January 2005 Volume 12, Number 1
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Features the Upgrade Solution for Basic Motherboard Audio to High Quality 24-Bit, 7.1 Audio
Features The Upgrade Solution for Basic Motherboard Audio to High Quality 24-bit, 7.1 Audio Delivering audio quality of up to 24-bit / 96kHz, 100dB SNR clarity and 7.1 surround sound, Sound Blaster Audigy Value is the ideal upgrade to high quality audio from basic motherboard audio. MUSIC Music Recording & Playback with EAX Music Enhancement Organise and play WAV, CD, MP3 files with Creative MediaSource player. Create your own MP3 or WMA music collections. Features like CMSS 3D1, Bass Boost1, Graphics Equalizer1 and Audio Cleanup will enhance your music experience greatly. MOVIES Cinematic Surround Sound in Movies Enjoy captivating 7.1 multi-channel surround sound with CMSS 3D1. CMSS 3D1 works with any software DVD player supporting Dolby Digital EX or DTS ES decoding for a cinematic movie experience. GAMES Realistic EAX® ADVANCED HD2 Effects Only Sound Blaster Audigy series of sound cards support EAX ADVANCED HD2 to reproduce the acoustic characteristics of gaming environments to give you that winning edge. 7.1 Surround Sound3 with 3D Games Sound Blaster Audigy Value accurately delivers 3D Positional Audio in DirectSound 3D1 games in 7.1 so you know the exact location of your enemy. 1 Supported in Windows XP only. 2 Supported in Windows Vista™ via OpenAL. 3 6.1 Supported in Windows XP only. Specifications High Definition Audio Quality for Playback and Recording • 64 audio channel playback with independent sample rates • 24-bit Analog-to-Digital conversion of analog inputs at 96kHz sample rate • 24-bit Digital-to-Analog conversion of digital sources at 96kHz to analog 5.1 speaker output • 16-bit and 24-bit recording with sampling rates of 8, 11.025, 16, 22.05, 24, 32, 44.1, 48 and 96kHz • SPDIF1 output up to 24-bit resolution at selectable sampling rate of 44.1, 48 and 96kHz 1 SPDIF pass through is supported on Windows XP and Vista 32-bit only. -
3Using Audigy 2 Software
How to use this manual Creative Sound Blaster Audigy 2 Platinum Information in this document is subject to change without notice and does not represent a commitment on the part of Creative Technology Ltd. No part of this manual may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the written permission of Creative Technology Ltd. The software described in this document is furnished under a license agreement and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any other medium except as specifically allowed in the license agreement. The licensee may make one copy of the software for backup purposes only. The Software License Agreement is found in a separate folder on this installation CD. The copyright and disclaimer, including trademark issues are also found in the same folder. Important: This User Manual (On CD) has been designed to provide you with complete product knowledge. The following are instructions on how to make use of this manual effectively by launching applications and help files, as well as accessing relevant web sites, where applicable, via specially prepared links. • To launch applications, Help files or to access relevant web sites, click the blue text, or whenever the symbol or appears on the object or text. • For best viewing, this PDF is by default set to "Fit Width" so that all the contents on every page is visible. If you are unable to read the text clearly, press Ctrl + <+> to zoom in or Ctrl + <-> to zoom out. -
Linux Sound Subsystem Documentation Release 4.13.0-Rc4+
