den Herr n, kann nicht zurück, möcht er auch gern! Das eben gab mir Mut; wie ungewohnt mir alles schien, ich sang voll Lieb und Glut, dass ich den Meisterschlag verdien . Doch diese Meister! wütend Ha, diese Meister! Dieser Reim-Gesetze Leimen und Kleister! Mir schwillt die Galle, das Herz mir stockt, denk ich der Falle, darein ich gelockt! Fort in die Freiheit! Da hin gehör ich, da, wo ich Meister im Haus! Soll ich dich frei n heut, dich nun beschwör ich, komm und folg mir hinaus! Nichts steht zu hoffen; keine Wahl ist offen! Überall Meister, wie böse Geister seh ich sich rotten, mich zu verspotten mit den Gewerken, aus den Gemerken, aus allen Ecken, auf allen Flecken seh ich zu Haufen Meister nur laufen, mit höhnendem Nicken frech auf dich blicken, in Kreisen und Ringeln dich umzingeln, näselnd und kreischend zur Braut dich heischend, als Meisterbuhle auf dem Singestuhle, zitternd und bebend, hoch dich erhebend! Und ich ertrüg es, sollt es nicht wagen, gradaus tüchtig d rein zu schlagen? Man hört den starken Ruf eines Nachtwächterhorns Ha! ... Er hat mit emphatischer Gebärde die Hand an das Schwert gelegt und starrt wild vor sich hin EVA fasst ihn besänftigend bei der Hand Geliebter, spare den Zorn! ‘s war nur des Nachtwächters Horn. Unter der Linde birg dich geschwinde; hier kommt der Wächter vorbei. MAGDALENE ruft leise unter der Tür Evchen! ‘s ist Zeit mach dich frei! WALTHER Du fliehst? EVA lächelnd Muss ich denn nicht? WALTHER Entweichst? EVA mit zarter Bestimmtheit Dem Meistergericht. Sie verschwindet mit Magdalene im Hause Der NACHTWÄCHTER ist währenddem in der Gasse erschienen, kommt singend nach vorn, biegt um die Ecke von Pogners Haus und geht nach links ab Hört, ihr Leut , und lasst euch sagen, die Glock hat zehn geschlagen bewahrt das Feuer und auch das Licht, damit niemand kein Schad geschicht! Lobet Gott den Herrn! SACHS welcher hinter der Ladentür dem Gespräche gelauscht, öffnet jetzt, bei eingezogenem Lampenlicht, ein wenig mehr Üble Dinge, die ich da merk eine Entführung gar im Werk! Aufgepasst! Das darf nicht sein! WALTHER hinter der Linde Käm sie nicht wieder? o der Pein! - Eva kommt in Magdalenes Kleidung aus dem Hause; die Gestalt gewahrend Doch ja, sie kommt dort! - Weh mir, nein! Die Alte ist s! - Eva erblickt Walther und eilt auf ihn zu Doch aber - ja! EVA Das tör ge Kind da hast du s! Da! Sie wirft sich ihm heiter an die Brust WALTHER hingerissen O Himmel! Ja, nun wohl ich weiss, dass ich gewann den Meisterpreis! EVA Doch nun kein Besinnen! Von hinnen! Von hinnen! o wären wir schon fort! WALTHER Hier durch die Gasse dort finden wir vor dem Tor Knecht und Rosse vor. Nachtwächterhorn entfernt. Als sich beide wenden, um in die Gasse einzubiegen, lässt Sachs, nachdem er die Lampe hinter eine Glaskugel gestellt, durch die ganz wieder geöffnete Ladentür einen grellen Lichtschein quer über die Strasse fallen, so dass Eva und Walther sich plötzlich hell beleuchtet sehen EVA Walther hastig zurückziehend O weh, der Schuster! Wenn er uns säh ! Birg dich! Komm ihm nicht in die Näh ! WALTHER Welch and rer Weg führt uns hinaus? EVA Dort durch die Strasse doch der ist kraus, ich kenn ihn nicht gut; auch stiessen wir dort auf den Wächter. WALTHER Nun denn durch die Gasse! EVA Der Schuster muss erst vom Fenster fort. WALTHER Ich zwing ihn, dass er s verlasse. EVA Zeig dich ihm nicht er kennt dich! WALTHER Der Schuster? EVA ‘s ist Sachs! WALTHER Hans Sachs? Mein Freund! EVA Glaub s nicht! Von dir Übles zu sagen nur wusst er. WALTHER Wie, Sachs? Auch er? Ich lösch ihm das Licht. Wagner,Richard/Die Meistersinger von Nürnberg/ActⅡ-3
