| 041:050 Khan | : |
And truly, if We give him a taste of mercy from us, after some adversity (severe poverty or disease, etc.) has touched him, he is sure to say: "This is for me (due to my merit), I think not that the Hour will be established. But if I am brought back to my Lord, Surely, there will be for me the best (wealth, etc.) with Him. Then, We verily, will show to the disbelievers what they have done and We shall make them taste a severe torment. |
| 041:050 Maulana | : |
And if We make him taste mercy from Us after distress has touched him, he says: This is due to me, and I think not that the Hour will come to pass; and if I am sent back to my Lord, I shall have sure good with Him. So We shall certainly inform those who disbelieve of what they do, and We shall make them taste of hard chastisement. |
| 041:050 Pickthal | : |
And verily, if We cause him to taste mercy after some hurt that hath touched him, he will say: This is my own; and I deem not that the Hour will ever rise, and if I am brought back to my Lord, I surely shall be better off with Him - But We verily shall tell those who disbelieve (all) that they did, and We verily shall make them taste hard punishment. |
| 041:050 Rashad | : |
And when we bless him after suffering some adversity, he says, "This belongs to me. I do not believe that the Hour will ever come to pass. Even if I am returned to my Lord, I will find at Him better things." Most certainly, we will inform the disbelievers of all their works, and will commit them to severe retribution. |
| 041:050 Sarwar | : |
When We grant him mercy after his suffering, he (boldly) says, "This is what I deserved. I do not think that there will ever be a Day of Judgment. Even if I will be returned to my Lord, I shall still deserve to receive better rewards from Him." We shall certainly tell the unbelievers about their deeds and cause them to suffer a severe punishment. |
| 041:050 Shakir | : |
And if We make him taste mercy from Us after distress that has touched him, he would most certainly say: This is of me, and I do not think the hour will come to pass, and if I am sent back to my Lord, I shall have with Him sure good; but We will most certainly inform those who disbelieved of what they did, and We will most certainly make them taste of hard chastisement. |
| 041:050 Sherali | : |
And if WE make him taste of mercy from US after some affliction that has befallen him, he is sure to say, 'This is but my due and I do not think the Hour will ever come. But even if I am returned to my Lord, I will, surely, have with HIM the very best.' Then WE will, surely, inform the disbelievers of all that they did, and WE will, certainly, make them taste a hard punishment. |
| 041:050 Yusufali | : |
When we give him a taste of some Mercy from Ourselves, after some adversity has touched him, he is sure to say, "This is due to my (merit): I think not that the Hour (of Judgment) will (ever) be established; but if I am brought back to my Lord, I have (much) good (stored) in His sight!" But We will show the Unbelievers the truth of all that they did, and We shall give them the taste of a severe Penalty. |
Concepts/Themes Covered: أركان الإسلام > التوحيد > توحيد الله تعالي > علمه جلّ شأنه Pillars of Islam> Islamic> Oneness of Allah> His Glory's Knowledge الإيمان > الغيب > الجنة > أسماءالجنة > الحسنى Faith> The Unseen World> The Paradise> Paradise Names> The Kindness Paradise الإنسان والعلاقات الأخلاقية > الأخلاق الذميمة > الكفران Man and The Moral Relations>The Dispraised Morals>Rejection الإنسان والعلاقات الاجتماعية > الإنسان > أحواله وأوصافه Man and The Social Relations>Man>His Cirumstances and his Specifications
This tool uses eight English parallel translations for the Holy Quran imported from Mr. Clay Smith. You can also visit Qurany Concepts for browsing the Quran themes or topics. If you want to search the Holy Quran for keywords, please visit Qurany Keywords.


As mentioned previously, clicking on the person icon will display authorization details about either the user or the group. This information is displayed in what we call the bottom "details" panel.
