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./play.it 2.12: API, GUI and video games

./play.it 2.12: API, GUI and video games

./play.it is a free/libre software that builds native packages for several Linux distributions from DRM-free installers for a collection of commercial games. These packages can then be installed using the standard distribution-provided tools (APT, pacman, emerge, etc.).
A more complete description of ./play.it has already been posted in linux_gaming a couple months ago: ./play.it, an easy way to install commercial games on GNU/Linux
It's already been one year since version 2.11 was released, in January 2019. We will only briefly review the changelog of version 2.12 and focus on the different points of ./play.it that kept us busy during all this time, and of which coding was only a small part.

What’s new with 2.12?

Though not the focus of this article, it would be a pity not to present all the added features of this brand new version. ;)
Compared to the usual updates, 2.12 is a major one, especially since for two years, we slowed down the addition of new features. Some patches took dust since the end of 2018 before finally be integrated in this update!
The list of changes for this 2.12 release can be found on our forge. Here is a full copy for convenience:

Development migration

History

As many free/libre projects, ./play.it development started on some random sector of a creaking hard drive, and unsurprisingly, a whole part of its history (everything predating version 1.13.15 released on Mars 30th, 2016) disappeared into the limbs because some unwise operation destroyed the only copy of the repository… Lesson learned, what's not shared don't stay long, and so was born the first public Git repository of the project. The easing of collaborative work was only accidentally achieved by this quest for eternity, but wasn't the original motivation for making the repository publicly available.
Following this decision, ./play.it source code has been hosted successively by many shared forge platforms:

Dedicated forge

As development progressed, ./play.it began to increase its need for resources, dividing its code into several repositories to improve the workflow of the different aspects of the projects, adding continuous integration tests and their constraints, etc. A furious desire to understand the nooks and crannies behind a forge platform was the last deciding factor towards hosting a dedicated forge.
So it happened, we deployed a forge platform on a dedicated server, hugely benefiting from the tremendous work achieved by the GitLab's package Debian Maintainers team. In return, we tried to contribute our findings in improving this software packaging.
That was not expected, but this migration happened just a little time before the announcement “Déframasoftisons Internet !” (French article) about the planned end of Framagit.
This dedicated instance used to be hosted on a VPS rented from Digital Ocean until the second half of July 2020, and since then has been moved to another VPS, rented from Hetzner. The specifications are similar, as well as the service, but thanks to this migration our hosting costs have been cut in half. Keeping in mind that this is paid by a single person, so any little donation helps a lot on this front. ;)
To the surprise of our system administrator, this last migration took only a couple hours with no service interruption reported by our users.

Forge access

This new forge can be found at forge.dotslashplay.it. Registrations are open to the public, but we ask you to not abuse this, the main restriction being that we do not wish to host projects unrelated to ./play.it. Of course exceptions are made for our active contributors, who are allowed to host some personal projects there.
So, if you wish to use this forge to host your own work, you first need to make some significant contributions to ./play.it.

API

The collection of supported games growing endlessly, we have started the development of a public API allowing access to lots of information related to ./play.it.
This API, which is not yet stabilized, is simply an interface to a versioned database containing all the ./play.it scripts, handled archives, games installable through the project. Relations are, of course, handled between those items, enabling its use for requests like : « What packages are required on my system to install Cæsar Ⅲ ? » or « What are the free (as in beer) games handled via DOSBox ? ».
Originally developed as support for the new, in-development, Web site (we'll talk about it later on), this API should facilitate the development of tools around ./play.it. For example, it'll be useful for whomever would like to build a complete video game handling software (downloading, installation, starting, etc.) using ./play.it as one of its building bricks.
For those curious about the technical side, it's an API based on Lumeneffectuant that makes requests on a MariaDB database, all self-hosted on a Debian Sid. Not only is the code of the API versioned on our forge, but also the structure and content of the databases, which will allow those who desired it to install a local version easily.

New website

Based on the aforementioned API, a new website is under development and will replace our current website based on DokuWiki.
Indeed, if the lack of database and the plain text files structure of DokuWiki seemed at first attractive, as ./play.it supported only a handful of games (link in French), this feature became more inconvenient as the library of ./play.it supported games grew.
We shall make an in-depth presentation of this website for the 2.13 release of ./play.it, but a public demo of the development version from our forge is already available.
If you feel like providing an helping hand on this task, some priority tasks have been identified to allow opening a new Web site able to replace the current one. And for those interested in technical details, this web Site was developed in PHP using the framework Laravel. The current in-development version is hosted for now on the same Debian Sid than the API.

GUI

A regular comment that is done about the project is that, if the purpose is to make installing games accessible to everyone without technical skills, having to run scripts in the terminal remains somewhat intimidating. Our answer until now has been that while the project itself doesn't aim to providing a graphical interface (KISS principle "Keep it simple, stupid"), still and always), but that it would be relatively easy to, later on, develop a graphical front-end to it.
Well, it happens that is now reality. Around the time of our latest publication, one of our contributors, using the API we just talked about, developed a small prototype that is usable enough to warrant a little shout out. :-)
In practice, it is some small Python 3 code (an HCI completely in POSIX shell is for a later date :-°), using GTK 3 (and still a VTE terminal to display the commands issued, but the user shouldn't have to input anything in it, except perhaps the root password to install some packages). This allowed to verify that, as we used to say, it would be relatively easy, since a script of less than 500 lines of code (written quickly over a week-end) was enough to do the job !
Of course, this graphical interface project stays independent from the main project, and is maintained in a specific repository. It seems interesting to us to promote it in order to ease the use of ./play.it, but this doesn't prevent any other similar projects to be born, for example using a different language or graphical toolkit (we, globally, don't have any particular affinity towards Python or GTK).
The use of this HCI needs three steps : first, a list of available games is displayed, coming directly from our API. You just need to select in the list (optionally using the search bar) the game you want to install. Then it switches to a second display, which list the required files. If several alternatives are available, the user can select the one he wants to use. All those files must be in the same directory, the address bar on the top enabling to select which one to use (click on the open button on the top opens a filesystem navigation window). Once all those files available (if they can be downloaded, the software will do it automatically), you can move ahead to the third step, which is just watching ./play.it do its job :-) Once done, a simple click on the button on the bottom will run the game (even if, from this step, the game is fully integrated on your system as usual, you no longer need this tool to run it).
To download potentially missing files, the HCI will use, depending on what's available on the system, either wget, curl or aria2c (this last one also handling torrents), of which the output will be displayed in the terminal of the third phase, just before running the scripts. For privilege escalation to install packages, sudo will be used preferentially if available (with the option to use a third-party application for password input, if the corresponding environment variable is set, which is more user-friendly), else su will be used.
Of course, any suggestion for an improvement will be received with pleasure.

New games

Of course, such an announcement would not be complete without a list of the games that got added to our collection since the 2.11 release… So here you go:
If your favourite game is not supported by ./play.it yet, you should ask for it in the dedicated tracker on our forge. The only requirement to be a valid request is that there exists a version of the game that is not burdened by DRM.

What’s next?