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操作方法 このゲームは2Dなのでクリックによる移動ではなく矢印キーでの移動になります。 なので3Dオンラインゲームとはまた違った遊び方が出来ます。 基本操作(初期配置対応) 左右矢印キー キャラクターを左右に移動させます。 ↑キー ロープの登り・ポータルの出入りに使用します。 ↓キー しゃがみ・ロープの下りに使用します。またお辞儀にも使用されています。 Z アイテムを拾うのに使用します。 C ジャンプに使用します。 x 基本攻撃動作に入ります(武器によって攻撃する種類が変わる) Enter 会話メニューに移る NCPをダブルクリック NCPと会話する。 順基本操作(初期配置対応) E 装備ウィンドウを開く・閉じる I アイテムウィンドウを開く・閉じる S ステータスウィンドウを開く・閉じる K スキルブックを開く・閉じる R フレンドリストを開く・閉じる G ギルドを開く・閉じる M メッセンジャーを開く・閉じる H 内緒を送る A ベンチに座る Q クエストウィンドウを開く・閉じる W ワールドマップを開く・閉じる M マップを拡大させる・縮小する 自分以外のユーザーに右クリック ユーザーの情報を見る・グループに誘う・ギルドに誘う・交換を申し込む 自分をダブルクリックする 自分の情報を見る P キー設定を確認・変更する 持っているアイテムをダブルクリック アイテムを使用・装着 中級操作 持っているアイテムをクリック アイテムを掴む アイテムを掴んでアイテム画面の外でクリック アイテムを捨てる キー設定画面のところにスキルを配置してそのキーを押す スキル発動 交換窓のアイテム欄にアイテムを置く 交換に出される Scroll lock スクリーンショットを撮る(ノートの場合はFnと同時押し) 上級動作(初期設定対応) Alt＋Tab(Esc)メイプルストーリーを最小化 Q＋Aに指を配置しｐ；まで一気にスライド あｑｗ背ｄｒｆｔｇｙふじこｌｐ；が出る Escでメニューを開いた後矢印キーを押す メニューコマンドを変更 Alt＋F4を押す メイプルストーリー強制終了 F5を押す IMEパッドを出現させ画面がおかしくなる。 不可解な言葉を発言する 悪口と扱われる。 Cを長押しする キャラがぴょンぴょン跳ねる。 敵を攻撃して止めを刺さず別の敵に攻撃してこれを繰り返す 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【Tags 9 Batapan-P Gumi t9 tN N】 Original Music title 99minutes theater English music title Ninety nine minutes theater Romaji music title 99minutes theater Music Lyrics written, Voice edition by バタパンP (Batapan-P) Music arranged by バタパンP (Batapan-P) Singer(s) Gumi (Megpoid) Click here for the original Japanese Lyrics English Lyrics (translated by renna_usagi)： We spend our days behind bars and in the rain Ahead of the exit Broken you Broken me Monotone LIFE Cloudy CO2 Spitting it all around day-to-day There's no particular meaning As ever, you say you that admire the love of two people in this world. The things I terribly want to say disappear I'm not a freak show "Reason, emotion" Repeated breathing Towards the overcast sky I can't perform I love you, dressed in sin, too much "Now, come here..." Time stops right now in this closed world HappyeEnd Roll? BadEnd Night? Anyway, there's only one ending HappyeEnd Roll? BadEnd Night? Even if only in a dream, am I laughing? I don't know! In this unfortunate fate A gentle hand was offered "Shall we dance?" An emotional closing is on a different screen Applause-- Blessings are ridiculing The things I understand The discharging voice is running* A comical beauty The future is crammed in a hangar A wonderful ED in the darkness In the offset original text that cannot be overwritten Merely overlooking from this place The outside is too bright Create a small birdcase "A patched paradise" I want to disappear I ask this meaningless fate shaliran shari'da At the end of the unchanging scenario The curtain closes, my role 99minutes on the stage. We sing a song "shaliran shali'da" Isn't needed, won't become 99minutes on the stage. We sing a song "shaliran shali'da" We will now present to you all the consequences of a single mind Romaji lyrics (transliterated by haru47)： tetsugoushi to ame no naka de sugosu hibi deguchi no saki kowareta kimi kowareta boku tannchou LIFE nigotta CO2 hakichirasu hibi tokuni imi mo nai ai mo kawarazu konnna sekai de futari no ai wo medeteimasu tte iu, sannzann iitai koto itte kieteyuku misemono janai "risei,kannjou" kurikaesu kokyuu kumotta sora e narikirenai tsumi matsuwatta kimi ga itoshisugite "sala oide･･･" tozasareta sekai de ima,toki wo tomete douse ketsumatsu wa hitotsu dake de Happye End Roll? Bad End Night? yume no naka dake demo boku wa waraetemasu ka? shiranai! sachi nai kono unnmei ni sotto te wo sashidashi "Shall we dance?" kanndouteki shuumaku wa betsu no sukuri-nn de hakushukassai shukufuku ga warau wakatta youna koto tarenagasu koe wa sora mawaru kokkeina bi kakunouko ni tsumekonnda mirai wa sou makkura de subarashii ED uwagaki fukanou → sousai genntennde kono basho de tada nagameru soto ga mabushisugite chiisana torikago ni tsukuru "tsugihagi no rakuenn" kietai imi nai kono unnmei ni toikakeru sharirann sharira kawaranai shinario wa shuubann de maku orosu boku no yaku iranai 99minutes on the stage. We sing a song "shaliran shali'da" tannnouteki ketsumatsu wo ima anata tachi eto okurimasu. [Batapan-P, BatapanP, vataco]
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