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https://w.atwiki.jp/printedboxes/pages/10.html
Soap Packaging Provides you a Strong Edge Brands always try to style their products to look good to entice new clients. For this drive, Soap Packaging can help to achieve a slick look. Thus, it helps to enhance the aesthetics of the designs and to aid with sales efforts. Moreover, anyone with a business can take advantage of it, irrespective of what they vend. With its solutions, you can encounter all your product packaging needs. Furthermore, the use of boxes for display is not always ideal for all products. The cost of it is high, and you cannot modify it. In the real world, belongings tend not to exertion that way. https //custompackagingpro.com/product-category/other-products/soap-boxes Save Money and Boost Sales with Soap Packaging Cardboard and paperboard work fine for these, and you can find them easily. So, ensure that your goods shine in the best light through Soap Packaging. In addition to this, there are several materials options available like cardstock, rigid, etc. Likewise, instead of purchasing numerous small boxes, some boxes will be enough to display smaller things in one place. Meanwhile, you can save a lot of money if you order extensively. Thus, besides being cheap and accessible, counter displays are also calm to find. Promoting and selling your brands is one of their main aids. In this way, boxes for display are perfect for alluring demos for numerous good reasons. Soap Packaging is a Multipurpose Option Brands can display goods in a variety of imaginative ways with the help of this way. Unlike regular Soap Packaging, the presentation of packaging offers more choices than regular packaging. The typical boxes for storing these products are shaped like a distributor and come in numerous sizes. But it can be changed to suit specific desires. In addition, shapes like rectangles or triangles are available. So, a cardboard staircase inside the boxes can add more flair. Numerous renowned brands always use various boxes for your goods. Moreover, boxes for display usually adorn entry pledges. Your goods can sell when you use a special display that clients will notice. Also Read https //w.atwiki.jp/printedboxes/ Soap Packaging can be an Icon of Pride The importance of setting the brands apart is well recognized by you. If you’re tired of providing top-notch goods, you need to pay consideration to how they appear in the store. Thus, your product stands out in an exclusive way with Soap Packaging. Your brands will remain in the minds of your customers if you get their attention. Moreover, showing off your brands is dynamic no matter how you display your goods, if on shelves or in boxes. The user’s image of your brand is largely subject to your packaging. Likewise, you can place your logo and product name on the sides of the boxes for show. A brand will catch the thought of customers during the buying process. Custom Packaging also Provides Details about Products The boxes side and goal have a chance to market the products. Thus, Custom Packaging provides sufficient room to display details if you ponder there isn’t enough space. Thus, branding and product features are vital on the side; don’t disregard them. Likewise, make the text bold, so users have a calmer time reading it. Your brands will appear more specialized when presented in such boxes for extensive display. There is no point in by means of plain or generic boxes. Be certain to make consumers perceive the packaging as being high-end. https //custompackagingpro.com/ Custom Packaging Improves the Look of your Products Packaging for displays continuously raises images of boring designs when thinking about it. But no extension applies. Thus, colors, text, and graphics are adjustable on the boxes. Also, you decide what to do. The inside and outside of the boxes can both be customized. Thus, your clients will choose you over your competitors if you customize the Custom Packaging. There are numerous boxes styles available. Similarly, you can use inserts to appeal to the customers. Customers will come back for repeat acquisitions if they like your products once. The product s value will rise, and customers will be more inclined to acquire it when they select customized presentation boxes. Custom Packaging is Appropriate for Recycling and Reusing This packaging can be cast-off, which is one of its most protruding features. Also, the materials are suitable for the creation of new boxes. Also, using this method might be an excessive way to save you money in the extended run. The sales will also be high, which is added plus. Your brands will be more widespread if you offer Eco-friendly packaging to your customers. Your products appear with class in Custom Packaging. Also, a real way to display the products is with strong and elegant boxes.