Linux Sound Subsystem Documentation Release 4.13.0-rc4+ The kernel development community Sep 05, 2017 CONTENTS 1 ALSA Kernel API Documentation 1 1.1 The ALSA Driver API ............................................ 1 1.2 Writing an ALSA Driver ........................................... 89 2 Designs and Implementations 145 2.1 Standard ALSA Control Names ...................................... 145 2.2 ALSA PCM channel-mapping API ..................................... 147 2.3 ALSA Compress-Offload API ........................................ 149 2.4 ALSA PCM Timestamping ......................................... 152 2.5 ALSA Jack Controls ............................................. 155 2.6 Tracepoints in ALSA ............................................ 156 2.7 Proc Files of ALSA Drivers ......................................... 158 2.8 Notes on Power-Saving Mode ....................................... 161 2.9 Notes on Kernel OSS-Emulation ..................................... 161 2.10 OSS Sequencer Emulation on ALSA ................................... 165 3 ALSA SoC Layer 171 3.1 ALSA SoC Layer Overview ......................................... 171 3.2 ASoC Codec Class Driver ......................................... 172 3.3 ASoC Digital Audio Interface (DAI) .................................... 174 3.4 Dynamic Audio Power Management for Portable Devices ...................... 175 3.5 ASoC Platform Driver ............................................ 180 3.6 ASoC Machine Driver ............................................ 181 3.7 Audio Pops -
Art. Music. Games. Life. 16 09
ART. MUSIC. GAMES. LIFE. 16 09 03 Editor’s Letter 27 04 Disposed Media Gaming 06 Wishlist 07 BigLime 08 Freeware 09 Sonic Retrospective 10 Alexander Brandon 12 Deus Ex: Invisible War 20 14 Game Reviews Music 16 Kylie Showgirl Tour 18 Kylie Retrospective 20 Varsity Drag 22 Good/Bad: Radio 1 23 Doormat 25 Music Reviews Film & TV 32 27 Dexter 29 Film Reviews Comics 31 Death Of Captain Marvel 32 Blankets 34 Comic Reviews Gallery 36 Andrew Campbell 37 Matthew Plater 38 Laura Copeland 39 Next Issue… Publisher/Production Editor Tim Cheesman Editor Dan Thornton Deputy Editor Ian Moreno-Melgar Art Editor Andrew Campbell Sub Editor/Designer Rachel Wild Contributors Keith Andrew/Dan Gassis/Adam Parker/James Hamilton/Paul Blakeley/Andrew Revell Illustrators James Downing/Laura Copeland Cover Art Matthew Plater [© Disposable Media 2007. // All images and characters are retained by original company holding.] dm6/editor’s letter as some bloke once mumbled. “The times, they are You may have spotted a new name at the bottom of this a-changing” column, as I’ve stepped into the hefty shoes and legacy of former Editor Andrew Revell. But luckily, fans of ‘Rev’ will be happy to know he’s still contributing his prosaic genius, and now he actually gets time to sleep in between issues. If my undeserved promotion wasn’t enough, we’re also happy to announce a new bi-monthly schedule for DM. Natural disasters and Acts of God not withstanding. And if that isn’t enough to rock you to the very foundations of your soul, we’re also putting the finishing touches to a newDisposable Media website. -
Abstract the Goal of This Project Is Primarily to Establish a Collection of Video Games Developed by Companies Based Here In
Abstract The goal of this project is primarily to establish a collection of video games developed by companies based here in Massachusetts. In preparation for a proposal to the companies, information was collected from each company concerning how, when, where, and why they were founded. A proposal was then written and submitted to each company requesting copies of their games. With this special collection, both students and staff will be able to use them as tools for the IMGD program. 1 Introduction WPI has established relationships with Massachusetts game companies since the Interactive Media and Game Development (IMGD) program’s beginning in 2005. With the growing popularity of game development, and the ever increasing numbers of companies, it is difficult to establish and maintain solid relationships for each and every company. As part of this project, new relationships will be founded with a number of greater-Boston area companies in order to establish a repository of local video games. This project will not only bolster any previous relationships with companies, but establish new ones as well. With these donated materials, a special collection will be established at the WPI Library, and will include a number of retail video games. This collection should inspire more people to be interested in the IMGD program here at WPI. Knowing that there are many opportunities locally for graduates is an important part of deciding one’s major. I knew I wanted to do something with the library for this IQP, but I was not sure exactly what I wanted when I first went to establish a project. -
