Creative Alchemy (X-Fi エディション) 正式リリースのお知らせ
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Game Audio Via Openal
Game Audio via OpenAL Summary In the Graphics For Games module, you learnt how to use OpenGL to create complex graphical scenes, improving your programming skills along the way, and learning about data structures such as scene graphs. In this workshop, you'll see how to add sounds to your game worlds using the OpenAL sound library. New Concepts Sound in games, OpenAL, PCM audio, binary file formats, FourCC codes, WAV files, limited resource management Introduction Audio has played an important part in gaming almost as long as there have been games to play - even Pong back in 1972 had simple sound effects. We've moved a long way from then; the 80s brought dedicated audio hardware such as the Commodore 64's SID chip that could play 3 simultaneous syn- thesised sounds, and later the Amiga brought the ability to play audio samples to the home gaming market. In modern gaming hardware, we can expect to hear many simultaneous sounds and music tracks, often in surround sound. Game developers now employ dedicated sound engineers that will carefully adjust the sounds in each game release to create an immersive aural experience - making sure that each individual sound is uniquely identifiable and correctly equalised, and that every music track suits the situation they will be played in. At the heart of a game's audio experience is the code that plays back the game sounds, and cal- culates which speakers they should use - the sound system. Although we can't hope to compete with the complex sound systems of AAA games, we should still be able to make a robust, simple system for the addition of sound in our 3D games, and that's what this workshop will assist you in creating. -
Asianic Pricelist 04-16-07
Fax/ Printer CD-Recordable dics / Stoper kit Enermax 485w Twin fan EG495P-VE 4,880 Enermax 535w Twin fan EG495P-VE 5,190 Canon Pixma IP1200 Ink Jet 1,710 Datace CDR 10 Corsair CMPSU-620HX 620W 7,690 Canon Pixma IP1300 Ink Jet 2,540 Titanium by Imation 52x cdr only 12 Sanyo 2pcs 2500m AA Canon MP160 all-in-one 4,200 ImationThematic /Sony CDR 12 Sanyo 2pcs 2500m AA (HR-3U-2BP) Epson Stylus C45 photo USB 2,280 Titanium 4.7GB 8x,DVD+/-R disc 50 Sanyo 2pcs. 900m AAA Epson Stylus C59 photo USB 2,540 Imation 4.7GB 16x,DVD+/-R disc 50 Sanyo 2pcs 900 AAA (HR-4U-2BP) Epson C79 ink Jet w/ plug adaptor 3,060 Sony 4.7GB DVD +/-R w/ case 50 Astone Vesa 200 portable MP3 speaker Epson SP-R250 photo printer 5,660 CD plastic sleeve case 5 MP3 earphone white Epson CX3700 scanner/copier/printer 4,100 CD Jewel Case 15 MP3 earphone insert type MDR-CL518 earphone Epson CX2900 scanner/copier/printer 4,570 CD Stomper kit w/ 20 CD Labels 300 A4tech PK-7MA w/ night light & mic 1,290 Epson CX3900 scanner/copier/printer 6,390 CD Label refill 100 pcs. 350 Logitech Quickcam Go Snapshot 770 Epson CX5900 scanner/copier/printer 7,890 Creative Webcam Vista AA 580 Epson LX-300+ Plus dot matrix 7,530 DATA SWITCH / KVM SWITCHES Creative Webcam Vista IM/ / PRO USB 870 Epson FX-2175 180 Column 21,310 Creative Webcam Instant USB 1,810 Epson FX-2190 180 Column 29,630 1(2) Printer - 2(1) comp manual 300 Epson LQ-2180 180 Column 37,380 1(3) Printer - 3(1) comp manual 410 ACCESSORIES Epson EPL-6200L Laser w/ toner 9,090 1(4) Printer - 4(1) comp manual 490 Samsung 1610 Laser printer -
Foundations for Music-Based Games
Die approbierte Originalversion dieser Diplom-/Masterarbeit ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). MASTERARBEIT Foundations for Music-Based Games Ausgeführt am Institut für Gestaltungs- und Wirkungsforschung der Technischen Universität Wien unter der Anleitung von Ao.Univ.Prof. Dipl.-Ing. Dr.techn. Peter Purgathofer und Univ.Ass. Dipl.-Ing. Dr.techn. Martin Pichlmair durch Marc-Oliver Marschner Arndtstrasse 60/5a, A-1120 WIEN 01.02.2008 Abstract The goal of this document is to establish a foundation for the creation of music-based computer and video games. The first part is intended to give an overview of sound in video and computer games. It starts with a summary of the history of game sound, beginning with the arguably first documented game, Tennis for Two, and leading up to current developments in the field. Next I present a short introduction to audio, including descriptions of the basic properties of sound waves, as well as of the special characteristics of digital audio. I continue with a presentation of the possibilities of storing digital audio and a summary of the methods used to play back sound with an emphasis on the recreation of realistic environments and the positioning of sound sources in three dimensional space. The chapter is concluded with an overview of possible categorizations of game audio including a method to differentiate between music-based games. -