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Total - (Today - Yesterday - ) 最終更新日 2011/05/21 11 34 kaiengine実行について、基本的にはこんな感じで実行すればいいのですが、それだけでは不十分な場合もあったりします。 $ sudo LANG=ja_JP.SJIS /path/to/kaiengine /path/to/はkaiengineのパス ERROR発生してぜんぜん動かなかったり 動くことは動くけどWARNINGがたくさん表示されたり そういう場合、ディストリビューションやバージョン、32/64-bitカーネルなど環境の違いに応じた追加設定を施してkaiengineを実行しましょう。 前半は環境別の変数設定を中心に、後半をERROR/WARNINGなど症状と対策に分けました。 1.環境にあわせたkaiengine.shを作成する1.1. ubuntuの例 1.2. debianの例 1.3. fedoraの例 1.4. opensuseの例 1.5. slackwareの例 1.6. その他1.6.1. archlinuxの例 1.6.2. puppyの例 2.ERROR/WARNING別の症状と対策について2.1. 文字化け、日本語LANG指定しているのに日本語が文字化け #1 LANG指定しているのに日本語が文字化け #2 [~](チルダ)が[‾](オーバーライン)に化ける LC_ALL指定しているのに日本語が文字化け #3 2.2. XサーバNo protocol specified DISPLAY未定義 2.3. ライブラリGTK_PATH未定義 GTK_IM_MODULE_FILE未定義 GDK_PIXBUF_MODULE_FILE未定義 GDK_PIXBUF_MODULE_FILE不正 cannot open shared object file Pango-CRITICAL ** No modules found 2.4. その他Cannot convert from the charset 'Unknown encoding (-1)'! コメント 1.環境にあわせたkaiengine.shを作成する kaiengine.shの基本形を次のように考えた場合、5～6行目を環境に合わせて調整しましょう。 その他の環境変数設定によって、別途設定ファイルを用意する必要があることにも注意してください。 1 #!/bin/bash 2 XLINKKAI_HOME=$HOME/.XLinkKai == "ユーザー設定ファイルを置く場所" 3 XLINKKAI_PATH=/usr/local/bin == "kaiengineプログラムを置く場所" 4 cd $XLINKKAI_HOME 5 "環境によっては事前に何か設定する" 6 sudo LANG=ja_JP.SJIS "その他の環境変数設定" $XLINKKAI_PATH/kaiengine 下記以外の環境で使用している場合は情報追加またはコメントへの投稿をお願いします。 1.1. ubuntuの例 Ver. 版 例 備考 10.0410.1011.04 i386 sudo LANG=ja_JP.SJIS $XLINKKAI_PATH/kaiengine 10.04 amd64 sudo LANG=ja_JP.SJIS GTK_IM_MODULE_FILE=/etc/gtk-2.0/gtk.immodules.32 $XLINKKAI_PATH/kaiengine 11.04 amd64 sudo LANG=ja_JP.SJIS GTK_IM_MODULE_FILE=/etc/gtk-2.0/gtk.immodules.32 GDK_PIXBUF_MODULE_FILE=/etc/gtk-2.0/gdk-pixbuf.loaders.32 $XLINKKAI_PATH/kaiengine /etc/gtk-2.0/gtk.immodules.32と/etc/gtk-2.0/gdk-pixbuf.loaders.32は後半を参照してください 1.2. debianの例 Ver. 版 例 備考 5.06.0 i386 sudo LANG=ja_JP.SJIS $XLINKKAI_PATH/kaiengine 6.0 amd64 sudo LANG=ja_JP.SJIS GTK_PATH=/usr/lib32/gtk-2.0 $XLINKKAI_PATH/kaiengine 1.3. fedoraの例 Ver. 版 例 備考 11.311.4 i586x86_64 sudo LANG=ja_JP.SJIS $XLINKKAI_PATH/kaiengine 1.4. opensuseの例 Ver. 版 例 備考 11.3 i586 xhost +local sudo DISPLAY= 0.0 LANG=ja_JP.CP932 $XLINKKAI_PATH/kaiengine 11.4 i586x86_64 xhost +local sudo LD_LIBRARY_PATH=/usr/lib/wx-2.8-wxcontainer $LD_LIBRARY_PATH DISPLAY= 0.0 LANG=ja_JP.CP932 $XLINKKAI_PATH/kaiengine 1.5. slackwareの例 Ver. 版 例 備考 13.113.37 i486x86_64 sudo LC_ALL=ja_JP.SJIS $XLINKKAI_PATH/kaiengine 1.6. その他 1.6.1. archlinuxの例 Ver. 版 例 備考 - i686x86_64 sudo LC_ALL=ja_JP.SJIS $XLINKKAI_PATH/kaiengine 1.6.2. puppyの例 Ver. 版 例 備考 4.3.1 - LC_ALL=ja_JP.SJIS $XLINKKAI_PATH/kaiengine 2.ERROR/WARNING別の症状と対策について 下記以外のERROR/WARNINGが発生している場合は情報追加またはコメントへの投稿をお願いします。 2.1. 文字化け、日本語 LANG指定しているのに日本語が文字化け #1 症状 日本語が文字化けする 環境 すべて 対策 ja_JP.SJISロケールを登録する。sudo localedef -f WINDOWS-31J -i ja_JP ja_JP.SJIS 備考 locale -a | grep ja_JP として確認、ja_JP.SJISが一覧に表示されてますか。 LANG指定しているのに日本語が文字化け #2 症状 日本語が文字化けする 環境 slackware, archlinux 対策 kaiengine実行時に、LC_ALL=ja_JP.SJIS を設定 備考 [~](チルダ)が[‾](オーバーライン)に化ける 症状 [~](チルダ)が[‾](オーバーライン)に化ける 環境 openSUSE 対策 kaiengine実行時に、LANG=ja_JP.cp932を設定。openSUSEはOS導入直後からja_JP.SJIS定義済みなのだが、WINDOWS-31JではなくてSHIFT_JISでロケール生成されてるみたい。紛らわしいけど、ja_JP.SJISはそのまま残して、ja_JP.cp932の名前で登録しましょう。 備考 同様の症状は他環境でも確認できる。ja_JP.SJISロケールを次にようにすると症状発生。sudo localedef -f SHIFT_JIS -i ja_JP ja_JP.SJIS LC_ALL指定しているのに日本語が文字化け #3 症状 Gdk-WARNING ** locale not supported by C libraryGtk-WARNING ** Locale not supported by C library. Using the fallback C locale. 環境 slackware x86_64 multilib 対策 sudo localedef -f WINDOWS-31J -i ja_JP ja_JP.SJIS 後に、/usr/lib64/locale/locale-archiveファイルを/usr/lib/locale/へコピーします。 備考 2.2. Xサーバ No protocol specified 症状 No protocol specified 環境 openSUSE, slackware, archlinux 対策 kaiengine実行前に xhost +local を設定 備考 DISPLAYも確認するといいかも DISPLAY未定義 症状 何も表示されず即終了してしまう 環境 openSUSE 対策 kaiengine実行時に DISPLAY 0.0 を設定 備考 何も表示されないため分かりにくい。動かないということだけはすぐに分かる 2.3. ライブラリ GTK_PATH未定義 症状 Gtk-WARNING ** /usr/lib/gtk-2.0/2.10.0/engines/libclearlooks.so wrong ELF class ELFCLASS64 環境 debian 対策 kaiengine実行時に GTK_PATH=/usr/lib32/gtk-2.0を設定 備考 GTK_IM_MODULE_FILE未定義 症状 Gtk-WARNING ** /usr/lib/gtk-2.0/2.10.0/immodules/im-xim.so 間違った ELF クラスです ELFCLASS64Gtk-WARNING ** Loading IM context type xim failed 環境 ubuntu 10.04, 11.04 対策 kaiengine実行時に GTK_IM_MODULE_FILE=/etc/gtk-2.0/gtk.immodules.32を設定 備考 /etc/gtk-2.0/gtk.immodules.32ファイルは次のように生成する。