Our team being inexhaustible, work on the future 2.13 version has already begun…
A few major objectives of this next version are :
If your desired features aren't on this list, don't hesitate to signal it us, in the comments of this news release. ;)

Links

submitted by vv224 to linux_gaming [link] [comments]

[ANN][ANDROID MINING][AIRDROP] NewEnglandcoin: Scrypt RandomSpike

New England
New England 6 States Songs: https://www.reddit.com/newengland/comments/er8wxd/new_england_6_states_songs/
NewEnglandcoin
Symbol: NENG
NewEnglandcoin is a clone of Bitcoin using scrypt as a proof-of-work algorithm with enhanced features to protect against 51% attack and decentralize on mining to allow diversified mining rigs across CPUs, GPUs, ASICs and Android phones.
Mining Algorithm: Scrypt with RandomSpike. RandomSpike is 3rd generation of Dynamic Difficulty (DynDiff) algorithm on top of scrypt.
1 minute block targets base difficulty reset: every 1440 blocks subsidy halves in 2.1m blocks (~ 2 to 4 years) 84,000,000,000 total maximum NENG 20000 NENG per block Pre-mine: 1% - reserved for dev fund ICO: None RPCPort: 6376 Port: 6377
NewEnglandcoin has dogecoin like supply at 84 billion maximum NENG. This huge supply insures that NENG is suitable for retail transactions and daily use. The inflation schedule of NengEnglandcoin is actually identical to that of Litecoin. Bitcoin and Litecoin are already proven to be great long term store of value. The Litecoin-like NENG inflation schedule will make NewEnglandcoin ideal for long term investment appreciation as the supply is limited and capped at a fixed number
Bitcoin Fork - Suitable for Home Hobbyists
NewEnglandcoin core wallet continues to maintain version tag of "Satoshi v0.8.7.5" because NewEnglandcoin is very much an exact clone of bitcoin plus some mining feature changes with DynDiff algorithm. NewEnglandcoin is very suitable as lite version of bitcoin for educational purpose on desktop mining, full node running and bitcoin programming using bitcoin-json APIs.
The NewEnglandcoin (NENG) mining algorithm original upgrade ideas were mainly designed for decentralization of mining rigs on scrypt, which is same algo as litecoin/dogecoin. The way it is going now is that NENG is very suitable for bitcoin/litecoin/dogecoin hobbyists who can not , will not spend huge money to run noisy ASIC/GPU mining equipments, but still want to mine NENG at home with quiet simple CPU/GPU or with a cheap ASIC like FutureBit Moonlander 2 USB or Apollo pod on solo mining setup to obtain very decent profitable results. NENG allows bitcoin litecoin hobbyists to experience full node running, solo mining, CPU/GPU/ASIC for a fun experience at home at cheap cost without breaking bank on equipment or electricity.
MIT Free Course - 23 lectures about Bitcoin, Blockchain and Finance (Fall,2018)
https://www.youtube.com/playlist?list=PLUl4u3cNGP63UUkfL0onkxF6MYgVa04Fn
CPU Minable Coin Because of dynamic difficulty algorithm on top of scrypt, NewEnglandcoin is CPU Minable. Users can easily set up full node for mining at Home PC or Mac using our dedicated cheetah software.
Research on the first forked 50 blocks on v1.2.0 core confirmed that ASIC/GPU miners mined 66% of 50 blocks, CPU miners mined the remaining 34%.
NENG v1.4.0 release enabled CPU mining inside android phones.
Youtube Video Tutorial
How to CPU Mine NewEnglandcoin (NENG) in Windows 10 Part 1 https://www.youtube.com/watch?v=sdOoPvAjzlE How to CPU Mine NewEnglandcoin (NENG) in Windows 10 Part 2 https://www.youtube.com/watch?v=nHnRJvJRzZg
How to CPU Mine NewEnglandcoin (NENG) in macOS https://www.youtube.com/watch?v=Zj7NLMeNSOQ
Decentralization and Community Driven NewEnglandcoin is a decentralized coin just like bitcoin. There is no boss on NewEnglandcoin. Nobody nor the dev owns NENG.
We know a coin is worth nothing if there is no backing from community. Therefore, we as dev do not intend to make decision on this coin solely by ourselves. It is our expectation that NewEnglandcoin community will make majority of decisions on direction of this coin from now on. We as dev merely view our-self as coin creater and technical support of this coin while providing NENG a permanent home at ShorelineCrypto Exchange.
Twitter Airdrop
Follow NENG twitter and receive 100,000 NENG on Twitter Airdrop to up to 1000 winners
Graphic Redesign Bounty
Top one award: 90.9 million NENG Top 10 Winners: 500,000 NENG / person Event Timing: March 25, 2019 - Present Event Address: NewEnglandcoin DISCORD at: https://discord.gg/UPeBwgs
Please complete above Twitter Bounty requirement first. Then follow Below Steps to qualify for the Bounty: (1) Required: submit your own designed NENG logo picture in gif, png jpg or any other common graphic file format into DISCORD "bounty-submission" board (2) Optional: submit a second graphic for logo or any other marketing purposes into "bounty-submission" board. (3) Complete below form.
Please limit your submission to no more than two total. Delete any wrongly submitted or undesired graphics in the board. Contact DISCORD u/honglu69#5911 or u/krypton#6139 if you have any issues.
Twitter Airdrop/Graphic Redesign bounty sign up: https://goo.gl/forms/L0vcwmVi8c76cR7m1
Milestones
Roadmap
NENG v1.4.0 Android Mining, randomSpike Evaluation https://github.com/ShorelineCrypto/NewEnglandCoin/releases/download/NENG_2020_Q3_report/NENG_2020_Q3_report.pdf
RandomSpike - NENG core v1.3.0 Hardfork Upgrade Proposal https://github.com/ShorelineCrypto/NewEnglandCoin/releases/download/2020Q1_Report/Scrypt_RandomSpike_NENGv1.3.0_Hardfork_Proposal.pdf
NENG Security, Decentralization & Valuation
https://github.com/ShorelineCrypto/NewEnglandCoin/releases/download/2019Q2_report/NENG_Security_Decentralization_Value.pdf
Whitepaper v1.0 https://github.com/ShorelineCrypto/NewEnglandCoin/releases/download/whitepaper_v1.0/NENG_WhitePaper.pdf
DISCORD https://discord.gg/UPeBwgs
Explorer
http://www.findblocks.com/exploreNENG http://86.100.49.209/exploreNENG http://nengexplorer.mooo.com:3001/
Step by step guide on how to setup an explorer: https://github.com/ShorelineCrypto/nengexplorer
Github https://github.com/ShorelineCrypto/NewEnglandCoin
Wallet
Android with UserLand App (arm64/armhf), Chromebook (x64/arm64/armhf): https://github.com/ShorelineCrypto/NewEnglandCoin/releases/tag/v1.4.0.5
Linux Wallet (Ubuntu/Linux Mint, Debian/MX Linux, Arch/Manjaro, Fedora, openSUSE): https://github.com/ShorelineCrypto/NewEnglandCoin/releases/tag/v1.4.0.3
MacOS Wallet (10.11 El Capitan or higher): https://github.com/ShorelineCrypto/NewEnglandCoin/releases/tag/v1.4.0.2
Android with GNUroot on 32 bits old Phones (alpha release) wallet: https://github.com/ShorelineCrypto/NewEnglandCoin/releases/tag/v1.4.0
Windows wallet: https://github.com/ShorelineCrypto/NewEnglandCoin/releases/tag/v1.3.0.1
addnode ip address for the wallet to sync faster, frequently updated conf file: https://github.com/ShorelineCrypto/cheetah_cpumineblob/mastenewenglandcoin.conf-example
How to Sync Full Node Desktop Wallet https://www.reddit.com/NewEnglandCoin/comments/er6f0q/how_to_sync_full_node_desktop_wallet/
TWITTER https://twitter.com/newenglandcoin
REDDIT https://www.reddit.com/NewEnglandCoin/
Cheetah CPU Miner Software https://github.com/ShorelineCrypto/cheetah_cpuminer
Solo Mining with GPU or ASIC https://bitcointalk.org/index.php?topic=5027091.msg52187727#msg52187727
How to Run Two Full Node in Same Desktop PC https://bitcointalk.org/index.php?topic=5027091.msg53581449#msg53581449
