Vividtracker User Guide Book Updated: Sunday, 14 March 2021 Preface
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MORE INFORMATION to Use a Safe Boot Option, Follow These Steps
MORE INFORMATION To use a Safe Boot option, follow these steps: 1. Restart your computer and start pressing the F8 key on your keyboard. On a computer that is configured for booting to multiple operating systems, you can press the F8 key when the Boot Menu appears. 2. Select an option when the Windows Advanced Options menu appears, and then press ENTER. 3. When the Boot menu appears again, and the words "Safe Mode" appear in blue at the bottom, select the installation that you want to start, and then press ENTER. Back to the top Description of Safe Boot options • Safe Mode (SAFEBOOT_OPTION=Minimal): This option uses a minimal set of device drivers and services to start Windows. • Safe Mode with Networking (SAFEBOOT_OPTION=Network): This option uses a minimal set of device drivers and services to start Windows together with the drivers that you must have to load networking. • Safe Mode with Command Prompt (SAFEBOOT_OPTION=Minimal(AlternateShell)): This option is the same as Safe mode, except that Cmd.exe starts instead of Windows Explorer. • Enable VGA Mode: This option starts Windows in 640 x 480 mode by using the current video driver (not Vga.sys). This mode is useful if the display is configured for a setting that the monitor cannot display. Note Safe mode and Safe mode with Networking load the Vga.sys driver instead. • Last Known Good Configuration: This option starts Windows by using the previous good configuration. • Directory Service Restore Mode: This mode is valid only for Windows-based domain controllers. This mode performs a directory service repair. -
Advanced-Game-Design-With-Html5
www.allitebooks.com For your convenience Apress has placed some of the front matter material after the index. Please use the Bookmarks and Contents at a Glance links to access them. www.allitebooks.com Contents at a Glance About the Author .....................................................................................................xv About the Technical Reviewers .............................................................................xvii Acknowledgments ..................................................................................................xix Introduction ............................................................................................................xxi ■ Chapter 1: Level Up! .............................................................................................. 1 ■ Chapter 2: The Canvas Drawing API .................................................................... 59 ■ Chapter 3: Working with Game Assets ................................................................ 93 ■ Chapter 4: Making Sprites and a Scene Graph .................................................. 111 ■ Chapter 5: Making Things Move ........................................................................ 165 ■ Chapter 6: Interactivity ...................................................................................... 189 ■ Chapter 7: Collision Detection ........................................................................... 239 ■ Chapter 8: Juice It Up ....................................................................................... -
Metadefender Core V4.12.2
MetaDefender Core v4.12.2 © 2018 OPSWAT, Inc. All rights reserved. OPSWAT®, MetadefenderTM and the OPSWAT logo are trademarks of OPSWAT, Inc. All other trademarks, trade names, service marks, service names, and images mentioned and/or used herein belong to their respective owners. Table of Contents About This Guide 13 Key Features of Metadefender Core 14 1. Quick Start with Metadefender Core 15 1.1. Installation 15 Operating system invariant initial steps 15 Basic setup 16 1.1.1. Configuration wizard 16 1.2. License Activation 21 1.3. Scan Files with Metadefender Core 21 2. Installing or Upgrading Metadefender Core 22 2.1. Recommended System Requirements 22 System Requirements For Server 22 Browser Requirements for the Metadefender Core Management Console 24 2.2. Installing Metadefender 25 Installation 25 Installation notes 25 2.2.1. Installing Metadefender Core using command line 26 2.2.2. Installing Metadefender Core using the Install Wizard 27 2.3. Upgrading MetaDefender Core 27 Upgrading from MetaDefender Core 3.x 27 Upgrading from MetaDefender Core 4.x 28 2.4. Metadefender Core Licensing 28 2.4.1. Activating Metadefender Licenses 28 2.4.2. Checking Your Metadefender Core License 35 2.5. Performance and Load Estimation 36 What to know before reading the results: Some factors that affect performance 36 How test results are calculated 37 Test Reports 37 Performance Report - Multi-Scanning On Linux 37 Performance Report - Multi-Scanning On Windows 41 2.6. Special installation options 46 Use RAMDISK for the tempdirectory 46 3. Configuring Metadefender Core 50 3.1. Management Console 50 3.2. -
