SUPERHERO LEAGUE of HOBOKEN
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Alive Dead Media 2020: Tracker and Chip Music
Alive Dead Media 2020: Tracker and Chip Music 1st day introduction, Markku Reunanen Pics gracefully provided by Wikimedia Commons Arrangements See MyCourses for more details, but for now: ● Whoami, who’s here? ● Schedule of this week: history, MilkyTracker with Yzi, LSDJ with Miranda Kastemaa, holiday, final concert ● 80% attendance, two tunes for the final concert and a little jingle today ● Questions about the practicalities? History of Home Computer and Game Console Audio ● This is a vast subject: hundreds of different devices and chips starting from the late 1970s ● In the 1990s starts to become increasingly standardized (or boring, if you may :) so we’ll focus on earlier technology ● Not just hardware: how did you compose music with contemporary tools? ● Let’s hear a lot of examples – not using Zoom audio The Home Computer Boom ● At its peak in the 1980s, but started somewhat earlier with Apple II (1977), TRS-80 (1977) and Commodore PET (1977) ● Affordable microprocessors, such as Zilog Z80, MOS 6502 and the Motorola 6800 series ● In the 1980s the market grew rapidly with Commodore VIC-20 (1980) and C-64 (1982), Sinclair ZX Spectrum (1982), MSX compatibles (1983) … and many more! ● From enthusiast gadgets to game machines Enter the 16-bits ● Improving processors: Motorola 68000 series, Intel 8088/8086/80286 ● More colors, more speed, more memory, from tapes to floppies, mouse(!) ● Atari ST (1984), Commodore Amiga (1985), Apple Macintosh (1984) ● IBM PC and compatibles (1981) popular in the US, improving game capability Not Just Computers ● The same technology powered game consoles of the time ● Notable early ones: Fairchild Channel F (1976), Atari VCS aka. -
Introduction Chapter 2 — Windows Software
UltraSound owners have a variety of sound needs. This is a guide to help you find the best way to use your new UltraSound for your own applications. Using your UltraSound with many games is as simple as selecting UltraSound from the list of sound cards in the game’s setup. You’ll hear extraordinary wavetable sound as soon as you begin the game. To use UltraSound with games that do not yet support the card directly, you may need some help getting started. UltraSound works with programs written for General MIDI, Sound Blaster, Ad Lib, Roland MT-32, and Roland SCC1. Read Chapter 6, “Game Sound Support,” for an explanation of the sound options available with UltraSound. Explore the file playing, recording, and mixing features of your UltraSound right away using the simple sound applets that come with Windows version 3.1 or later. Use Media Player to play sound files with your UltraSound. Or hook up a microphone and use Sound Recorder to record, mix, and play your own sounds. See the Windows manual or Sound Recorder’s on-line help for instructions. Open the UltraSound Mixer to enable inputs and outputs, set playback volume, and control CD and Microphone inputs. The settings you choose from the Mixer applet are only valid for the current Windows session until you save them. Once you have had a chance to explore your UltraSound’s features with these simple applications, try the great bonus software included in your UltraSound package. Advanced Gravis has included a number of terrific software applications for recording, playing, mixing, and composing sounds and music with your new UltraSound. -
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 -
Manuals Are Best Used As Confetti at Sporting Events, You Should Tasset Still Read the Sections with Names in Bold for Valuable Information About This Game
What Is A LEGEND Adventure Game? In an adventure game from Legend, you become the main character in an evolv ing story that takes place in a world populated with interesting people, places, and things. You see this world through you r main character's eyes, and you play the game by directing his actions. Like a book or a movie, the story unfolds as you travel from location to location, encountering situations which require action on your part. You can think of each of these situations as a puzzle. The key to solving these puzzles will often be creative thinking and clever use of objects you have picked up in your travels. You will get points as you solve puzzles, and your score will help you monitor your progress. Throughout the game the richly textured graphics, prose, sound effects and music will draw you into a spellbinding adventure that could only be brought to you by the master storytellers of Legend Entertainment Company. Legend Entertainment Company 14200 Park Meadow Drive Chantilly, Virginia 22021 703-222-8500 U.S. Customer Support: 1-800-658-8891, 9:00 a.m. - 5:00 p.m. EDT/EST European Customer Support: 081-877-0880 FAX: 703-968-5151 CompuServe E-Mail 76226,2356 24-Hour Hint Line: 1-900-PRO-KLUE (1-900-776-5583) $.75 For the first minute, $.50 for each minute thereafter Hint books are available - call 1-800-658-8891 to order ·. Giovanni's House of Armour "Famous for custom fit" Table Of Contents Name~------~---r Fitting Date_£---?'~------ Introduction..................................................................................................... -