ASIC/GPU Mining Pools Warning to Big ASIC Miners Due to DynDiff Algo on top of Scrypt, solo mining is recommended for ASIC/GPU miners. Further more, even for mining pools, small mining pool will generate better performance than big NENG mining pool because of new algo v1.2.x post hard fork.
The set up configuration of NENG for scrypt pool mining is same as a typical normal scrypt coin. In other word, DynDiff on Scrypt algo is backward compatible with Scrypt algo. Because ASIC/GPU miners rely on CPU miners for smooth blockchain movement, checkout bottom of "Latest News" section for A WARNING to All ASIC miners before you decide to dump big ASIC hash rate into NENG mining.
(1) Original DynDiff Warning: https://bitcointalk.org/index.php?topic=5027091.msg48324708#msg48324708 (2) New Warning on RandomSpike Spike difficulty (244k) introduced in RandomSpike served as roadblocks to instant mining and provide security against 51% attack risk. However, this spike difficulty like a roadblock that makes big ASIC mining less profitable. In case of spike block to be mined, the spike difficulty immediately serve as base difficulty, which will block GPU/ASIC miners effectively and leave CPU cheetah solo miners dominating mining almost 100% until next base difficulty reset.
FindBlocks http://findblocks.com/
CRpool http://crpool.xyz/
Cminors' Pool http://newenglandcoin.cminors-pool.com/
SPOOL https://spools.online/
Exchange
📷
https://shorelinecrypto.com/
Features: anonymous sign up and trading. No restriction or limit on deposit or withdraw.
The trading pairs available: NewEnglandcoin (NENG) / Dogecoin (DOGE)
Trading commission: A round trip trading will incur 0.10% trading fees in average. Fees are paid only on buyer side. buy fee: 0.2% / sell fee: 0% Deposit fees: free for all coins Withdraw fees: ZERO per withdraw. Mining fees are appointed by each coin blockchain. To cover the blockchain mining fees, there is minimum balance per coin per account: * Dogecoin 2 DOGE * NewEnglandcoin 1 NENG
Latest News Aug 30, 2020 - NENG v1.4.0.5 Released for Android/Chromebook Upgrade with armhf, better hardware support https://bitcointalk.org/index.php?topic=5027091.msg55098029#msg55098029
Aug 11, 2020 - NENG v1.4.0.4 Released for Android arm64 Upgrade / Chromebook Support https://bitcointalk.org/index.php?topic=5027091.msg54977437#msg54977437
Jul 30, 2020 - NENG v1.4.0.3 Released for Linux Wallet Upgrade with 8 Distros https://bitcointalk.org/index.php?topic=5027091.msg54898540#msg54898540
Jul 21, 2020 - NENG v1.4.0.2 Released for MacOS Upgrade with Catalina https://bitcointalk.org/index.php?topic=5027091.msg54839522#msg54839522
Jul 19, 2020 - NENG v1.4.0.1 Released for MacOS Wallet Upgrade https://bitcointalk.org/index.php?topic=5027091.msg54830333#msg54830333
Jul 15, 2020 - NENG v1.4.0 Released for Android Mining, Ubuntu 20.04 support https://bitcointalk.org/index.php?topic=5027091.msg54803639#msg54803639
Jul 11, 2020 - NENG v1.4.0 Android Mining, randomSpike Evaluation https://bitcointalk.org/index.php?topic=5027091.msg54777222#msg54777222
Jun 27, 2020 - Pre-Announce: NENG v1.4.0 Proposal for Mobile Miner Upgrade, Android Mining Start in July 2020 https://bitcointalk.org/index.php?topic=5027091.msg54694233#msg54694233
Jun 19, 2020 - Best Practice for Futurebit Moonlander2 USB ASIC on solo mining mode https://bitcointalk.org/index.php?topic=5027091.msg54645726#msg54645726
Mar 15, 2020 - Scrypt RandomSpike - NENG v1.3.0.1 Released for better wallet syncing https://bitcointalk.org/index.php?topic=5027091.msg54030923#msg54030923
Feb 23, 2020 - Scrypt RandomSpike - NENG Core v1.3.0 Relased, Hardfork on Mar 1 https://bitcointalk.org/index.php?topic=5027091.msg53900926#msg53900926
Feb 1, 2020 - Scrypt RandomSpike Proposal Published- NENG 1.3.0 Hardfork https://bitcointalk.org/index.php?topic=5027091.msg53735458#msg53735458
Jan 15, 2020 - NewEnglandcoin Dev Team Expanded with New Kickoff https://bitcointalk.org/index.php?topic=5027091.msg53617358#msg53617358
Jan 12, 2020 - Explanation of Base Diff Reset and Effect of Supply https://www.reddit.com/NewEnglandCoin/comments/envmo1/explanation_of_base_diff_reset_and_effect_of/
Dec 19, 2019 - Shoreline_tradingbot version 1.0 is released https://bitcointalk.org/index.php?topic=5121953.msg53391184#msg53391184
Sept 1, 2019 - NewEnglandcoin (NENG) is Selected as Shoreline Tradingbot First Supported Coin https://bitcointalk.org/index.php?topic=5027091.msg52331201#msg52331201
Aug 15, 2019 - Mining Update on Effect of Base Difficulty Reset, GPU vs ASIC https://bitcointalk.org/index.php?topic=5027091.msg52169572#msg52169572
Jul 7, 2019 - CPU Mining on macOS Mojave is supported under latest Cheetah_Cpuminer Release https://bitcointalk.org/index.php?topic=5027091.msg51745839#msg51745839
Jun 1, 2019 - NENG Fiat project is stopped by Square, Inc https://bitcointalk.org/index.php?topic=5027091.msg51312291#msg51312291
Apr 21, 2019 - NENG Fiat Project is Launched by ShorelineCrypto https://bitcointalk.org/index.php?topic=5027091.msg50714764#msg50714764
Apr 7, 2019 - Announcement of Fiat Project for all U.S. Residents & Mobile Miner Project Initiation https://bitcointalk.org/index.php?topic=5027091.msg50506585#msg50506585
Apr 1, 2019 - Disclosure on Large Buying on NENG at ShorelineCrypto Exchange https://bitcointalk.org/index.php?topic=5027091.msg50417196#msg50417196
Mar 27, 2019 - Disclosure on Large Buying on NENG at ShorelineCrypto Exchange https://bitcointalk.org/index.php?topic=5027091.msg50332097#msg50332097
Mar 17, 2019 - Disclosure on Large Buying on NENG at ShorelineCrypto Exchange https://bitcointalk.org/index.php?topic=5027091.msg50208194#msg50208194
Feb 26, 2019 - Community Project - NewEnglandcoin Graphic Redesign Bounty Initiated https://bitcointalk.org/index.php?topic=5027091.msg49931305#msg49931305
Feb 22, 2019 - Dev Policy on Checkpoints on NewEnglandcoin https://bitcointalk.org/index.php?topic=5027091.msg49875242#msg49875242
Feb 20, 2019 - NewEnglandCoin v1.2.1 Released to Secure the Hard Kork https://bitcointalk.org/index.php?topic=5027091.msg49831059#msg49831059
Feb 11, 2019 - NewEnglandCoin v1.2.0 Released, Anti-51% Attack, Anti-instant Mining after Hard Fork https://bitcointalk.org/index.php?topic=5027091.msg49685389#msg49685389
Jan 13, 2019 - Cheetah_CpuMiner added support for CPU Mining on Mac https://bitcointalk.org/index.php?topic=5027091.msg49218760#msg49218760
Jan 12, 2019 - NENG Core v1.1.2 Released to support MacOS OSX Wallet https://bitcointalk.org/index.php?topic=5027091.msg49202088#msg49202088
Jan 2, 2019 - Cheetah_Cpuminer v1.1.0 is released for both Linux and Windows https://bitcointalk.org/index.php?topic=5027091.msg49004345#msg49004345
Dec 31, 2018 - Technical Whitepaper is Released https://bitcointalk.org/index.php?topic=5027091.msg48990334#msg48990334
Dec 28, 2018 - Cheetah_Cpuminer v1.0.0 is released for Linux https://bitcointalk.org/index.php?topic=5027091.msg48935135#msg48935135
Update on Dec 14, 2018 - NENG Blockchain Stuck Issue https://bitcointalk.org/index.php?topic=5027091.msg48668375#msg48668375
Nov 27, 2018 - Exclusive for PC CPU Miners - How to Steal a Block from ASIC Miners https://bitcointalk.org/index.php?topic=5027091.msg48258465#msg48258465
Nov 28, 2018 - How to CPU Mine a NENG block with window/linux PC https://bitcointalk.org/index.php?topic=5027091.msg48298311#msg48298311
Nov 29, 2018 - A Warning to ASIC Miners https://bitcointalk.org/index.php?topic=5027091.msg48324708#msg48324708
Disclosure: Dev Team Came from ShorelineCrypto, a US based Informatics Service Business offering Fee for service for Coin Creation, Coin Exchange Listing, Blockchain Consulting, etc.
submitted by honglu69 to NewEnglandCoin [link] [comments]