The 'Master View' tab next to the 'Ad hoc SQL' tab is the actual Master View tab that the module pulls up. Try clicking on a person icon or group icon to view the details in the bottom panel. If the tab has not loaded properly, you have not installed the plug-in, are not connected to the proper database, or do not have the proper privileges. In that case, click here for a sample details panel view.
It should be noted however, that nothing will load in the details panel if the selected user ID or group ID does not exist in the AUTHID field in the SYSIBMADM.AUTHORIZATIONS table. When a user ID or group ID exists in the AUTHID field, it means that the user or group has been given direct authorizations or privileges.


Type a word and click TableIt! (or type Enter) for sciencey results...
TableIt!
That word is not "periodic". Try again!
SYMBOLSYMBOL
NAMENAME
WEIGHTWEIGHT


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"GORN!"
"What's "gorn", dear?"
"Nothing, nothing. Just like the word, it gives me confidence. GORN! GORN!!!"
Similar to Always Wanted to Say That and often related to Inherently Funny Words, this is when someone admits the only reason they said, or keep saying, a certain word or phrase is that it's fun to say. This is often followed by them saying it again, sometimes several times in a row.
Examples:
open/close all folders
Anime and Manga
- Azumanga Daioh: In one strip from the Okinawa Class Trip arc, Osaka and Chiyo get an Okinawan pastry called saataa andaagii, and Osaka keeps saying the word apparently because she finds it fun to say, much to the annoyance of Tomo.
- In K-On!, when Tsumugi gets to direct the class production of Romeo and Juliet, she keeps saying "Cut!" and making tweaks. Ritsu guesses correctly that she's just saying it because she enjoys it.
Comic Books
- A variation occurs in Secret Six, where Rag Doll discovers that everything he says sounds creepy, and delights in saying random, innocuous things just to prove it to himself over and over.
- Deadpool has done this a few times, for words like "duct tape" and "chimichangas". The latter is even the name for one of his special moves in Marvel vs. Capcom 3 — for no other reason than the fact he likes saying it, apparently.
Film
- In Kill Bill vol. 2, Elle Driver says she has this affinity for the word "gargantuan", though she only uses it once in the film.
- Mad Monster Party. Baron von Frankenstein loves saying "antipasto".
- In Talladega Nights: The Ballad of Ricky Bobby, Ricky can't stop describing "little baby Jesus" in increasingly Squicky terms whenever he prays, even when his own family protests. His response is to insist that he just prefers to think of Jesus that way.
- In ¡Three Amigos!, El Guapo has a particular fondness for the word "plethora".
- Batman (1989): The Joker/Jack Napier always utters "Have you ever danced with the devil in the pale moonlight?" when he kills someone. He later comments to a confused Bruce Wayne that he just likes the sound of it, which is how Bruce finds out who murdered his parents.
- Elf: When Walter takes Buddy to work with him, Buddy is delighted to discover one of his father's colleagues is called "Francisco". He sits in the corner of Walter's office repeating the name to himself while Walter is trying to work, much to his annoyance.
- In Sonic the Hedgehog (2020), Sonic is rather fond of saying "guac" when he's at the bar. He even says it when Robotnik asks him if he has any last words in the climax, admitting that he chose it just because he likes the word.
Literature
- One of the dwarves/dwarfs in The Soddit becomes obsessed with the word "moot". Initially he just repeats it to himself ("moot, moot, moot!") then later he insists on inserting himself in any conversation where something is undecided, just so he can say "that's moot."
- In Animorphs, when Ax is in human form he can't resist repeating and playing around with words and syllables, simply because they are fun to say. This is because Andalites don't have a mouth.
- One of the footnotes to the published script of The Compleat Wks of Willm Shkspr (Abridged) states that "this editor really likes writing the word 'Zimbabwe.' Zimbabwe, Zimbabwe, Zimbabwe."
- One of the Star Trek: Department of Temporal Investigations novellas has a black market space station called Qhembembem. DTI agent Teresa Garcia thinks it's fun to say. "Qhembembembembembem..."