Soundfont Player™ 1.0 Operation Manual
SoundFont Player™ 1.0 Operation Manual E-MU World Headquarters E-MU / ENSONIQ P.O. Box 660015 Scotts Valley, CA 95067-0015 Telephone: (+1) 831-438-1921 Fax: (+1) 831-438-8612 www.soundfont.com www.emu.com SoundFont Player™ 1.0 Operation Manual E-MU World Headquarters E-MU / ENSONIQ P.O. Box 660015 Scotts Valley, CA 95067-0015 Telephone: (+1) 831-438-1921 Fax: (+1) 831-438-8612 Internet: www.soundfont.com www.emu.com SoundFont Player Operation Manual Page 1 This manual is © 2001 E-MU / ENSONIQ. All Rights Reserved Legal Information The following are worldwide trademarks, owned or exclusively licensed by E-mu Systems, Inc, dba E-MU / ENSONIQ, registered in the United States of America as indicated by ®, and in various other countries of the world: E-mu®, E-mu Systems®, the E-mu logo, Ensoniq®, the Ensoniq logo, the E-MU / ENSONIQ logo, Orbit The Dance Planet, Planet Phatt The Swing System, Proteus®, SoundFont®, the SoundFont logo, SoundFont Player,. Sound Blaster and Creative are registered trademarks of Creative Technology Ltd. Audigy, Environmental Audio, the Environmental Audio logo, and Environmental Audio Extensions are trademarks of Creative Technology Ltd. in the United States and/or other countries. Windows is a trademark of Microsoft Corporation in the United States and/or other countries. All other brand and product names are trademarks or registered trademarks of their respective holders. SoundFont Player Operation Manual Page 2 Table of Introduction ...................................................................................6 -
Game Developers Conference Europe Wrap, New Women’S Group Forms, Licensed to Steal Super Genre Break Out, and More
>> PRODUCT REVIEWS SPEEDTREE RT 1.7 * SPACEPILOT OCTOBER 2005 THE LEADING GAME INDUSTRY MAGAZINE >>POSTMORTEM >>WALKING THE PLANK >>INNER PRODUCT ART & ARTIFICE IN DANIEL JAMES ON DEBUG? RELEASE? RESIDENT EVIL 4 CASUAL MMO GOLD LET’S DEVELOP! Thanks to our publishers for helping us create a new world of video games. GameTapTM and many of the video game industry’s leading publishers have joined together to create a new world where you can play hundreds of the greatest games right from your broadband-connected PC. It’s gaming freedom like never before. START PLAYING AT GAMETAP.COM TM & © 2005 Turner Broadcasting System, Inc. A Time Warner Company. Patent Pending. All Rights Reserved. GTP1-05-116-104_mstrA_v2.indd 1 9/7/05 10:58:02 PM []CONTENTS OCTOBER 2005 VOLUME 12, NUMBER 9 FEATURES 11 TOP 20 PUBLISHERS Who’s the top dog on the publishing block? Ranked by their revenues, the quality of the games they release, developer ratings, and other factors pertinent to serious professionals, our annual Top 20 list calls attention to the definitive movers and shakers in the publishing world. 11 By Tristan Donovan 21 INTERVIEW: A PIRATE’S LIFE What do pirates, cowboys, and massively multiplayer online games have in common? They all have Daniel James on their side. CEO of Three Rings, James’ mission has been to create an addictive MMO (or two) that has the pick-up-put- down rhythm of a casual game. In this interview, James discusses the barriers to distributing and charging for such 21 games, the beauty of the web, and the trouble with executables. -
GAME DEVELOPERS a One-Of-A-Kind Game Concept, an Instantly Recognizable Character, a Clever Phrase— These Are All a Game Developer’S Most Valuable Assets