MAME 0.218

MAME 0.218

It’s time for MAME 0.218, the first MAME release of 2020! We’ve added a couple of very interesting alternate versions of systems this month. One is a location test version of NMK’s GunNail, with different stage order, wider player shot patterns, a larger player hitbox, and lots of other differences from the final release. The other is The Last Apostle Puppetshow, an incredibly rare export version of Home Data’s Reikai Doushi. Also significant is a newer version Valadon Automation’s Super Bagman. There’s been enough progress made on Konami’s medal games for a number of them to be considered working, including Buttobi Striker, Dam Dam Boy, Korokoro Pensuke, Shuriken Boy and Yu-Gi-Oh Monster Capsule. Don’t expect too much in terms of gameplay though — they’re essentially gambling games for children.
There are several major computer emulation advances in this release, in completely different areas. Possibly most exciting is the ability to install and run Windows NT on the MIPS Magnum R4000 “Jazz” workstation, with working networking. With the assistance of Ash Wolf, MAME now emulates the Psion Series 5mx PDA. Psion’s EPOC32 operating system is the direct ancestor of the Symbian operating system, that powered a generation of smartphones. IDE and SCSI hard disk support for Acorn 8-bit systems has been added, the latter being one of the components of the BBC Domesday Project system. In PC emulation, Windows 3.1 is now usable with S3 ViRGE accelerated 2D video drivers. F.Ulivi has contributed microcode-level emulation of the iSBC-202 floppy controller for the Intel Intellec MDS-II system, adding 8" floppy disk support.
Of course there are plenty of other improvements and additions, including re-dumps of all the incorrectly dumped GameKing cartridges, disassemblers for PACE, WE32100 and “RipFire” 88000, better Geneve 9640 emulation, and plenty of working software list additions. You can get the source and 64-bit Windows binary packages from the download page (note that 32-bit Windows binaries and “zip-in-zip” source code are no longer supplied).

MAME Testers Bugs Fixed

New working machines

New working clones

Machines promoted to working

Clones promoted to working

New machines marked as NOT_WORKING

New clones marked as NOT_WORKING

New working software list additions

Software list items promoted to working

New NOT_WORKING software list additions

Source Changes

submitted by cuavas to emulation [link] [comments]

Comprehensive Guide for getting into Home Recording

I'm going to borrow from a few sources and do my best to make this cohesive, but this question comes up a lot. I thought we had a comprehensive guide, but it doesn't appear so. In the absence of this, I feel that a lot of you could use a simple place to go for some basics on recording. There are a couple of great resources online already on some drumming forums, but I don't think they will be around forever.
Some background on myself - I have been drumming a long time. During that time, home recording has gone from using a cassette deck to having a full blown studio at your finger tips. The technology in the last 15 years has gotten so good it really is incredible. When I was trying to decide what I wanted to do with my life, I decided to go to school for audio engineering in a world-class studio. During this time I had access to the studio and was able to assist with engineering on several projects. This was awesome, and I came out with a working knowledge of SIGNAL CHAIN, how audio works in the digital realm, how microphones work, studio design, etc. Can I answer your questions? Yes.

First up: Signal Chain! This is the basic building block of recording. Ever seen a "I have this plugged in but am getting no sound!" thread? Yeah, signal chain.