Live Action TV
- The subject of an entire skit in Monty Python's Flying Circus, in which an Upper-Class Twit judges the value of words on whether they sound like they're made of wood or tin.
- In an episode of Sabrina the Teenage Witch, Hilda gets hooked on saying "bungalow." Later in the same episode, after the phrase "brackish water" comes up, she says this is her new favorite phrase.
- On The Big Bang Theory, when Leonard and Penny are drunk:
Leonard: Why would you buy Peppermint Schnapps?
Penny: Because I like peppermint, and it's fun to say sch-napps - Miranda does this Once an Episode, declaring that a word she's just used is a nice word, and repeats it a few times. Sometimes done again later in the episode, with a different word, before launching back to the first word.
- It's a funny word, isn't it? Word. The word word... is a funny word... WORD. CLUTCH!
- On Seinfeld, Jerry hypothesizes that the reason salsa is the most popular condiment is because everybody likes saying "salsa".
- One clip on World's Dumbest... features a politician named Toplicker. Brad Loekle pretends to be a reporter repeatedly saying "Mr. Toplicker! Mr. Toplicker!" just because he likes saying it.
- On Whose Line Is It Anyway?, Drew Carey once said how much he liked saying the word pianist, since the network can't censor it.
- Brick, the youngest son in The Middle has a tendency to whisper a word from his last sentence to himself.
- In one The Kids in the Hall sketch, a worker gets called up by his boss because he can't resist using the word "ascertain" at least once a sentence, and it's getting on everyone's nerves. After he promises to restrain himself, the boss says that he's happy to have been able to "delineate" the problem, and the worker latches on to that word instead.
Newspaper Comics
- Hobbes from Calvin and Hobbes just likes saying "smock".
- Another strip where he mentions that he likes saying "quark" is a semi-example, as Calvin was talking about other, decidedly less creative terms scientists have come up with.
- Ratbert with "scruples" in one comic strip.
- Frazz has admitted this is the main reason he eats kumquats.
Radio
- The routine "Bulbous Bouffant" by The Vestibules, as aired on the Dr. Demento Show, is built entirely out of this. A video-fied version can be found here.
- In the John Finnemore's Souvenir Programme spy thriller about a zoo, Control explains that the zoo is officially not in contact with the circus:
Control: But there are, shall we say, backchannels?
Finnnemore: Okay.
Both: Backchannels!
Finnemore: Yes, that is fun to say.
Control: It is fun, isn't it?
Both: Backchannels!
Stand Up Comedy
- In one of his routines, George Carlin once noted that the phrase "Amoebic Dysentery" is an amazingly fun phrase to say if you ignore its rather unfortunate definition... and then spent ten minutes using it in sentences over and over.
TV Tropes
- One word gets used egregiously on This Very Wiki.
Video Games
- In Dreamfall: The Longest Journey, Crow admits liking the word "spooky" because it "makes his beak vibrate".
- Final Fantasy:
- In Dissidia Final Fantasy, Exdeath loves saying the word 'Void', he likes it so much that most of his battle intros feature him saying it. Hilariously, when others battle Exdeath, they too refer to the void in their battle intros.
- In the same game there's Ultimecia, who says the word 'Time' in most of her intros. Like Exdeath, many characters will also say the word 'Time' it in their intros when facing her.
Web Animation
- One episode of Teen Girl Squad has Cheerleader say "Oh boy, girls... boys!" Just because she likes saying the word "boys".
Webcomics
- The Order of the Stick: "Groggy, groggy, groggy, groggy..."
- Implied in a Pity the Kidnapper strip in The Non-Adventures of Wonderella, where a panel after Hitlerella says she's going to the pub has Wonderita just saying "pub" over and over again until it becomes "pubba bubba!"
Web Original
- In The Angry Video Game Nerd's first Bible Games episode, he says "I can't stop saying 'Baby Moses'. Baby Moses baby Moses baby Moses."