Surround Sound in Linux
SURROUND SOUND IN LINUX 1. Introduction Getting applications in Linux to play surround sound can involve some work, especially when you want the highest quality. Don't think you're done just because you can hear sound, surround or otherwise. It's possible you still need to do some fine-tuning and calibration to get the most out of it. In this article, I will show you what you need to do get surround sound working properly, in both games and other applications. When you're done, there's no reason to boot Windows to watch movies anymore. In fact, the sound quality is possibly higher than you were used to in windows. Read on to find out why. Note that I'm not talking about duplicating the audio of the front speakers to the rear speakers. Two channel sources are to be played back on two speakers. Anybody who tells you otherwise doesn't know what stereo-imaging and soundstages are. What I mean by surround sound, is playing four or more channels of source audio, like surround sound in games and DVD movies. What you first need to do, get Alsa to work. For most people, this is no issue, and is already done. Note: there is actually a mistake in this article. The 10 dB boost with which the LFE channel is supposed to be played back is not included. I'm working on a correction. 2. Setting up a custom Alsa device Most applications output in 5.1. If you only have a 4.0 soundcard, like me, you have to make a custom sound device for the applications that don't provide downmixing themselves, or if you don't trust applications to downmix properly (like me...). -
Projecte/Treball Fi De Carrera
Projecte/Treball Fi de Carrera Estudi: Eng. Tècn. Informàtica de Gestió. Pla 2001 Títol: INTEGRACIÓ DE LLIBRERIES DE SO POSICIONAL AMB EL MOTOR DE RENDER OGRE3D Document: Memòria Alumne: Hug Beneït Gonzàlez Director/Tutor: Mateu Sbert Casasayas Departament: Informàtica i Matemàtica Aplicada Àrea: LSI Convocatòria (mes/any): 06/2008 Índex 1-INTRODUCCIÓ: 3 1.1 HISTÒRIA 3 1.1.1 SISTEMES DE 8 BITS I MÚSICA XIP 3 1.1.2 SÍNTESI I MOSTREIG DIGITAL EN ELS ANYS 1980 I 1990 4 1.1.3 MÚSICA PREGRAVADA I STREAMING EN L’ERA MODERNA 5 1.1.4 APLICACIONS ACTUALS I DESENVOLUPAMENTS FUTURS 5 1.2- UMMARC DEL PROJECTE: 6 1.3 EL PROJECTE GAMETOOLS: 6 1.4 ABAST DEL PROJECTE: 6 2- ESTUDI PREVI: 8 2.1 ESTUDI DEL MOTOR DE RENDER. 8 2.1.1 OGRE3D 8 2.1.1.1 INFORMACIÓ GENERAL: 8 2.2 TRIAR LA LLIBRERIA DE SO: 10 2.2.1 OPENAL 10 2.2.2 IRRKLANG PRO 11 2.2.3 MILES 12 2.2.4 FMOD 12 2.2.5 AUDIERE 14 2.2.6 DIRECTSOUND (DIRECTX) 14 2.3 LA MEVA RECOMANACIÓ. 15 2.3.1 OVERVIEW D’OPENAL: 15 2.3.2 ENVIRONMENTAL AUDIO EXTENSIONS (EAX) 17 2.3.3 OVERVIEW DE DIRECTSOUND (DIRECTX) 18 2.4 PLANIFICACIÓ: 19 3-ANÀLISI I DISSENY 22 3.1 REQUERIMENTS DE L’APLICACIÓ: 22 3.2 METODOLOGIA DE PROGRAMACIÓ: 22 3.3 DIAGRAMES DE CAS D’ÚS 23 3.4 DIAGRAMA DE CLASSES: 25 3.4.1 DIAGRAMA DE CLASSE PER PARTS: 25 3.4.2 DIAGRAMA DE CLASSE COMPLET: 35 3.5 PATRONS DE DISSENY IMPLEMENTATS: 37 3.5.1 SINGLETON: 37 3.5.2 BUILDER: 37 3.5.3 FACTORY METHOD: 37 3.5.4 FACADE: 37 3.5.5 PROXY: 37 4-IMPLEMENTACIÓ: 38 4.1 FORMAT DEL FITXER DE PROPIETATS: 38 - 1 - 4.2 EFECTES DE SO: 39 4.3 OBSTRUCCIÓ DE SONS: 41 5- FASE -
仮想の “音の部屋” によるコミュニケーション・メディア Voiscape の JMF と Java 3D を使用した実装
情報処理学会 DPS/CSEC 研究会 2004-3-5 (改訂版) 仮想の “音の部屋” によるコミュニケーション・メディア voiscape の JMF と Java 3D を使用した実装 金田 泰 日立製作所 中央研究所 〒185-8601 東京都国分寺市東恋ヶ窪1-280 E-mail: [email protected] 電話にかわるべき音声コミュニケーション・メディア voiscape の確立をめざして研究をおこなっている. Vois- cape においては 3 次元オーディオ技術によってつくられた仮想的な “音の部屋” を使用するが,音声通信と 3 次元音声にくわえて 3 次元グラフィクスを使用するプロトタイプを PC 上に開発した. このプロトタイプにお いては音声のキャプチャと通信のために JMF (Java Media Framework),3 次元音声 / グラフィクスのために Java 3D を使用した. 開発前はこれらの API をつなげば必要な基本機能がほぼ実現できるとかんがえてい たが,実際にはこれらを直接つなぐことはできず,3 次元音声のためには Java 3D のインタフェースをとおし て OpenAL を使用した. また,プロトタイプにおいては音質劣化や遅延などの問題を容易に解決することが できなかったが,試行をかさねてこれらの問題をほぼ解決した. An Implementation of a Virtual “Sound Room” Based Communication-Medium Called Voiscape Using JMF and Java 3D Yasusi Kanada Hitachi Ltd., Central Research Laboratory Higashi-Koigakubo 1-280, Kokubunji, Tokyo 185-8601, Japan E-mail: [email protected] The author researches toward establishing voice communication media called voiscape which shall replace telephone. A virtual “sound room” that is created by spatial audio technology is used in voiscape. We devel- oped a prototype on PCs, in which 3-D graphic is used for supplementing spatial autio. In this prototype, JMF (Java Media Framework) was used for voice capturing and communication, and Java 3D was used for spatial audio and 3-D graphics. Before the development, the author had believed that the basic functions required for the prototype would be realized by connecting these APIs. However, in fact, they cannot be connected di- rectly, so we used OpenAL through the interface of Java 3D. We also encountered problems of sound quality degradation and delay, but they have been almost solved by refining the program by trial and error. 1. -