A "Signal Chain" is the path your audio follows, from sound source, to the recording device, and back out of your monitors (speakers to you normies).
A typical complete signal chain might go something like this:
1] instrument/sound source 2] Microphone/TransducePickup 3] Cable 4] Mic Preamp/DI Box 5] Analog-to-Digital Converter 6] Digital transmission medium[digital data get recoded for usb or FW transfer] 7] Digital recording Device 8] DSP and Digital summing/playback engine 9] Digital-to-Analog Converter 10] Analog output stage[line outputs and output gain/volume control] 11] Monitors/Playback device[headphones/other transducers]
Important Terms, Definitions, and explanations (this will be where the "core" information is):
1] AD Conversion: the process by which the electrical signal is "converted" to a stream of digital code[binary, 1 and 0]. This is accomplished, basically, by taking digital pictures of the audio...and this is known as the "sampling rate/frequency" The number of "pictures" determines the frequency. So the CD standard of 44.1k is 44,100 "pictures" per second of digital code that represents the electrical "wave" of audio. It should be noted that in order to reproduce a frequency accuratly, the sampling rate must be TWICE that of the desired frequency (See: Nyquist-Shannon Theorem). So, a 44.1 digital audio device can, in fact, only record frequencies as high as 22.05khz, and in the real world, the actual upper frequency limit is lower, because the AD device employs a LOW-PASS filter to protect the circuitry from distortion and digital errors called "ALIASING." Confused yet? Don't worry, there's more... We haven't even talked about Bit depth! There are 2 settings for recording digitally: Sample Rate and Bit Depth. Sample rate, as stated above, determines the frequencies captured, however bit depth is used to get a better picture of the sample. Higher bit depth = more accurate sound wave representation. More on this here. Generally speaking, I record at 92KHz/24 bit depth. This makes huge files, but gets really accurate audio. Why does it make huge files? Well, if you are sampling 92,000 times per second, you are taking each sample and applying 24 bits to that, multiply it out and you get 92,000*24 = 2,208,000 bits per second or roughly 0.26MB per second for ONE TRACK. If that track is 5 minutes long, that is a file that is 78.96MB in size. Now lets say you used 8 inputs on an interface, that is, in total, 631.7MB of data. Wow, that escalates quick, right? There is something else to note as well here: Your CPU has to calculate this. So the amount of calculations it needs to perform for this same scenario is ~17.7 million calculations PER SECOND. This is why CPU speed and RAM is super important when recording digitally.
2] DA conversion: the process by which the digital code (the computer representation of a sound wave) is transformed back into electrcal energy in the proper shape. In a oversimplified explanation, the code is measured and the output of the convertor reflects the value of the code by changing voltage. Think of a sound wave on a grid: Frequency would represent the X axis (the horizontal axis)... but there is a vertical axis too. This is called AMPLITUDE or how much energy the wave is generating. People refer to this as how 'loud' a sound is, but that's not entirely correct. You can have a high amplitude wave that is played at a quiet volume. It's important to distinguish the two. How loud a sound is can be controlled by the volume on a speaker or transducer. But that has no impact on how much amplitude the sound wave has in the digital space or "in the wire" on its way to the transducer. So don't get hung up on how "loud" a waveform is, it is how much amplitude it has when talking about it "in the box" or before it gets to the speakeheadphone/whatever.
3] Cables: An often overlooked expense and tool, cables can in fact, make or break your recording. The multitudes of types of cable are determined by the connector, the gauge(thickness), shielding, type of conductor, etc... Just some bullet points on cables:
- Always get the highest quality cabling you can afford. Low quality cables often employ shielding that doesnt efectively protect against AC hums(60 cycle hum), RF interference (causing your cable to act as a gigantic AM/CB radio antenna), or grounding noise introduced by other components in your system. - The way cables are coiled and treated can determine their lifespan and effectiveness. A kinked cable can mean a broken shield, again, causing noise problems. - The standard in the USA for wiring an XLR(standard microphone) cable is: PIN 1= Cold/-, PIN 2= Hot/+, PIN 3=Ground/shield. Pin 3 carries phantom power, so it is important that the shield of your cables be intact and in good condition if you want to use your mic cables without any problems. - Cables for LINE LEVEL and HI-Z(instrument level) gear are not the same! - Line Level Gear, weather professional or consumer, should generally be used with balanced cables (on a 1/4" connector, it will have 3 sections and is commonly known as TRS -or- TipRingSleeve). A balanced 1/4" is essentially the same as a microphone cable, and in fact, most Professional gear with balanced line inputs and outputs will have XLR connectors instead of 1/4" connectors. - Hi-Z cable for instruments (guitars, basses, keyboards, or anything with a pickup) is UNBALANCED, and should be so. The introduction of a balanced cable can cause electricity to be sent backwards into a guitar and shock the guitar player. You may want this to happen, but your gear doesn't. There is some danger here as well, especially on stage, where the voltage CAN BE LETHAL. When running a guitabass/keyboard "Direct" into your interface, soundcard, or recording device, you should ALWAYS use a "DIRECT BOX", which uses a transformer to isolate and balance the the signal or you can use any input on the interface designated as a "Instrument" or "Hi-Z" input. It also changes some electrical properties, resulting in a LINE LEVEL output (it amplifies it from instrument level to line level).
4] Digital Data Transmissions: This includes S/PDIF, AES/EBU, ADAT, MADI. I'm gonna give a brief overview of this stuff, since its unlikely that alot of you will ever really have to think about it: - SDPIF= Sony Phillips Digital Interface Format. using RCA or TOSLINK connectors, this is a digital protocol that carries 3 streams of information. Digital audio Left, Digital Audio Right, and CLOCK. SPDIF generally supports 48khz/20bit information, though some modern devices can support up to 24bits, and up to 88.2khz. SPDIF is the consumer format of AES/EBU - AES/EBU= Audio Engineering Society/European Breadcasters Union Digital protocol uses a special type of cable often terminated with XLR connectors to transmit 2 channels of Digital Audio. AES/EBU is found mostly on expensive professional digital gear. - ADAT= the Alesis Digital Audio Tape was introduced in 1991, and was the first casette based system capable of recording 8 channels of digital audio onto a single cartridge(a SUPER-VHS tape, same one used by high quality VCR's). Enough of the history, its not so important because we are talking about ADAT-LIGHTPIPE Protocol, which is a digital transmission protocol that uses fiberoptic cable and devices to send up to 8 channels of digital audio simultaneously and in sync. ADAT-Lightpipe supports up to 48khz sample rates. This is how people expand the number of inputs by chaining interfaces. - MADI is something you will almost never encounter. It is a protocol that allows up to 64 channels of digital audio to be transmitted over a single cable that is terminated by BNC connectors. Im just telling you it exists so in case you ever encounter a digital snake that doesnt use Gigabit Ethernet, you will know whats going on.
digital transmission specs: SPDIF -> clock->2Ch->RCA cable(consumer) ADAT-Lightpipe->clock->8Ch->Toslink(semi-pro) SPDIF-OPTICAL->clock->2Ch->Toslink(consumer) AES/EBU->clock->2Ch->XLR(Pro) TDIF->clock->8Ch->DSub(Semi-Pro) ______________ MADI->no clock->64Ch->BNC{rare except in large scale pofessional apps} SDIF-II->no clock->24Ch->DSub{rare!} AES/EBU-13->no clock->24Ch->DSub
5] MICROPHONES: There are many types of microphones, and several names for each type. The type of microphone doesn't equate to the polar pattern of the microphone. There are a few common polar patterns in microphones, but there are also several more that are less common. These are the main types- Omni-Directional, Figure 8 (bi-directional), Cardioid, Super Cardioid, Hyper Cardioid, Shotgun. Some light reading.... Now for the types of microphones: - Dynamic Microphones utilize polarized magnets to convert acoustical energy into electrical energy. there are 2 types of dynamic microphones: 1) Moving Coil microphones are the most common type of microphone made. They are also durable, and capable of handling VERY HIGH SPL (sound pressure levels). 2) Ribbon microphones are rare except in professional recording studios. Ribbon microphones are also incredibly fragile. NEVER EVER USE PHANTOM POWER WITH A RIBBON MICROPHONE, IT WILL DIE (unless it specifically requires it, but I've only ever seen this on one Ribbon microphone ever). Sometimes it might even smoke or shoot out a few sparks; applying phantom power to a Ribbon Microphone will literally cause the ribbon, which is normally made from Aluminum, to MELT. Also, windblasts and plosives can rip the ribbon, so these microphones are not suitible for things like horns, woodwinds, vocals, kick drums, or anything that "pushes air." There have been some advances in Ribbon microphones and they are getting to be more common, but they are still super fragile and you have to READ THE MANUAL CAREFULLY to avoid a $1k+ mistake. - CondenseCapacitor Microphones use an electrostatic charge to convert acoustical energy into electrical energy. The movement of the diaphragm(often metal coated mylar) toward a ceramic "backplate" causes a fluctuation in the charge, which is then amplified inside the microphone and output as an electrical signal. Condenser microphones usually use phantom power to charge the capacitors' and backplate in order to maintain the electrostatic charge. There are several types of condenser microphones: 1) Tube Condenser Microphones: historically, this type of microphone has been used in studios since the 1940s, and has been refined and redesigned hundreds, if not thousands of times. Some of the "best sounding" and most desired microphones EVER MADE are Tube Condenser microphones from the 50's and 60's. These vintage microphones, in good condition, with the original TUBES can sell for hundreds of thousands of dollars. Tube mics are known for sounding "full", "warm", and having a particular character, depending on the exact microphone. No 2 tubes mics, even of the same model, will sound the same. Similar, but not the same. Tube mics have their own power supplies, which are not interchangeable to different models. Each tube mic is a different design, and therefore, has different power requirements. 2) FET Condenser microphones: FET stands for "Field Effect Transistor" and the technology allowed condenser microphones to be miniturized. Take for example, the SHURE beta98s/d, which is a minicondenser microphone. FET technology is generally more transparant than tube technology, but can sometimes sound "harsh" or "sterile". 3) Electret Condenser Microphones are a condenser microphone that has a permanent charge, and therefore, does not require phantom power; however, the charge is not truly permanent, and these mics often use AA or 9V batteries, either inside the mic, or on a beltpack. These are less common.
Other important things to know about microphones:
- Pads, Rolloffs, etc: Some mics have switches or rotating collars that notate certain things. Most commonly, high pass filters/lowcut filters, or attenuation pads. 1) A HP/LC Filter does exactly what you might think: Removes low frequency content from the signal at a set frequency and slope. Some microphones allow you to switch the rolloff frequency. Common rolloff frequencies are 75hz, 80hz, 100hz, 120hz, 125hz, and 250hz. 2) A pad in this example is a switch that lowers the output of the microphone directly after the capsule to prevent overloading the input of a microphone preamplifier. You might be asking: How is that possible? Some microphones put out a VERY HIGH SIGNAL LEVEL, sometimes about line level(-10/+4dbu), mic level is generally accepted to start at -75dbu and continues increasing until it becomes line level in voltage. It should be noted that linel level signals are normally of a different impedance than mic level signals, which is determined by the gear. An example for this would be: I mic the top of a snare drum with a large diaphragm condenser mic (solid state mic, not tube) that is capable of handling very high SPLs (sound pressure levels). When the snare drum is played, the input of the mic preamp clips (distorts), even with the gain turned all the way down. To combat this, I would use a pad with enough attenuation to lower the signal into the proper range of input (-60db to -40 db). In general, it is accepted to use a pad with only as much attentuation as you need, plus a small margin of error for extra “headroom”. What this means is that if you use a 20db pad where you only need a 10db pad, you will then have to add an additional 10db of gain to achieve a desireable signal level. This can cause problems, as not all pads sound good, or even transparent, and can color and affect your signal in sometimes unwanted ways that are best left unamplified. - Other mic tips/info: 1) when recording vocals, you should always use a popfilter. A pop filter mounted on a gooseneck is generally more effective than a windscreen made of foam that slips over the microphone. The foam type often kill the highfrequency response, alter the polar pattern, and can introduce non-linear polarity problems(part of the frequency spectrum will be out of phase.) If you don't have a pop filter or don't want to spend on one, buy or obtain a hoop of some kind, buy some cheap panty-hose and stretch it over the hoop to build your own pop filter. 2) Terms Related to mics: - Plosives: “B”, “D”, “F”, “G”, “J”, “P”, “T” hard consonants and other vocal sounds that cause windblasts. These are responsible for a low frequency pop that can severly distort the diaphragm of the microphone, or cause a strange inconsistency of tonality by causing a short term proximity effect.
- Proximity effect: An exponential increase in low frequency response causes by having a microphone excessivly close to a sound. This can be cause by either the force of the air moving actually causes the microphone’s diaphragm to move and sometimes distort, usually on vocalists or buy the buildup of low frequency soundwaves due to off-axis cancellation ports. You cannot get proximity effect on an omnidirectional microphone. With some practice, you can use proximity effect to your advantage, or as an effect. For example, if you are recording someone whispering and it sounds thin or weak and irritating due to the intenese high mid and high frequency content, get the person very close to a cardioid microphone with two popfilters, back to back approx 1/2”-1” away from the mic and set your gain carefully, and you can achieve a very intimite recording of whispering. In a different scenario, you can place a mic inside of a kick drum between 1”-3” away from the inner shell, angled up and at the point of impact, and towards the floor tom. This usually captures a huge low end, and the sympathetic vibration of the floor tom on the kick drum hits, but retains a clarity of attack without being distorted by the SPL of the drum and without capturing unplesant low-mid resonation of the kick drum head and shell that is common directly in the middle of the shell.
6) Wave Envelope: The envelope is the graphical representation of a sound wave commonly found in a DAW. There are 4 parts to this: Attack, Decay, Sustain, Release: 1) Attack is how quickly the sound reaches its peak amplitude; 2) Decay is the time it takes to reach the sustain level; 3) Sustain how long a sound remains at a certain level (think of striking a tom, the initial smack is attack, then it decays to the resonance of the tom, how long it resonates is the sustain); 4) Release is the amount of time before the sustain stops. This is particularly important as these are also the settings on a common piece of gear called a Compressor! Understanding the envelope of a sound is key to learning how to maniuplate it.
7) Phase Cancellation: This is one of the most important concepts in home recording, especially when looking at drums. I'm putting it in this section because it matters so much. Phase Cancellation is what occurs when the same frequencies occur at different times. To put it simply, frequency amplitudes are additive - meaning if you have 2 sound waves of the same frequency, one amplitude is +4 and the other is +2, the way we percieve sound is that the frequency is +6. But a sound wave has a positive and negative amplitude as it travels (like a wave in the ocean with a peak and a swell). If the frequency then has two sources and it is 180 degrees out of phase, that means one wave is at +4 while the other is at -4. This sums to 0, or cancels out the wave. Effectively, you would hear silence. This is why micing techniques are so important, but we'll get into that later. I wanted this term at the top, and will likely mention it again.