- King Enma from Dragon Ball Abridged likes the word "mahogany".
- In one episode of Ask That Guy with the Glasses, That Guy likes the phrase "hamster jelly".
- With onions.
Western Animation
- In Pinky and the Brain, Pinky occasionally adds real words to his store of nonsense Verbal Tics because they're fun to say. Fjord! Hark!
- In Futurama, Bender has been known to fixate on words e.g. "daffodil", "pimpmobile". His favorite word is revealed to be "ass".
- The Animaniacs at one point sing a song about Lake Titicaca, which ends as follows:
Lake Titicaca, oh Lake Titicaca, why do we sing of its fame?
Lake Titicaca, oh Lake Titicaca, 'cause we really like saying its name! - For the WB trifecta, Freakazoid!! has noted that "hugbees" is fun to say. Try it!
"Studio Audience": HUGBEES!
- In the My Little Pony: Friendship Is Magic episode "The Last Roundup", Pinkie Pie brings up her own love of funny-sounding words, particularly "kumquat" and "pickle barrel".
- In The Mr. Men Show episode "Trains," Miss Chatterbox likes saying the word "backgammon."
Miss Chatterbox: I can play Parcheesi forever. It's my favorite game right after backgammon. I've never played backgammon, but I just love saying the word. Backgammon. Backgammon. Backgammon!
- Duckman loves saying (and singing) the word "prick."
Real Life
- Tourette syndrome often inflicts this on people, as the reaction to satisfying a tic is similar to scratching an itch.
- Similarly, this trope is a common reason for vocal/auditory stimming in autistic people.
- This trope was so common on the Usenet newsgroup alt.folklore.urban that it merited its own acronym: IHNTA,IJLS ("I have nothing to add, I just like saying ... ")
- "Weird words being fun to say" is one of the main reasons why Gratuitous Foreign Language is so common.


A mixin module that provides simple asynchronous behavior to a class, turning it into a simple actor. Loosely based on Erlang's [gen_server](www.erlang.org/doc/man/gen_server.html), but without supervision or linking.
A more feature-rich {Concurrent::Actor} is also available when the capabilities of `Async` are too limited.
“`cucumber Feature:
As a stateful, plain old Ruby class I want safe, asynchronous behavior So my long-running methods don't block the main thread
“`
The `Async` module is a way to mix simple yet powerful asynchronous capabilities into any plain old Ruby object or class, turning each object into a simple Actor. Method calls are processed on a background thread. The caller is free to perform other actions while processing occurs in the background.
Method calls to the asynchronous object are made via two proxy methods: `async` (alias `cast`) and `await` (alias `call`). These proxy methods post the method call to the object's background thread and return a “future” which will eventually contain the result of the method call.
This behavior is loosely patterned after Erlang's `gen_server` behavior. When an Erlang module implements the `gen_server` behavior it becomes inherently asynchronous. The `start` or `start_link` function spawns a process (similar to a thread but much more lightweight and efficient) and reurns the ID of the process. Using the process ID, other processes can send messages to the `gen_server` via the `cast` and `call` methods. Unlike Erlang's `gen_server`, however, `Async` classes do not support linking or supervision trees.
## Basic Usage
When this module is mixed into a class, objects of the class become inherently asynchronous. Each object gets its own background thread on which to post asynchronous method calls. Asynchronous method calls are executed in the background one at a time in the order they are received.
To create an asynchronous class, simply mix in the `Concurrent::Async` module:
“` class Hello
include Concurrent::Async def hello(name) "Hello, #{name}!" end
end “`
When defining a constructor it is critical that the first line be a call to `super` with no arguments. The `super` method initializes the background thread and other asynchronous components.