Keygen Songs
Keygen songs click here to download Some of the best keygen-8 bit songs mixed by me in 1 www.doorway.ruist soon Dl link: (As a Mix) http://www. 5 good keygen songs! All of them for download at www.doorway.ru under these names: Razor - Diablo. Top Ten Best Keygen Songs Ever Made. CineManiacs . Awesome idea for a Top 10 (we all KNOW these. i always wonder why and when people start to put this songs in the keygens?! the best keygen song is. Here you can find music from crack keygen, trainer intro, from different release/crack groups. Select group from menu on the left and download music in *.xm, AiR · R2R · KEYGENMUSiC · All Time Top Keygen discography and songs: Music profile for Keygen, formed February stream 12 keygen playlists including 8bit, chiptune, and 8 bit music from your desktop or mobile device. sounds of piracy 1: keygen songs compilation. Can someone explain to me what a "keygen song" is I think they generate the key needed to have a license or something but I am probably. Get all the lyrics to songs by Keygen and join the Genius community of music scholars to learn the meaning behind the lyrics. Cover statistics for Keygen: see which songs of other artists Keygen covered on a concert. Keygen. NARCiSSUS_-_FlashFXP_finalcrk. NARCiSSUS_-_Offline_Explorer_Enterprise_crk. NDT_-_Reflexive_Arcade_Games_crk. Keygen Songs Mix [best Of]. 7 Тагове: mix songs keygen. Категории: Музика. 2. 0. eatmycrit. Абонирай се. Keygen Songs Mix Best Of mp3 скачать, слушать онлайн в хорошем качестве There are thousands of these things out there and all of the tracks in them As Dmitry explains, the origin of keygen music is rooted in the early. -
Real-Time Music Tracking Using Multiple Performances As a Reference
REAL-TIME MUSIC TRACKING USING MULTIPLE PERFORMANCES AS A REFERENCE Andreas Arzt, Gerhard Widmer Department of Computational Perception, Johannes Kepler University, Linz, Austria Austrian Research Institute for Artificial Intelligence (OFAI), Vienna, Austria [email protected] ABSTRACT e.g. [9, 19, 20]), is to start from a symbolic score represen- tation (e.g in the form of MIDI or MusicXML). Often, this In general, algorithms for real-time music tracking di- score representation is converted into a sound file using a rectly use a symbolic representation of the score, or a syn- software synthesizer. The result is a ‘machine-like’, low- thesised version thereof, as a reference for the on-line align- quality rendition of the piece, in which we know the time of ment process. In this paper we present an alternative ap- every event (e.g. note onsets). Then, a tracking algorithm proach. First, different performances of the piece in ques- is used to solve the problem of aligning the incoming live tion are collected and aligned (off-line) to the symbolic performance to this audio version of the score – thus, the score. Then, multiple instances of the on-line tracking al- problem of real-time music tracking can be treated as an gorithm (each using a different performance as a reference) on-line audio to audio alignment task. are used to follow the live performance, and their output is In this paper we follow a similar approach, but instead combined to come up with the current position in the score. of using the symbolic score directly, we propose to first As the evaluation shows, this strategy improves both the automatically align a recording of another performance of robustness and the precision, especially on pieces that are the same piece to the score. -
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. -
Hitachi Unified Storage File Module File Services Administration Guide
Hitachi Unified Storage File Module File Services Administration Guide Release 12.5 MK-92HUSF004-09 December 2015 © 2011-2015 Hitachi, Ltd. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or stored in a database or retrieval system for any purpose without the express written permission of Hitachi, Ltd. Hitachi, Ltd., reserves the right to make changes to this document at any time without notice and assumes no responsibility for its use. This document contains the most current information available at the time of publication. When new or revised information becomes available, this entire document will be updated and distributed to all registered users. Some of the features described in this document might not be currently available. Refer to the most recent product announcement for information about feature and product availability, or contact Hitachi Data Systems Corporation at https://portal.hds.com. Notice: Hitachi, Ltd., products and services can be ordered only under the terms and conditions of the applicable Hitachi Data Systems Corporation agreements. The use of Hitachi, Ltd., products is governed by the terms of your agreements with Hitachi Data Systems Corporation. 