Next we can look at the different types of options to actually record your sound!

1) Handheld/All in one/Field Recorders: I don't know if portable cassette tape recorders are still around, but that's an example of one. These are (or used to) be very popular with journalists because they were pretty decent at capturing speech. They do not fare too well with music though. Not too long ago, we saw the emergence of the digital field recorder. These are really nifty little devices. They come in many shapes, sizes and colors, and can be very affordable. They run on batteries, and have built-in microphones, and record digitally onto SD cards or harddiscs. The more simple ones have a pair of built-in condenser microphones, which may or may not be adjustable, and record onto an SD-card. They start around $99 (or less if you don't mind buying refurbished). You turn it on, record, connect the device itself or the SD card to your computer, transfer the file(s) and there is your recording! An entry-level example is the Tascam DR-05. It costs $99. It has two built in omni-directional mics, comes with a 2GB microSD card and runs on two AA batteries. It can record in different formats, the highest being 24-bit 96KHz Broadcast WAV, which is higher than DVD quality! You can also choose to record as an MP3 (32-320kbps) if you need to save space on the SD card or if you're simply going to record a speech/conference or upload it on the web later on. It's got a headphone jack and even small built-in speakers. It can be mounted onto a tripod. And it's about the size of a cell phone. The next step up (although there are of course many options that are price and feature-wise inbetween this one and the last) is a beefier device like the Zoom H4n. It's got all the same features as the Tascam DR-05 and more! It has two adjustable built-in cardioid condenser mics in an XY configuration (you can adjust the angle from a 90-120 degree spread). On the bottom of the device, there are two XLR inputs with preamps. With those, you can expand your recording possibilities with two external microphones. The preamps can send phantom power, so you can even use very nice studio mics. All 4 channels will be recorded independantly, so you can pop them onto your computer later and mix them with software. This device can also act as a USB interface, so instead of just using it as a field recorder, you can connect it directly to your computer or to a DSLR camera for HD filming. My new recommendation for this category is actually the Yamaha EAD10. It really is the best all-in-one solution for anyone that wants to record their kit audio with a great sound. It sports a kick drum trigger (mounts to the rim of the kick) with an x-y pattern set of microphones to pick up the rest of the kit sound. It also has on-board effects, lots of software integration options and smart features through its app. It really is a great solution for anyone who wants to record without reading this guide.
The TL;DR of this guide is - if it seems like too much, buy the Yamaha EAD10 as a simple but effective recording solution for your kit.