HOLLYWOOD >> REVIEWS ALIAS MAYA 6 * RTZEN RT/SHADER ISSUE AUGUST 2004 THE LEADING GAME INDUSTRY MAGAZINE >>SIGGRAPH 2004 >>DEVELOPER DEFENSE >>FAST RADIOSITY SNEAK PEEK: LEGAL TOOLS TO SPEEDING UP LIGHTMAPS DISCREET 3DS MAX 7 PROTECT YOUR I.P. WITH PIXEL SHADERS POSTMORTEM: THE CINEMATIC EFFECT OF ZOMBIE STUDIOS’ SHADOW OPS: RED MERCURY []CONTENTS AUGUST 2004 VOLUME 11, NUMBER 7 FEATURES 14 COPYRIGHT: THE BIG GUN FOR GAME DEVELOPERS A one-of-a-kind game concept, an instantly recognizable character, a clever phrase— these are all a game developer’s most valuable assets. To protect such intangible properties from pirates, you’ll need to bring out the big gun—copyright. Here’s some free advice from a lawyer. By S. Gregory Boyd 20 FAST RADIOSITY: USING PIXEL SHADERS 14 With the latest advances in hardware, GPU, 34 and graphics technology, it’s time to take another look at lightmapping, the divine art of illuminating a digital environment. By Brian Ramage 20 POSTMORTEM 30 FROM BUNGIE TO WIDELOAD, SEROPIAN’S BEAT GOES ON 34 THE CINEMATIC EFFECT OF ZOMBIE STUDIOS’ A decade ago, Alexander Seropian founded a SHADOW OPS: RED MERCURY one-man company called Bungie, the studio that would eventually give us MYTH, ONI, and How do you give a player that vicarious presence in an imaginary HALO. Now, after his departure from Bungie, environment—that “you-are-there” feeling that a good movie often gives? he’s trying to repeat history by starting a new Zombie’s answer was to adopt many of the standard movie production studio: Wideload Games. -
Steve Marschner CS5625 Spring 2019 Predicting Reflectance Functions from Complex Surfaces
08 Detail mapping Steve Marschner CS5625 Spring 2019 Predicting Reflectance Functions from Complex Surfaces Stephen H. Westin James R. Arvo Kenneth E. Torrance Program of Computer Graphics Cornell University Ithaca, New York 14853 Hierarchy of scales Abstract 1000 macroscopic Geometry We describe a physically-based Monte Carlo technique for ap- proximating bidirectional reflectance distribution functions Object scale (BRDFs) for a large class of geometriesmesoscopic by directly simulating 100 optical scattering. The technique is more general than pre- vious analytical models: it removesmicroscopic most restrictions on sur- Texture, face microgeometry. Three main points are described: a new bump maps 10 representation of the BRDF, a Monte Carlo technique to esti- mate the coefficients of the representation, and the means of creating a milliscale BRDF from microscale scattering events. Milliscale These allow the prediction of scattering from essentially ar- (Mesoscale) 1 mm Texels bitrary roughness geometries. The BRDF is concisely repre- sented by a matrix of spherical harmonic coefficients; the ma- 0.1 trix is directly estimated from a geometric optics simulation, BRDF enforcing exact reciprocity. The method applies to rough- ness scales that are large with respect to the wavelength of Microscale light and small with respect to the spatial density at which 0.01 the BRDF is sampled across the surface; examples include brushed metal and textiles. The method is validated by com- paring with an existing scattering model and sample images are generated with a physically-based global illumination al- Figure 1: Applicability of Techniques gorithm. CR Categories and Subject Descriptors: I.3.7 [Computer model many surfaces, such as those with anisotropic rough- Graphics]: Three-Dimensional Graphics and Realism. -
Exploring the Potential of Game Audio for Wellbeing
Exploring the Potential of Game Audio for Wellbeing Katja Rogers Lennart Nacke Ulm University University of Waterloo Ulm, Germany Waterloo, Canada [email protected] [email protected] ABSTRACT relating to the high stress environments they are performed in. Music listening has long-standing ties to mental health, pos- For example, some professions like education or health care itive affective states, and wellbeing. Even outside of clini- services feature environments with chronic imbalances in the cal contexts, music is increasingly being explored as a cost- demands they place on individuals in comparison to resources effective, ubiquitous way to support emotion regulation and provided to meet those demands [39]. Exposure to stress and stress reduction in people’s everyday lives. Games have also related mental health issues in turn also predisposes people to been shown to have the capability to improve player well-being physical illness such as cancer and cardiovascular disease; this in certain contexts. However, the role of players’ exposure link between mental and physical health issues also leads to to background music in games toward leveraging this effect significant economic consequences [39, 44]. The WHO have has not been explored specifically. We explore the potential of emphasized the importance of prevention for achieving this games to act as a tool for relaxation and stress reduction for goal [44]. The reduction of stress in everyday life is therefore a the general public and discuss future research directions. good measure to improve the health of the general population and support their wellbeing. ACM Classification Keywords Games are, ideally, fun and enjoyable. -