sudo sh -c /usr/lib32/libgtk2.0-0/gtk-query-immodules-2.0 /etc/gtk-2.0/gtk.immodules.32 GDK_PIXBUF_MODULE_FILE未定義 症状 GdkPixbuf-WARNING ** Error loading XPM image loader 画像ロード・モジュールを読み込めません /usr/lib/gdk-pixbuf-2.0/2.10.0/loaders/libpixbufloader-xpm.so /usr/lib/gdk-pixbuf-2.0/2.10.0/loaders/libpixbufloader-xpm.so 間違った ELF クラスです ELFCLASS64Gdk-CRITICAL ** IA__gdk_drawable_get_size assertion `GDK_IS_DRAWABLE (drawable) failedGdk-CRITICAL ** IA__gdk_drawable_get_depth assertion `GDK_IS_DRAWABLE (drawable) failedkaiengine起動時スプラッシュ画像、パネルのkaiアイコンが灰色表示になる。 環境 ubuntu 11.04 対策 kaiengine実行時に GDK_PIXBUF_MODULE_FILE=/etc/gtk-2.0/gdk-pixbuf.loaders.32を設定 備考 /etc/gtk-2.0/gdk-pixbuf.loaders.32ファイルは次のように生成する。sudo sh -c GDK_PIXBUF_MODULEDIR=/usr/lib32/gdk-pixbuf-2.0/2.10.0/loaders /usr/lib32/gdk-pixbuf-2.0/gdk-pixbuf-query-loaders /etc/gtk-2.0/gdk-pixbuf.loaders.32 GDK_PIXBUF_MODULE_FILE不正 症状 GdkPixbuf-WARNING ** Cannot open pixbuf loader module file /usr/lib/gdk-pixbuf-2.0/2.10.0/loaders.cache そのようなファイルやディレクトリはありません 環境 slackware x86_64 multilib 対策 /usr/lib/gdk-pixbuf-2.0/2.10.0/loaders.cacheを作成します。 備考 cannot open shared object file 症状 error while loading shared libraries libwx_gtk2u_richtext-2.8.so.0 cannot open shared object file No such file or directory 環境 openSUSE 11.4 対策 openSUSE 11.4の場合、kaiengine実行時 LD_LIBRARY_PATH=/usr/lib/wx-2.8-wxcontainer $LD_LIBRARY_PATHを設定 備考 openSUSE 11.4の場合、3種類のwxGTKが提供されているので、さらに注意が必要 Pango-CRITICAL ** No modules found 症状 Pango-CRITICAL ** No modules found No builtin or dynamically loaded modules were found.PangoFc will not work correctly.This probably means there was an error in the creation of /etc/pango/pango.modules You should create this file by running pango-querymodules /etc/pango/pango.modules Pango-WARNING ** failed to choose a font, expect ugly output. engine-type= PangoRenderFc , script= common Pango-WARNING ** failed to choose a font, expect ugly output. engine-type= PangoRenderFc , script= latin 環境 slackware x86_64 32-bit chroot 対策 (1)pango.modulesファイルの作成(生成するパスは環境によって違うと思います)/usr/bin/pango-querymodules /etc/pango/i486-slackware-linux/pango.modules(2)/etc/pango/pangorcファイルの作成[Pango]ModuleFiles=/etc/pango/i486-slackware-linux/pango.modules[PangoX]AliasFiles=/etc/pango/pangox.aliases(3)kaiengine実行時に PANGO_RC_FILE=/etc/pango/pangorcを設定 備考 slackware x86_64 32-bit chrootにてこの症状と対策を確認 2.4. その他 Cannot convert from the charset Unknown encoding (-1) ! 症状 Error Cannot convert from the charset Unknown encoding (-1) ! 環境 すべて 対策 なし 備考 ja_JP.SJISで実行するために表示されてしまう。Kai画面での日本語チャットは問題ないため、このメッセージは無視しましょう。 以上でkaiengine起動スクリプトの作成は終わり。 上へ戻る コメント PuppyLinuxの場合を追加 -- kar (2010-08-28 17 35 19) debian 64-bit版の箇所を追加 -- kar (2011-04-12 21 12 53) openSUSE 11.4を追加 -- kar (2011-04-22 21 37 25) ubuntu 64-bit版のWARNING対策の内容を追加 -- kar (2011-05-04 11 56 09) slackware x86_64追加、ページ後半によくある不具合をまとめました -- kar (2011-05-21 11 34 52) 名前 コメント
https://w.atwiki.jp/vocaloidenglishlyric/pages/1162.html
【Tags Kaito Shigotoshite-P tL tS tT U】 Original Music title 歌う大地 English music title Singing Land / The Land For Which I Sing / The Land On Which I Sing Romaji music title Utau Daichi Music Lyrics written, Voice edited by hinayukki / 仕事してP(Shigotoshite-P) Music arranged by hinayukki / 仕事してP(Shigotoshite-P) Singer(s) Kaito Click here for the original Japanese Lyrics English Lyrics (translated by animeyay)： As the sky becomes covered and hid away by the grey clouds, some tears begin to spill from the clouds and flow away. On the moistened land, there s not even a trace of green, but merely brown soil and icy rocks everywhere. The only ones living on this parched land are the frail people s children, who have long forgotten words such as "hope". Even so, we are still singing this song of earth, in order to one day see some green once again. Although I will eventually perish, until then I will continue singing. This fissured world silently crumbles away, plundering away people who are important to us. Even if my voice becomes cracked, I will