Superhero League of Hoboken
Special "Orbs ft Stuff" lssuc Not sold in Hoboken Superhero League of Hoboken rom the incorrigibly twisted he plants to make the Jersey City what Meretzky will do with the idea. mind of madcap Steve Meretzky; Marketplace uninhabitable. A com Instead of facing Dragons and Super Hero League of Hoboken puter named Matilda lisFs several Wizards in combat, you'll fight F missions Albino marks his first foray into the realm of role-playing. This hybrid combines thatimust Winos, elements of the animated adventure be fulfilled Lawyers system used in such games as in various and Tricky Meretzky's Sorcerer's University with parts of Dick RPG-style combat sequences, which America's mutants. In also makes it a first for Legend north east one battle, Entertainment. ern sector. a lawyer Taking place 200 years in the After you issued an future, Hoboken is set in a world finish all injunction populated by mutants. Radiation, the level against toxic waste and a plethora of 0.]. one mis Tropical Simpson jokes have plunged the s10ns, a Oil Man world in a new Dark Age, and it's up new set of who retali to you to save America. As the harder ones miiiiliiltiil~;;;: ated by Crimson Tape, you lead the Hoboken are posted. 1ssumg a chapter of the Super Hero League - The slick "point and quest" inter stream of saliva at the lawyer. The and appropriately so, for your prima face of previous Legend games is even lawyer's dying words were: "I think ry superpower is the ability to Create slicker in this incarnation. -
Recoil Windows Reference Card
Recoil ref card.qxd 7/5/99 10:59 AM Page 1 READ ME FIRST! Electronic Arts™ presents ® TABLE OF CONTENTS SYSTEM REQUIREMENTS ........................................................................ 2 DISK PREPARATION ................................................................................ 4 DIRECTX INSTALLATION NOTES ................................................................ 4 INSTALLING THE GAME: WINDOWS 95/98 ................................................ 6 Uninstalling/Re-installing the game .................................................... 8 INSTALLING THE GAME: DOS .................................................................. 9 PROBLEMS WITH YOUR SOFTWARE? ...................................................... 10 CD Problems .................................................................................. 10 Video Problems .............................................................................. 11 Memory Problems .......................................................................... 11 Sound Problems ............................................................................ 12 Modem Problems............................................................................ 12 Network Problems............................................................................14 Other Common Questions ................................................................16 USING THE ELECTRONIC DOCUMENTATION..............................................18 CONVERSION CREDITS / HINTS..............................................................19 -
Sound-HOWTO.Pdf
The Linux Sound HOWTO Jeff Tranter [email protected] v1.22, 16 July 2001 Revision History Revision 1.22 2001−07−16 Revised by: jjt Relicensed under the GFDL. Revision 1.21 2001−05−11 Revised by: jjt This document describes sound support for Linux. It lists the supported sound hardware, describes how to configure the kernel drivers, and answers frequently asked questions. The intent is to bring new users up to speed more quickly and reduce the amount of traffic in the Usenet news groups and mailing lists. The Linux Sound HOWTO Table of Contents 1. Introduction.....................................................................................................................................................1 1.1. Acknowledgments.............................................................................................................................1 1.2. New versions of this document.........................................................................................................1 1.3. Feedback...........................................................................................................................................2 1.4. Distribution Policy............................................................................................................................2 2. Sound Card Technology.................................................................................................................................3 3. Supported Hardware......................................................................................................................................4 -
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 -
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. -
Linux Hardware Compatibility HOWTO