2 Hitachi Unified Storage File Module File Services Administration Guide Hitachi Data Systems products and services can be ordered only under the terms and conditions of Hitachi Data Systems’ applicable agreements. The use of Hitachi Data Systems products is governed by the terms of your agreements with Hitachi Data Systems. By using this software, you agree that you are responsible for: a) Acquiring the relevant consents as may be required under local privacy laws or otherwise from employees and other individuals to access relevant data; and b) Verifying that data continues to be held, retrieved, deleted, or otherwise processed in accordance with relevant laws. -
The Emergence of Estonian Hip-Hop in the 1990S Underlies Much Hip-Hop Sentiment” (2004: 152)
Th e Emergence of Estonian Hip-Hop in the 1990s Triin Vallaste Abstract In this article I trace the ways in which hip-hop as a global form of expression has become indigenized in post-Soviet Estonia. Hip-hop’s indigenization coincides with the collapse of the Soviet Union in 1991. After the dissolution of the USSR, dominant Estonian social discourses eagerly celebrated re-entering the European-American world and embracing its values. The uncensored global media outlets acces- sible after 1991 and rapid developments in information technology shortly thereafter were crucial to the history of Estonian-language rap. Hip-hop artists’ extensive involvement with new media and technolo- gies refl ects an extremely swift transition from ill-equipped to fl uent manipulation of technology, which aff ected cultural production and structures of participation in various sociocultural spheres. While hip- hop culture emerged in the South Bronx during the early 1970s as a radical voice against increasing economic hardship and social marginalization, Estonian hip-hop was established in the early 1990s and developed in the context of a rapidly growing economy, rising living standards, and strong national feel- ing within a re-independent Estonian state. Hip-hop artists’ production vividly reveals both the legacies of Soviet rule and the particular political economy of post-Soviet Estonia. Hip-hop, with its roots in expressive Caribbean, (2003: 468). To invoke Tom Boellstorff ’s notion of African-American, and Latino cultures, has be- “dubbing culture” (Boellstorff 2003), indigenized come fundamental to millions of peoples’ iden- rap “is more than just a quotation: it adds a step, tities worldwide, a fact which necessitates mak- fi rst alienating something but then reworking it ing sense of the specifi c ways hip-hop functions in a new context” (2003: 237, cited in Keeler 2009: in diverse communities and cultures. -
Hi Quality Version Available on AMIGALAND.COMYOUR BONUS SECOND CD! Packed with Games, Anims, ^ 3D Models and M Ore
' A G A EXPERIENCE Hi Quality Version Available on AMIGALAND.COMYOUR BONUS SECOND CD! Packed with games, anims, ^ 3D models and m ore... P L U S n @ AMIGA • J U T D J t 'jJUhD'j'jSxni D W This commercial CD is packed with AGA games, 9771363006008 ^ demos, pictures, utilities, 3D models, music, animations and more 9 771363 006008 Please make checks to COSOFT or O (01702) 300441 n 300441 order by credit card / switch & delta Most titles are despatched same day. ^ ^ - 5 217 - 219 Hamstel Rd - Southend-on-Sea, ESSEX, SS2 4LB Vat is INCLUDED on all titles, e&oe q . ^ er [email protected] Give us your email for monthly feb Page: Hnp://www.pdsoft m updated catalogue reports. Office & Retail Outlet open Monday to Saturday 9:30 to 7pm - Tel (01702) 306060 & 306061 - Fax (01702) 300115 Please add 1.00 per title for UK P&P & 2.00 for oversea's Airmail - Order via email & get the most upto date prices. Check our Web pages (updated every day) for special ofers and new releases. Special offers running every day. JUNGLE STRIKE SPECIAL FEATURE (1 4 .ff CAPTIAL PUNISHMENT Only (24.99 688 ATTACK SUPER SIOMARKS LEGENDS LURE OF THE SUB (12 DATA DISK (S B * f 17.BB T.TRESS (12 SABRE TEAM PLAYER ON MANAGER 2 OOYSSEY 1199 RUGBY SYNDICATE ( 12.M EURO KICKOFF 3 Hi Quality Version Available on AMIGALAND.COMC7.BB INTER OFFICE UPNtl BLACK CRYPT M r ( I f f * Me (11.00 INTER SPREAD WORLD CUP M r ( 9 99 Inc SOCCER CM2 - (3.99 A ll - (3 99 IN TER WORD K240 (7.U M r u n w CHESS SYSTEM SCREEHBAT 4 Give us a ring if you do not see what you want ACTIVE STEREO Some titles are limited and will go out of stock quickly. -
Radium: a Music Editor Inspired by the Music Tracker