stand still, because through my eyes I see one single flower, sky-blue, exactly the same as your eyes color. Having witnessed a "hope", I am singing this song, which also embodies the wish you and I once made. Until my life comes to its end, I will continue singing, loudly and proudly. Swaying to the wind, that single flower is indeed you, who will one day cover this land with your green. Until the day when this world will be reborn anew, I will not stop singing. Romaji lyrics (transliterated by animeyay)： sora ooi kakusu haiiro no kumo wa sukoshi bakari no namida koboshi nagarete ku nureta daichi ni wa midori nado wa naku tada kasshoku no tsuchi to hieta ishi bakari kareyuku daichi ni ikiru no wa kayowaki hito no kora dake kibou to iu kotoba nado touni wasureta dakedo bokutachi wa utau kono daichi no uta futatabi midori ni deau tame itsuka kieru inochi da to shite mo boku wa utaitsuzukeru hibiwareta sekai wa oto mo naku kuzure kuchihate taisetsu na hito sae ubaisaru koe mo kare tachitsukusu boku no me ni utsuru ichirin no hana sono iro wa kimi no hitomi to onaji sorairo kibou o me ni shita boku wa utau kono uta o kimi to katatta negai o kome kono inochi tsukiru made takaraka ni boku wa utaitsuzukeru kaze ni yureru ichirin no hana kimi wa itsuka kitto kono daichi midori ni some kono sekai yomigaeru sono hi made boku wa tada utau yo [hinayukki, Shigotoshite-P, ShigotoshiteP]
https://w.atwiki.jp/mrfrtech/pages/94.html
Market Analysis Mobile banking is a service provided by a bank or other financial institutions and allows users to conduct financial transactions remotely using a mobile device. The devices such as smartphones or tablets are used for mobile banking, primarily for transferring money from one account to another and depositing a check by taking a picture. These are prominently provided features for mobile banking in the market. Moreover, it typically operates across applications developed for iPhone, Android, or other device platforms. Moreover, mobile banking is conducted with the availability of an internet or data connection to the mobile device. Depending on the feature provided in applications, the products and services included in mobile banking provide account balances and lists of the latest transactions, remote check deposits, funds transferred between beneficiary accounts, electronic bill payments, peer-to-peer payments, and others. The main concept of mobile banking is to offer online services that will offer dynamic banking services. Covid 19 is impacting the market segments and market share, and it is a way of life across the world. People are now acquiring online banking due to the shutdown and other issues. The advanced smartphone application and banking methods mapping other facilities are key drivers for the market. It is expected that the Mobile Banking Market will register USD 3.47 billion and a CAGR of 15.4% by 2030. High Adoption of Mobile Banking Apps In order to promote and increase customer satisfaction and expectations, the global mobile banking market is implementing a number of new initiatives and challenges. New clients are installing the most recent banking applications in order to make the best use of the technology that has been offered to benefit consumers. This is one of the primary factors that will directly accelerate the mobile banking industry during the anticipated assessment period. Aside from that, advanced smartphone applications are dynamic, the fundamental banking method that may also be the driving force behind market expansion. Due to the increased number of smartphone users worldwide, mobile banking s new subscribers are expected to increase significantly. Mobile banking also encourages and enables the recording, mapping, and close examination of the customer s financial situation. As a result, it has had a favorable impact on the growth of the mobile banking market. COVID-19 Pandemic to Positively Impact the Market According to the global mobile banking market analysis, customers make up a sizable portion of the whole market. There are numerous potential aspects in the mobile banking industry analysis that are reliant on a variety of factors. The COVID-19 pandemic has had a significant impact on the mobile banking market share and way of life around the world. People are conducting a growing number of transactions online in order to avoid visiting a bank branch. Many organizations have to fight a never-ending battle for survival and client relationships. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/2906 Competitive Outlook Notable players in the global mobile banking market include Dais Software Company (Bulgaria), Strands Inc. (U.S.), Ebanq B.V (Netherlands), Nymbus Inc. (U.S.), Apex Software Ltd. (Kenya), Temenos Group AG (Switzerland), Neptune Software PLC (U.K.), Fisa System (U.S.), Capital Banking Solutions (U.S.). Segmentation The global mobile banking market has been segmented into solution, technology, and The Mobile Banking Market is segmented into solution, Technology and deployment. Based on the Solution, the market is categorized into Customer Management, Mobile Banking Features, and Mobile Payment Features. The mobile payment features will dominate the market due to the use of the several UPI payment option and due to the pandemic as well as people prefer cashless payments. By Technology, the Mobile Banking Market is bifurcated into Wireless Application protocols, Standalone Mobile applications. Among them, the standalone segments will have a high market share as mobile banking has become the most secure and hassle-free process, increasing the market in the future. The Deployment variables are On-Cloud and On-Premise. Both segments are increasing the market value, but the on-cloud is expected to hold more than the on-premise as it is helpful for the storage of the data without having security concerns. Regional Analysis The Mobile Banking Market is studied in the regions such as Asia Pacific, North America, Europe and Latin America and the middle east and Africa. North America and Europe register the highest share of the market in 2018 and are expected to hold the same share in the forecast period. Due to the increase of new-age FinTech technologies, banks are upgrading their mobile banking applications to provide better-customized product offerings, enhanced customer experience, and convenience for their users. Asia-Pacific will dominate the market during the forecast period due to the increased use of digital banking platforms and robust economic growth. Other regions also have a good growth due to the enhancement of the market, and the market will experience growth shortly. Industry news TRAI dismisses the USSD fee on mobile banking. The regulator body said it is a bid to boost digital financial inclusion and protect the interests of ordinary feature phone users. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/mobile-banking-market-2906 Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure Continued…. View Similar Report Fixed-Mobile Convergence (FMC) Market By Convergence Type (Device Convergence, Network Convergence and Application Convergence), Mode (Single-mode and Dual-mode), Component (Infrastructure and Service) Antivirus Software Market By Type (PC and Phones/Pad), By Application (Enterprises, Individual and Government) Voice Assistant Market** https //mrfrinformation.tistory.com/615 Network-Attached Storage Market** https //telescope.ac/information-technology-Lc1XMRDqL/5WlKY9Kx4 About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
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目次 目次Wordpressとは XAMPPのインストール MYSQLにデータベースの追加 WordPressのダウンロード Wordpressとは ブログソフトウェア オープンソース XAMPPのインストール http //www.apachefriends.org/jp/xampp-windows.html Apache 2.2.11 MySQL 5.1.30 PHP 5.2.8 phpMyAdmin 3.1.1 FileZilla FTP Server 0.9.29 Mercury Mail Transport System v4.52 OpenSSL 0.9.8i ※バージョンによって異なります ダウンロードが完了したら C に解凍 xampp_start.exeを起動 MYSQLにデータベースの追加 http //localhost/phpmyadmin/ WordPressのダウンロード http //ja.wordpress.org/C \xampp\htdocsに解凍 アクセスhttp //localhost/wordpress/ データベース名：wordpress ユーザー名：root パスワード： データベースのホスト名：localhost テーブル接頭辞：wp_ 管理者画面http //localhost/wordpress/wp-login.php ※ユーザー名、パスワードが必要 以上 -