Creative Portable Audio & Video Users Guide
User’s Guide Model No.: GH0260 Congratulations! Thank you for choosing the Sound Blaster EVO USB entertainment headset. Connect it to your computer and you are about to experience the legendary audio quality of Sound Blaster. The EVO USB enhances the quality of all your audio content, even from online streaming sources such as YouTube. Its beamforming dual microphone array guarantees crystal clear communication in any environment. Beyond that, it allows you to connect to your mobile devices and enjoy high quality audio on the go! Package Checklist Your Sound Blaster EVO USB package comes with the following: l The Sound Blaster EVO USB l MicroUSB-to-USB cable - Length: 1.8m (5.91ft) l 4-pole analog cable - Length: 1.2m (3.94ft) l Quick Start leaflet Minimum System Requirements l Intel Core™2 Duo processor 2.2 GHz, AMD Athlon 64x2 Dual Core or equivalent processor l Microsoft® Windows® 8 64-bit or 32-bit, Windows 7 64-bit or 32-bit, Windows Vista 64-bit or 32-bit; Macintosh OS X 10.5.8 and above l 1GB RAM l Powered USB 2.0/3.0 port Note: Due to programming changes, the recommended system requirements for the software and applications may change over time. Overview 1 2 3 5 4 OR 1 - Adjustable Headband 2 - Volume Control Multifunction Button 3 - (for calls and playback) 4 - 4-Pole Analog Jack 5 - MicroUSB Port Flexible Connection Options 4-pole Analog Cable to your Smart Devices USB Cable to your PC/Mac Splitter Cable* to your Soundcard * Cable not included Using Your Sound Blaster EVO USB Set up your headset in three simple steps: 1. -
Mac OS X Server
Mac OS X Server Version 10.4 Technology Overview August 2006 Technology Overview 2 Mac OS X Server Contents Page 3 Introduction Page 5 New in Version 10.4 Page 7 Operating System Fundamentals UNIX-Based Foundation 64-Bit Computing Advanced BSD Networking Architecture Robust Security Directory Integration High Availability Page 10 Integrated Management Tools Server Admin Workgroup Manager Page 14 Service Deployment and Administration Open Directory Server File and Print Services Mail Services Web Hosting Enterprise Applications Media Streaming iChat Server Software Update Server NetBoot and NetInstall Networking and VPN Distributed Computing Page 29 Product Details Page 31 Open Source Projects Page 35 Additional Resources Technology Overview 3 Mac OS X Server Introduction Mac OS X Server version 10.4 Tiger gives you everything you need to manage servers in a mixed-platform environment and to con gure, deploy, and manage powerful network services. Featuring the renowned Mac OS X interface, Mac OS X Server streamlines your management tasks with applications and utilities that are robust yet easy to use. Apple’s award-winning server software brings people and data together in innovative ways. Whether you want to empower users with instant messaging and blogging, gain greater control over email, reduce the cost and hassle of updating software, or build your own distributed supercomputer, Mac OS X Server v10.4 has the tools you need. The Universal release of Mac OS X Server runs on both Intel- and PowerPC-based The power and simplicity of Mac OS X Server are a re ection of Apple’s operating sys- Mac desktop and Xserve systems. -
The Linux Gamers' HOWTO
The Linux Gamers’ HOWTO Peter Jay Salzman Frédéric Delanoy Copyright © 2001, 2002 Peter Jay Salzman Copyright © 2003, 2004 Peter Jay SalzmanFrédéric Delanoy 2004-11-13 v.1.0.6 Abstract The same questions get asked repeatedly on Linux related mailing lists and news groups. Many of them arise because people don’t know as much as they should about how things "work" on Linux, at least, as far as games go. Gaming can be a tough pursuit; it requires knowledge from an incredibly vast range of topics from compilers to libraries to system administration to networking to XFree86 administration ... you get the picture. Every aspect of your computer plays a role in gaming. It’s a demanding topic, but this fact is shadowed by the primary goal of gaming: to have fun and blow off some steam. This document is a stepping stone to get the most common problems resolved and to give people the knowledge to begin thinking intelligently about what is going on with their games. Just as with anything else on Linux, you need to know a little more about what’s going on behind the scenes with your system to be able to keep your games healthy or to diagnose and fix them when they’re not. 1. Administra If you have ideas, corrections or questions relating to this HOWTO, please email me. By receiving feedback on this howto (even if I don’t have the time to answer), you make me feel like I’m doing something useful. In turn, it motivates me to write more and add to this document. -