A Fast, Verified, Cross-Platform Cryptographic Provider
EverCrypt: A Fast, Verified, Cross-Platform Cryptographic Provider Jonathan Protzenko∗, Bryan Parnoz, Aymeric Fromherzz, Chris Hawblitzel∗, Marina Polubelovay, Karthikeyan Bhargavany Benjamin Beurdouchey, Joonwon Choi∗x, Antoine Delignat-Lavaud∗,Cedric´ Fournet∗, Natalia Kulatovay, Tahina Ramananandro∗, Aseem Rastogi∗, Nikhil Swamy∗, Christoph M. Wintersteiger∗, Santiago Zanella-Beguelin∗ ∗Microsoft Research zCarnegie Mellon University yInria xMIT Abstract—We present EverCrypt: a comprehensive collection prone (due in part to Intel and AMD reporting CPU features of verified, high-performance cryptographic functionalities avail- inconsistently [78]), with various cryptographic providers able via a carefully designed API. The API provably supports invoking illegal instructions on specific platforms [74], leading agility (choosing between multiple algorithms for the same functionality) and multiplexing (choosing between multiple im- to killed processes and even crashing kernels. plementations of the same algorithm). Through abstraction and Since a cryptographic provider is the linchpin of most zero-cost generic programming, we show how agility can simplify security-sensitive applications, its correctness and security are verification without sacrificing performance, and we demonstrate crucial. However, for most applications (e.g., TLS, cryptocur- how C and assembly can be composed and verified against rencies, or disk encryption), the provider is also on the critical shared specifications. We substantiate the effectiveness of these techniques with -
Procedural Modeling
Procedural Modeling From Last Time • Many “Mapping” techniques – Bump Mapping – Normal Mapping – Displacement Mapping – Parallax Mapping – Environment Mapping – Parallax Occlusion – Light Mapping Mapping Bump Mapping • Use textures to alter the surface normal – Does not change the actual shape of the surface – Just shaded as if it were a different shape Sphere w/Diffuse Texture Swirly Bump Map Sphere w/Diffuse Texture & Bump Map Bump Mapping • Treat a greyscale texture as a single-valued height function • Compute the normal from the partial derivatives in the texture Another Bump Map Example Bump Map Cylinder w/Diffuse Texture Map Cylinder w/Texture Map & Bump Map Normal Mapping • Variation on Bump Mapping: Use an RGB texture to directly encode the normal http://en.wikipedia.org/wiki/File:Normal_map_example.png What's Missing? • There are no bumps on the silhouette of a bump-mapped or normal-mapped object • Bump/Normal maps don’t allow self-occlusion or self-shadowing From Last Time • Many “Mapping” techniques – Bump Mapping – Normal Mapping – Displacement Mapping – Parallax Mapping – Environment Mapping – Parallax Occlusion – Light Mapping Mapping Displacement Mapping • Use the texture map to actually move the surface point • The geometry must be displaced before visibility is determined Displacement Mapping Image from: Geometry Caching for Ray-Tracing Displacement Maps EGRW 1996 Matt Pharr and Pat Hanrahan note the detailed shadows cast by the stones Displacement Mapping Ken Musgrave a.k.a. Offset Mapping or Parallax Mapping Virtual Displacement Mapping • Displace the texture coordinates for each pixel based on view angle and value of the height map at that point • At steeper view-angles, texture coordinates are displaced more, giving illusion of depth due to parallax effects “Detailed shape representation with parallax mapping”, Kaneko et al.