Radium: A Music Editor Inspired by the Music Tracker Kjetil Matheussen Norwegian Center for Technology in Music and the Arts. (NOTAM) Sandakerveien 24D, Bygg F3 N-0473 Oslo Norway [email protected] Abstract Musical events are defined with pure text. Radium is a new type of music editor inspired by The event C#3 5-32-000 plays the note C the music tracker. Radium's interface differs from sharp at octave 3 using instrument number 5 at the classical music tracker interface by using graphi- volume 32. The last three zeroes can be used cal elements instead of text and by allowing musical for various types of sound effects, or to set new events anywhere within a tracker line. tempo. Chapter 1: The classical music tracker interface The tables are called patterns, and a song and how Radium differs from it. Chapter 2: Ra- usually contains several patterns. To control dium Features: a) The Editor; b) The Modular the order patterns are playbed back, we use a Mixer; c) Instruments and Audio Effects; d) In- strument Configuration; e) Common Music Nota- playlist. For example, if we have three patterns, tion. Chapter 3: Implementation details: a) Paint- a typical song could have a playlist like this: ing the Editor; b) Smooth Scrolling; c) Embed- 1, 2, 1, 2, 3, 1, 2. ding Pure Data; d) Collecting Memory Garbage in C and C++. Chapter 4: Related software. 1.1 How Radium Differs from the Classical Tracker Interface Keywords Radium4 differs from the music tracker inter- Radium, Music Tracker, GUI, Pure Data, Graphics face by using graphical elements instead of text Programming. -
Mastering Amiga AMOS to Phil South ISBN: 1-873308-19-1 Revised Edition: May 1993 (Previously Published October 1992 Under ISBN: 1-873308-12-4)
Applicable to all Amigas Easy and Powerful Programming Hands-on Tuturial and Guide 1 . I Bruce Smith Books astering Amiga A OS Revised Edition Phil South Bruce Smith Books Mastering Amiga AMOS to Phil South ISBN: 1-873308-19-1 Revised Edition: May 1993 (Previously published October 1992 under ISBN: 1-873308-12-4) Editor: Mark Webb Typesetting: Bruce Smith Books Limited All Trademarks and Registered Trademarks used are hereby acknowledged. E&OE All rights reserved. No part of this publication may be reproduced or translated in any form, by any means, mechanical, electronic or otherwise, without the prior written permission of the copyright holder. Disclaimer: While every effort has been made to ensure that the information in this publication (and any programs and software associated with it) is correct and accurate, the Publisher cannot accept liability for any consequential loss or damage, however caused, arising as a result of using the information printed herein. Bruce Smith Books is an imprint of Bruce Smith Books Limited. Published by: Bruce Smith Books Limited, PO Box 382, St. Albans, Herts, AL2 3JD. Telephone: (0923) 894355 — Fax: (0923) 894366. Registered in England No. 2695164. Registered Office: 51 Quarry Street, Guildford, Surrey, GU1 3UA. Printed and bound in the UK by Ashford Colour Press, Gosport. The Author Phil South is a writer and journalist, who started writing for a living in 1984, when he realised he couldn’t actually stand working for anyone but himself. He says his popular columns in magazines such as Computer Shopper, Amiga Format and Amiga Computing are much harder to write than they are to read. -
Computer Demos—What Makes Them Tick?
AALTO UNIVERSITY School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Markku Reunanen Computer Demos—What Makes Them Tick? Licentiate Thesis Helsinki, April 23, 2010 Supervisor: Professor Tapio Takala AALTO UNIVERSITY ABSTRACT OF LICENTIATE THESIS School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Author Date Markku Reunanen April 23, 2010 Pages 134 Title of thesis Computer Demos—What Makes Them Tick? Professorship Professorship code Contents Production T013Z Supervisor Professor Tapio Takala Instructor - This licentiate thesis deals with a worldwide community of hobbyists called the demoscene. The activities of the community in question revolve around real-time multimedia demonstrations known as demos. The historical frame of the study spans from the late 1970s, and the advent of affordable home computers, up to 2009. So far little academic research has been conducted on the topic and the number of other publications is almost equally low. The work done by other researchers is discussed and additional connections are made to other related fields of study such as computer history and media research. The material of the study consists principally of demos, contemporary disk magazines and online sources such as community websites and archives. A general overview of the demoscene and its practices is provided to the reader as a foundation for understanding the more in-depth topics. One chapter is dedicated to the analysis of the artifacts produced by the community and another to the discussion of the computer hardware in relation to the creative aspirations of the community members.