Creative ZEN Neeon 2 User's Guide
How to use this manual This document has been designed to provide you with complete product knowledge. You can resize the document window, print this document, access linked web sites and get information from specially prepared graphics. To jump to a linked topic or a web site, click the underlined blue text, or the hand symbol whenever it appears. To show a short description (tooltip) of an object, move your mouse cursor over it. A tooltip appears after a few seconds. You can choose to print portions of this document: 1. On the Contents tabbed page to your left, click a topic heading. On the menu, click the Print button. In the dialog box that appears, click the option to print one topic only, or all topics under a heading. Introduction Creative ZEN® Neeon 2 is compact but is filled with features normally found on larger players! With line-in encoding, audio and video playback support, it is no surprise that this feature-rich and value-for-money player outshines even its closest competitors. Minimum System Requirements Microsoft® Windows® XP Professional x64 Edition or Windows XP (Service Pack 1 or higher) Intel® Pentium® III 1 GHz, or AMD DuronTM 1 GHz 256 MB RAM 170 MB available hard disk space CD-ROM/DVD-ROM drive USB 1.1 (USB 2.0 port recommended for faster transfer speeds) Internet access for Music Service Provider support (optional) Note The software applications on the Creative ZEN Neeon 2 CD may have higher requirements for basic functionality. Refer to each application's documentation for details. -
Learning Core Audio: a Hands-On Guide to Audio Programming For
Learning Core Audio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earning Core Audio A Hands-On Guide to Audio Programming for Mac and iOS Chris Adamson Kevin Avila Upper Saddle River, NJ • Boston • Indianapolis • San Francisco New York • Toronto • Montreal • London • Munich • Paris • Madrid Cape Town • Sydney • Tokyo • Singapore • Mexico City Many of the designations used by manufacturers and sellers to distinguish their products Editor-in-Chief are claimed as trademarks. Where those designations appear in this book, and the publish- Mark Taub er was aware of a trademark claim, the designations have been printed with initial capital Senior Acquisitions letters or in all capitals. Editor The authors and publisher have taken care in the preparation of this book, but make no Trina MacDonald expressed or implied warranty -
Creative Openal Programmer's Reference
Creative OpenAL Programmer’s Reference Version 1.0 Table of Contents ABOUT THIS DOCUMENT....................................................................................................................... 4 INTRODUCTION............................................................................................................................................ 4 INTENDED AUDIENCE.................................................................................................................................. 4 OTHER OPENAL RESOURCES ...................................................................................................................... 4 INTRODUCTION TO OPENAL................................................................................................................ 5 INITIALIZING/EXITING................................................................................................................................. 5 LISTENER PROPERTIES ................................................................................................................................6 BUFFER PROPERTIES ................................................................................................................................... 7 SOURCE PROPERTIES ................................................................................................................................... 7 QUEUING BUFFERS ON A SOURCE ............................................................................................................... 9 DOPPLER SHIFT ........................................................................................................................................