2) USB Microphones: There are actually mics that you an plug in directly to your computer via USB. The mics themselves are their own audio interfaces. These mics come in many shapes and sizes, and offer affordable solutions for basic home recording. You can record using a DAW or even something simple like the stock windows sound recorder program that's in the acessories folder of my Windows operating system. The Blue Snowflake is very affordable at $59. It can stand alone or you can attach it to your laptop or your flat screen monitor. It can record up to 44.1kHz, 16-bit WAV audio, which is CD quality. It's a condenser mic with a directional cardioid pickup pattern and has a full frequency response - from 35Hz-20kHz. It probably won't blow you away, but it's a big departure from your average built-in laptop, webcam, headset or desktop microphone. The Audio Technica AT2020 USB is a USB version of their popular AT2020 condenser microphone. At $100 it costs a little more than the regular version. The AT2020 is one of the finest mics in its price range. It's got a very clear sound and it can handle loud volumes. Other companies like Shure and Samson also offer USB versions of some of their studio mics. The AT2020 USB also records up to CD-quality audio and comes with a little desktop tripod. The MXL USB.009 mic is an all-out USB microphone. It features a 1 inch large-diaphragm condenser capsule and can record up to 24-bit 96kHz WAV audio. You can plug your headphones right into the mic (remember, it is its own audio interface) so you can monitor your recordings with no latency, as opposed to doing so with your computer. Switches on the mic control the gain and can blend the mic channel with playback audio. Cost: $399. If you already have a mic, or you don't want to be stuck with just a USB mic, you can purcase a USB converter for your existing microphone. Here is a great review of four of them.
3) Audio Recording Interfaces: You've done some reading up on this stuff... now you are lost. Welcome to the wide, wide world of Audio Interfaces. These come in all different shapes and sizes, features, sampling rates, bit depths, inputs, outputs, you name it. Welcome to the ocean, let's try to help you find land.
- An audio interface, as far as your computer is concerned, is an external sound card. It has audio inputs, such as a microphone preamp and outputs which connect to other audio devices or to headphones or speakers. The modern day recording "rig" is based around a computer, and to get the sound onto your computer, an interface is necessary. All computers have a sound card of some sort, but these have very low quality A/D Converters (analog to digital) and were not designed with any kind of sophisticated audio recording in mind, so for us they are useless and a dedicated audio interface must come into play.
- There are hundreds of interfaces out there. Most commonly they connect to a computer via USB or Firewire. There are also PCI and PCI Express-based interfaces for desktop computers. The most simple interfaces can record one channel via USB, while others can record up to 30 via firewire! All of the connection types into the computer have their advantages and drawbacks. The chances are, you are looking at USB, Firewire, or Thunderbolt. As far as speeds, most interfaces are in the same realm as far as speed is concerned but thunderbolt is a faster data transfer rate. There are some differences in terms of CPU load. Conflict handling (when packages collide) is handled differently. USB sends conflict resolution to the CPU, Firewire handles it internally, Thunderbolt, from what I could find, sends it to the CPU as well. For most applications, none of them are going to be superior from a home-recording standpoint. When you get up to 16/24 channels in/out simultaneously, it's going to matter a lot more.
- There are a number of things to consider when choosing an audio interface. First off your budget, number of channels you'd like to be able to record simultaneously, your monitoring system, your computer and operating system and your applications. Regarding budget, you have to get real. $500 is not going to get you a rig with the ability to multi-track a drum set covered in mics. Not even close! You might get an interface with 8 channels for that much, but you have to factor in the cost of everything, including mics, cables, stands, monitors/headphones, software, etc... Considerations: Stereo Recording or Multi-Track Recording? Stereo Recording is recording two tracks: A left and right channel, which reflects most audio playback systems. This doesn't necessarily mean you are simply recording with two mics, it means that what your rig is recording onto your computer is a single stereo track. You could be recording a 5-piece band with 16 mics/channels, but if you're recording in stereo, all you're getting is a summation of those 16 tracks. This means that in your recording software, you won't be able to manipulate any of those channels independantly after you recorded them. If the rack tom mic wasn't turned up loud enough, or you want to mute the guitars, you can't do that, because all you have is a stereo track of everything. It's up to you to get your levels and balance and tone right before you hit record. If you are only using two mics or lines, then you will have individual control over each mic/line after recording. Commonly, you can find 2 input interfaces and use a sub-mixer taking the left/right outputs and pluging those into each channel of the interface. Some mixers will output a stereo pair into a computer as an interface, such as the Allen&Heath ZED16. If you want full control over every single input, you need to multi-track. Each mic or line that you are recording with will get it's own track in your DAW software, which you can edit and process after the fact. This gives you a lot of control over a recording, and opens up many mixing options, and also many more issues. Interfaces that facilitate multitracking include Presonus FireStudio, Focusrite Scarlett interfaces, etc. There are some mixers that are also interfaces, such as the Presonus StudioLive 16, but these are very expensive. There are core-card interfaces as well, these will plug in directly to your motherboard via PCI or PCI-Express slots. Protools HD is a core-card interface and requires more hardware than just the card to work. I would recommend steering clear of these until you have a firm grasp of signal chain and digital audio, as there are more affordable solutions that will yield similar results in a home-environment.