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【登録タグ FELT K 妖魔夜行 曲 東方幻奏響UROBOROS肆 ～dEATHtINYoVERdRIVE～ 美歌】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; 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} /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; 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https://w.atwiki.jp/vocaloidenglishlyric/pages/534.html
【Tags L Miku keeno tL】 Original Music title longing Romaji music title longing Music Lyrics written, Voice edited by keeno Music arranged by keeno Singer(s) 初音ミク (Hatsune Miku) Append Dark Click here for the original Japanese Lyrics English Lyrics (translated by blacksaingrain)： I ve been gazing at the blue setting in the desert under the Moon for a long time I knew I couldn t reach from the beginning. Though that was fine with me, I feel a pain in my heart. It s about to burst. Why? It was somewhat a little sad color. The light wrapped with my hands. I felt like lessening the distance to touch it. I started to run I get closer as much as possible and ask If someone s there, please tell me What color the world is like Now the wind blows and it s so transparent that makes me shiver I listen carefully The sound the blue star played is Just like a love song Please, let it ring more Take me there Now I want to touch the small temperature that seems to be gone Like the tear of the night As if to spill down I screamed in the fragile and weak voice It will reach as a rhythm that tears the darkness It will keep on spinning at the speed as if to break, right? I have a My heart pains because the color is too fragile Now the wind blows and it s so transparent that makes me shiver I listen carefully The sound the blue star played is Just like a love song Please, more and more Dye me deeper Hey, please, please I want to keep touching the blue sound Romaji lyrics (transliterated by blacksaingrain)： tsuki no sabaku ni shizundeiku ao wo watashi wa zutto nagameteta no te wo nobashitemo todokanai nante koto saisho kara shitteta sore de yokatta noni mune ga ita iyo harisakesou nano doushite nandaka sukoshi kanashii iro ryoute de tsutsunda hikari kono kyori wo chidimete furetemitai to omotteshimatta no watashi wa kakedashite dekirudake chikazuite toikakeru dareka iru no nara oshiete sekai wa donna iro ima furueru hodo toumeina kaze ga fuite mimi wo sumashite aoi hoshi ga kanadeta oto wa marude ravu songu mitai da onegai yo motto hibiite watashi wo soko e tsuretette kiesouna hodo chiisana ondo ni ima furetai kono yoru no namida mitai ni koboreteshimai souna hodo morokute tayorinai koe wo furishibotta sore wa kitto yamisaku rizumu de todoite kowarete shimai souna sokudo de mawaritsuzukete ikun desho amari nimo hakanai sono iro ni kokoro ga itamu no ima furueru hodo toumeina kaze ga fuite mimi wo sumashite aoi hoshi ga kanadeta oto wa marude ravu songu mitai da onegai yo motto motto tsuyoku somete nee douka douka aoi oto ni fureteitai
https://w.atwiki.jp/vocaloidenglishlyric/pages/740.html
【Tags Craft-P Rin tP N】 Original Music title 何もなかった顔で English music title Pretending That Nothing Happened Romaji music title Nani mo Nakatta Kao de Music Lyrics written, Voice edited by クラフトP (Craft-P) Music arranged by クラフトP (Craft-P) Singer(s) 鏡音リン (Kagamine Rin) Click here for the original Japanese Lyrics English Lyrics (translated by motokokusanagi2009)： I believed I could go anywhere with you forever We talked "It s like we are destined to meet before we were born." I never imagined repeating the same thing every day would be that precious You were the only one who made me feel that way Even though it was such a miraculous love It ended in a sudden I feel as though every memory was still blaming me "Why?" Pretending that nothing happened I get on a bus to go to work All what I see is the places we spent together Pretending that nothing happened and getting over this kind of agony Does every stranger on the bus laugh as usual? Days passed as if they were like a dream or a wind They are real because my heart hurts Realizing the reality, I can accept the heart ache You are the one who gave me the most marvelous love in my life The bike we rode double on The cat we named but we couldn t keep All I