Linux Hardware Compatibility HOWTO Steven Pritchard Southern Illinois Linux Users Group [email protected] 3.1.5 Copyright © 2001−2002 by Steven Pritchard Copyright © 1997−1999 by Patrick Reijnen 2002−03−28 This document attempts to list most of the hardware known to be either supported or unsupported under Linux. Linux Hardware Compatibility HOWTO Table of Contents 1. Introduction.....................................................................................................................................................1 1.1. Notes on binary−only drivers...........................................................................................................1 1.2. Notes on commercial drivers............................................................................................................1 1.3. System architectures.........................................................................................................................1 1.4. Related sources of information.........................................................................................................2 1.5. Known problems with this document...............................................................................................2 1.6. New versions of this document.........................................................................................................2 1.7. Feedback and corrections..................................................................................................................3 1.8. Acknowledgments.............................................................................................................................3 -
Interactive Fiction Als Literarische Form“
DIPLOMARBEIT Titel der Diplomarbeit „Interactive Fiction als literarische Form“ Verfasser Andreas Dobersberger angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, im Jänner 2013 Studienkennzahl lt. Studienblatt: A 332 Studienrichtung lt. Studienblatt: Deutsche Philologie Betreuerin: Ao. Univ.-Prof. Mag. Dr. Pia Janke Inhaltsverzeichnis 1. Einleitung 3 1.1. Vorwort 3 1.2. Ziele dieser Arbeit 5 1.3. Forschungsüberblick 6 2. Definition 10 2.1. Was ist Interactive Fiction? 10 2.2. Über die Problematik der Terminologie 13 2.2.1. "Computerspiel/Videospiel" und "(Text)-Adventure" 14 2.2.2. "Autor" und "Spieler" 18 2.2.3. "Interactive Fiction" 18 2.3. Strukturelemente und Besonderheiten von Interactive Fiction 22 2.3.1. Natürliche Textein- und ausgabe 23 2.3.2. Der Parser 23 2.3.3. Das Weltmodell 25 2.3.4. Emergenz 26 2.3.5. Die gescheiterte Eingabe 29 2.4. Hypertext und Hyperfiction 31 2.5. Chatterbots 41 3. Die historische Entwicklung der Form 43 3.1. Englischsprachiger Raum 43 3.1.1. "Adventure" 43 3.1.2. "Zork" 45 3.1.3. Infocom 49 3.1.4. Die kommerzielle Ära und verbundene Geschichtsschreibungsfragen 51 3.1.5. Graham Nelson 53 3.1.6. Die moderne Ära 55 3.2. Deutschsprachiger Raum 57 2 4. Narratives Potenzial 65 4.1. Systemvermittlung 65 4.2. Rollenspiel 66 4.3. Narrative Flexibilität und emergentes Storytelling 67 4.4. Dokumentation von Umgebungen 70 5. Literaturtheoretische Annäherungen 71 5.1. Interpretation? Programmcode und Transkript 71 5.2. Die Transformation literaturtheoretischer Zugänge in Interactive Fiction 72 5.2.1. Verfremdung 72 5.2.2. -
Cover Rather Than As Inert and Foreign Devices Ensoniq Clinic Dates
" . [figF-I-‘-ti; _| "| " '4 | T | -| ile- The independent New Magazine for Ensonlq User! Personullzlng Your KT-76 or KT-B8 Robby Herman I-‘ersonalixing Your KT-To or KT-B8 Robby Berrrtan .................................... cover rather than as inert and foreign devices Ensoniq Clinic Dates ................................. 3 of metal, plastic and silicon. Have you ‘Wavetable Wrangling on the SQ,il{S,+'KTs Jefilettan .................................................. 5 tailored your KT-To or KT-88 to your way of doing things yet? While we don't TS-lfli12 CD-ROM Compatibility — Part H Anthony Ferrara ........................................ 6 get to change the display colors, there Lightshieltl for Ensoniq Keyboards are a host of other useful options En- Mike Knit ................................................... ‘I soniq offers to make your KT feel like TS Hackerpatch ‘Winner home. Let’s discuss them. Sam Mime ................................................ .. DP Stuff — Either Reverbs Just so we‘re all experiencing the same Ray Legniai .............................................. ID thing, press the Select Sound button. Loop Modulation for the EPSIASR You may have to press Bank a few times Jack Schiejfer .......................................... 13 until there’s a dinky “r” in the upper Sampler Hackerpatch: Industrial Bass left-hand comer of the display. Now Tarn Shear . ............................................... 14 Yesterday I got a new waveform editor press the button above the 0 and then the Optimizing Your Synthesizer Palette for my Mac. It’s a beautifully fu.nction- button below the 4 to select ROM Sound Pat Fin.-e:'gan ............................................ 15 ing program -- great new features and D4, Big Money Pad. (You want to make SQIKSIKT Sounds: Trumpets no crashes so far. Thumbs up. And like big money, don’t you? Sure, we all do.).