DAW - Digital Audio Workstation

I've talked a lot about theory, hardware, signal chain, etc... but we need a way to interpret this data. First off what does a DAW do? Some refer to them as DAE's (Digital Audio Editors). You could call it a virtual mixing board , however that isn't entirely correct. DAWs allow you to record, control, mix and manipulate independant audio signals. You can change their volume, add effects, splice and dice tracks, combine recorded audio with MIDI-generated audio, record MIDI tracks and much much more. In the old days, when studios were based around large consoles, the actual audio needed to be recorded onto some kind of medium - analog tape. The audio signals passed through the boards, and were printed onto the tape, and the tape decks were used to play back the audio, and any cutting, overdubbing etc. had to be done physically on the tape. With a DAW, your audio is converted into 1's and 0's through the converters on your interface when you record, and so computers and their harddiscs have largely taken the place of reel-to-reel machines and analog tape.
Here is a list of commonly used DAWs in alphabetical order: ACID Pro Apple Logic Cakewalk SONAR Digital Performer FL (Fruity Loops) Studio (only versions 8 and higher can actually record Audio I believe) GarageBand PreSonus Studio One Pro Tools REAPER Propellerhead Reason (version 6 has combined Reason and Record into one software, so it now is a full audio DAW. Earlier versions of Reason are MIDI based and don't record audio) Propellerhead Record (see above) Steinberg Cubase Steinberg Nuendo
There are of course many more, but these are the main contenders. [Note that not all DAWs actually have audio recording capabilities (All the ones I listed do, because this thread is about audio recording), because many of them are designed for applications like MIDI composing, looping, etc. Some are relatively new, others have been around for a while, and have undergone many updates and transformations. Most have different versions, that cater to different types of recording communities, such as home recording/consumer or professional.
That's a whole lot of choices. You have to do a lot of research to understand what each one offers, what limitations they may have etc... Logic, Garageband and Digital Performer for instance are Mac-only. ACID Pro, FL Studio and SONAR will only run on Windows machines. Garageband is free and is even pre-installed on every Mac computer. Most other DAWs cost something.
Reaper is a standout. A non-commercial license only costs $60. Other DAWs often come bundled with interfaces, such as ProTools MP with M-Audio interfaces, Steinberg Cubase LE with Lexicon Interfaces, Studio One with Presonus Interfaces etc. Reaper is a full function, professional, affordable DAW with a tremendous community behind it. It's my recommendation for everyone, and comes with a free trial. It is universally compatible and not hardware-bound.
You of course don't have to purchase a bundle. Your research might yield that a particular interface will suit your needs well, but the software that the same company offers or even bundles isn't that hot. As a consumer you have a plethora of software and hardware manufacturers competing for your business and there is no shortage of choice. One thing to think about though is compatability and customer support. With some exceptions, technically you can run most DAWs with most interfaces. But again, don't just assume this, do your research! Also, some DAWs will run smoother on certain interfaces, and might experience problems on others. It's not a bad thing to assume that if you purchase the software and hardware from the same company, they're at least somewhat optimized for eachother. In fact, ProTools, until recently would only run on Digidesign (now AVID) and M-Audio interfaces. While many folks didn't like being limited to their hardware choices to run ProTools, a lot of users didn't mind, because I think that at least in part it made ProTools run smoother for everyone, and if you did have a problem, you only had to call up one company. There are many documented cases where consumers with software and hardware from different companies get the runaround:
Software Company X: "It's a hardware issue, call Hardware Company Z". Hardware Company Z: "It's a software issue, call Software Company X".
Another thing to research is the different versions of softwares. Many of them have different versions at different pricepoints, such as entry-level or student versions all the way up to versions catering to the pros. Cheaper versions come with limitations, whether it be a maximum number of audio tracks you can run simultaneously, plug-ins available or supported Plug-In formats and lack of other features that the upper versions have. Some Pro versions might require you to run certain kinds of hardware. I don't have time nor the will to do research on individual DAW's, so if any of you want to make a comparison of different versions of a specific DAW, be my guest! In the end, like I keep stressing - we each have to do our own research.
A big thing about the DAW that it is important to note is this: Your signal chain is your DAW. It is the digital representation of that chain and it is important to understand it in order to properly use that DAW. It is how you route the signal from one spot to another, how you move it through a sidechain compressor or bus the drums into the main fader. It is a digital representation of a large-format recording console, and if you don't understand how the signal gets from the sound source to your monitor (speaker), you're going to have a bad time.

Playback - Monitors are not just for looking at!

I've mentioned monitors several times and wanted to touch on these quickly: Monitors are whatever you are using to listen to the sound. These can be headphones, powered speakers, unpowered speakers, etc. The key thing here is that they are accurate. You want a good depth of field, you want as wide a frequency response as you can get, and you want NEARFIELD monitors. Unless you are working with a space that can put the monitor 8' away from you, 6" is really the biggest speaker size you need. At that point, nearfield monitors will reproduce the audio frequency range faithfully for you. There are many options here, closed back headphones, open back headphones, studio monitors powered, and unpowered (require a separate poweramp to drive the monitor). For headphones, I recommend AKG K271, K872, Sennheiser HD280 Pro, etc. There are many options, but if mixing on headphones I recommend spending some good money on a set. For Powered Monitors, there's really only one choice I recommend: Kali Audio LP-6 monitors. They are, dollar for dollar, the best monitors you can buy for a home studio, period. These things contend with Genelecs and cost a quarter of the price. Yes, they still cost a bit, but if you're going to invest, invest wisely. I don't recommend unpowered monitors, as if you skimp on the poweramp they lose all the advantages you gain with monitors. Just get the powered monitors if you are opting for not headphones.

Drum Mic'ing Guide, I'm not going to re-create the wheel.


That's all for now, this has taken some time to put together (a couple hourse now). I can answer other questions as they pop up. I used a few sources for the information, most notably some well-put together sections on the Pearl Drummers Forum in the recording section. I know a couple of the users are no longer active there, but if you see this and think "Hey, he ripped me off!", you're right, and thanks for allowing me to rip you off!

A couple other tips that I've come across for home recording:
You need to manage your gain/levels when recording. Digital is NOT analog! What does this mean? You should be PEAKING (the loudest the signal gets) around -12dB to -15dB on your meters. Any hotter than that and you are overdriving your digital signal processors.
What sound level should my master bus be at for Youtube?
Bass Traps 101
Sound Proofing 101
submitted by M3lllvar to drums [link] [comments]

MAME 0.218

MAME 0.218

It’s time for MAME 0.218, the first MAME release of 2020! We’ve added a couple of very interesting alternate versions of systems this month. One is a location test version of NMK’s GunNail, with different stage order, wider player shot patterns, a larger player hitbox, and lots of other differences from the final release. The other is The Last Apostle Puppetshow, an incredibly rare export version of Home Data’s Reikai Doushi. Also significant is a newer version Valadon Automation’s Super Bagman. There’s been enough progress made on Konami’s medal games for a number of them to be considered working, including Buttobi Striker, Dam Dam Boy, Korokoro Pensuke, Shuriken Boy and Yu-Gi-Oh Monster Capsule. Don’t expect too much in terms of gameplay though — they’re essentially gambling games for children.
There are several major computer emulation advances in this release, in completely different areas. Possibly most exciting is the ability to install and run Windows NT on the MIPS Magnum R4000 “Jazz” workstation, with working networking. With the assistance of Ash Wolf, MAME now emulates the Psion Series 5mx PDA. Psion’s EPOC32 operating system is the direct ancestor of the Symbian operating system, that powered a generation of smartphones. IDE and SCSI hard disk support for Acorn 8-bit systems has been added, the latter being one of the components of the BBC Domesday Project system. In PC emulation, Windows 3.1 is now usable with S3 ViRGE accelerated 2D video drivers. F.Ulivi has contributed microcode-level emulation of the iSBC-202 floppy controller for the Intel Intellec MDS-II system, adding 8" floppy disk support.
Of course there are plenty of other improvements and additions, including re-dumps of all the incorrectly dumped GameKing cartridges, disassemblers for PACE, WE32100 and “RipFire” 88000, better Geneve 9640 emulation, and plenty of working software list additions. You can get the source and 64-bit Windows binary packages from the download page (note that 32-bit Windows binaries and “zip-in-zip” source code are no longer supplied).

MAME Testers Bugs Fixed

New working machines

New working clones

Machines promoted to working

Clones promoted to working

New machines marked as NOT_WORKING

New clones marked as NOT_WORKING

New working software list additions

Software list items promoted to working

New NOT_WORKING software list additions

Source Changes

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