remember is the days we spent together Pretending that nothing happened, I walk pass people on the street I guess they are also pretending and spending a day as usual If I delete your name in the call register one day And give everything I have to my new love Won t it be sinful? I was at a loss for a word and couldn t say the last words Looking at me like that, you said good bye What I remember is how kind you were And that makes me cry Pretending that nothing happened Will I fall in love with somebody else? This is what I couldn t tell you for a long long time Thank you for everything Romaji lyrics (transliterated by motokokusanagi2009)： anata to nara dokoe demo zutto issho ni ikeru to shinji te ita no don na toko e demo marude umareru mae kara kitto deaeru koto wa kimatteta mitai to futari hanashita ne mainichi no kuri kaeshi ga kon na itōshiku omoeta koto wa nakatta anata dake datta son na kiseki no koi ni demo kon na fū ni owari ga kuru no ima demo watashi o tori kakomu omoide tachi ga "naze?" to tsume yoru mitai de nanimo nakatta furi shite kyō mo shigoto ni mukau basu no naka kara mieru keshiki wa subete anata to sugoshita basho desu nanimo nakatta kao de basu ni nori awaseta mishira nu hito mo kon na omoi o nori koe kyō mo waratte iru no desu ka yume no yōni kaze no yōni sugita hibi ga uso ja nakatta akashi ni mune wa itamu to shiri mashita sō omoe tara kono mune no setsunasa mo itōshiku naru no ima made no shōgai no naka de ichiban suteki na koi o kureta hito futari nosi shita jitensha namae dake kime te kae nakatta neko omoi dasu nowa subete anata to sugoshita hibi desu nanimo nakatta kao shite machi de sure chigau iron na hito mo kon na omoi o kakushi te kyō mo kurashi te iru no deshō watashi no cyakushin rireki kara anata ga kiteru hi ga kite atarashī koi ni inochi o kake temo sore wa tsumi dewa nai desu ka saigo no saigo ni tsumatta watashi o mite itte kureta sayonara omoi dasu nowa anata no namida ga deru yōna yasashisa nanimo nakatta kao shite watashi wa mata koi o suru no deshō ka zutto zutto ī sobire te ita kotoba desu arigatō [Craft-P, CraftP, Kurafuto-P, KurafutoP]
https://w.atwiki.jp/mrfrtech/pages/32.html
Market Analysis The In-Building Wireless Market is expected to grow at a CAGR of 12.30 % by2027, reaching USD 19.1 billion in the forecast period. In enterprise networks, wireless networking has made great advances. These wireless networks connect mobile phones to the public switched telephone network and give internet access via a local area network. Rather than the conventional cellular networks separate interface networks, the wireless networks will converge to service both internet and telephone devices, resulting in increased efficiency and low cost. Wireless LAN and wireless cellular have been regarded as overlay networks in businesses. It has grown in popularity as a major phone and data access point within the building. The increased use of wireless in the business world has changed the requirements for in-building wiring as well as the facilities required in telecommunications facilities. There is a growing demand for consistent cell phone service in business spaces. In-build wireless is a networking solution that enables the upgrading and deployment of wireless connections within an office building or other large commercial enterprise. The major growth driver of the In-building wireless market is the increased acceptance of in-building wireless technologies such as higher data rates, increased use of mobile devices, the adoption of "bring your own device" culture in offices, schools, and other environments, lower-cost network infrastructure for wireless systems, improved wireless network quality of service, and improved wireless in-building coverage. However, lesser operational knowledge in the wireless system due to complex technology can be a restraining factor for the market growth. But the current pandemic situation is also creating many opportunities in the global market due to wireless communications to remote locations. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/10479 Market Segmentation According to the global In-building wireless market analysis report, the market is classified into component, business model, venue, end-user, and region. Further, these segments are against segregation into various market elements. On the basis of components, the in-building wireless market again segmented into infrastructure and services. Moreover, the infrastructure segment is divided into DAS and small cells once more. The business model segment has further divided the in-building wireless market into service providers, enterprises, and neutral host operators. Similarly, the venue segment is again classified into large venues, medium venues, and small venues. According to the end user segment, the in-building wireless market is sub-segmented into government, manufacturing, transportation and logistics, education, retail, hospitality, healthcare, and others. Regional Analysis North America, Europe, Asia-Pacific, the Middle East and Africa, and South America were all studied for the global in-building wireless market. Based on this global market analysis, North America is estimated to lead the global in-building wireless market in terms of the growing demand for distinct and defined network coverage. Moreover, the Asia-pacific market region is also expected to grow at a faster pace in the forecast period due to increasing economic developments and building awareness in the in-building wireless techniques. Key Players The key players of the global in-building wireless market are Nokia ( Finland ) , Ericsson ( Sweden ) , Huawei ( China ) , ZTE( China ) , NEC ( Japan ) , CommScope ( US ) , Corning ( US ) , Axell Wireless ( UK ) , Comba Telecom ( Hong Kong ) , Samsung ( South Korea ) , SOLiD ( South Korea ) , Dali Wireless ( US ) , Zinwave ( US ) , ADRF ( US ) , ip.access ( UK ) , Airspan ( US ) , Contela ( South Korea ) , Fujitsu ( Japan ) , BTI Wireless ( US ) , Bird ( US ) , Accelleran ( Belgium ) , Baicells Technologies ( US ) , Qucell ( South Korea ) , Casa Systems ( US ) , CommAgility ( UK ) , Galtronics ( Canada ) , G-Wave Solutions ( US ) , HUBER+SUHNER ( Switzerland ) , JMA Wireless ( US ) , Microlab ( US ) , Nextivity ( US ) ,Sarcomm ( Taiwan ) , PCTEL ( US ) , Whoop Wireless ( US ) , and Westell Technologies ( US ) . Industry News In December 2021, Nokia announced to have deployed a 5G private wireless network for Volkswagen s pilot project in Germany, which would help with supporting industrial connectivity at the product development center. In October 2021, Ericsson and PowerLightshowed, the world s first wirelessly powered 5G base station. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/in-building-wireless-market-10479 Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Market Structure Continued… Similar Report** Passport Radar Market https //www.marketresearchfuture.com/reports/passport-reader-market-5929 Internet of things (IoT) Market https //ictmrfr.blogspot.com/2022/04/internet-of-things-market-growth-key.html B2B Telecommunication Market https //www.scutify.com/articles/2022-04-12-b2b-telecommunication-market-analysis--geographic-growth-opportunities-for-it-security-and-data- Cash Management System Market https //market-research-future.tribe.so/post/cash-management-system-market-size-receives-a-rapid-boost-in-economy-due-to--625d5382d24f49591bd3befb Open Source Intelligence (OSINT) Market By Security Type (Human Intelligence, Content Intelligence, Dark Web Analysis, Link/Network Analysis, Data Analytics, Text Analytics, Artificial Intelligence, Big Data, Others), Technology (Bid Data Software, Video Analytics, Text Analytics, Visualization Tool, Cyber Security, Web Analysis, Social Media Analysis, Others), Application (Military Defense, Homeland Security, Private Sector, Public Sector, National Security, Others) About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com #market #research #industry #data #report #share #digital #gnews Plugin Error キーワードを入力してください。 #trend #future #analyis #industryreport #industrygrowth #demographic #strategy #manegment
https://w.atwiki.jp/touhoukashi/pages/3333.html
【登録タグ S エクステンドアッシュ ～ 蓬莱人 サディスティックブラウニー ランコ 曲 豚乙女】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*