“` class BackgroundLogger
include Concurrent::Async def initialize(level) super() @logger = Logger.new(STDOUT) @logger.level = level end def info(msg) @logger.info(msg) end
end “`
Mixing this module into a class provides each object two proxy methods: `async` and `await`. These methods are thread safe with respect to the enclosing object. The former proxy allows methods to be called asynchronously by posting to the object's internal thread. The latter proxy allows a method to be called synchronously but does so safely with respect to any pending asynchronous method calls and ensures proper ordering. Both methods return a {Concurrent::IVar} which can be inspected for the result of the proxied method call. Calling a method with `async` will return a `:pending` `IVar` whereas `await` will return a `:complete` `IVar`.
“` class Echo
include Concurrent::Async def echo(msg) print "#{msg}\n" end
end
horn = Echo.new horn.echo('zero') # synchronous, not thread-safe
# returns the actual return value of the method
horn.async.echo('one') # asynchronous, non-blocking, thread-safe
# returns an IVar in the :pending state
horn.await.echo('two') # synchronous, blocking, thread-safe
# returns an IVar in the :complete state
“`
## Let It Fail
The `async` and `await` proxy methods have built-in error protection based on Erlang's famous “let it fail” philosophy. Instance methods should not be programmed defensively. When an exception is raised by a delegated method the proxy will rescue the exception, expose it to the caller as the `reason` attribute of the returned future, then process the next method call.
## Calling Methods Internally
External method calls should always use the `async` and `await` proxy methods. When one method calls another method, the `async` proxy should rarely be used and the `await` proxy should never be used.
When an object calls one of its own methods using the `await` proxy the second call will be enqueued behind the currently running method call. Any attempt to wait on the result will fail as the second call will never run until after the current call completes.
Calling a method using the `await` proxy from within a method that was itself called using `async` or `await` will irreversibly deadlock the object. Do not do this, ever.
## Instance Variables and Attribute Accessors
Instance variables do not need to be thread-safe so long as they are private. Asynchronous method calls are processed in the order they are received and are processed one at a time. Therefore private instance variables can only be accessed by one thread at a time. This is inherently thread-safe.
When using private instance variables within asynchronous methods, the best practice is to read the instance variable into a local variable at the start of the method then update the instance variable at the end of the method. This way, should an exception be raised during method execution the internal state of the boject will not have been changed.
### Reader Attributes
The use of `attr_reader` is discouraged. Internal state exposed externally, when necessary, should be done through accessor methods. The instance variables exposed by these methods must be thread-safe, or they must be called using the `async` and `await` proxy methods. These two approaches are subtly different.
When internal state is accessed via the `async` and `await` proxy methods, the returned value represents the object's state *at the time the call is processed*, which may not be the state of the object at the time the call is made.
To get the state *at the current* time, irrespective of an enqueued method calls, a reader method must be called directly. This is inherently unsafe unless the instance variable is itself thread-safe, preferrably using one of the thread-safe classes within this library. Because the thread-safe classes within this library are internally-locking or non-locking, they can be safely used from within asynchronous methods without causing deadlocks.
Generally speaking, the best practice is to not expose internal state via reader methods. The best practice is to simply use the method's return value.
### Writer Attributes
Writer attributes should never be used with asynchronous classes. Changing the state externally, even when done in the thread-safe way, is not logically consistent. Changes to state need to be timed with respect to all asynchronous method calls which my be in-process or enqueued. The only safe practice is to pass all necessary data to each method as arguments and let the method update the internal state as necessary.
## Class Constants, Variables, and Methods
### Class Constants
Class constants do not need to be thread-safe. Since they are read-only and immutable they may be safely read both externally and from within asynchronous methods.
### Class Variables
Class variables should be avoided. Class variables represent shared state. Shared state is anathema to concurrency. Should there be a need to share state using class variables they must be thread-safe, preferrably using the thread-safe classes within this library. When updating class variables, never assign a new value/object to the variable itself. Assignment is not thread-safe in Ruby. Instead, use the thread-safe update functions of the variable itself to change the value.
The best practice is to never use class variables with `Async` classes.
### Class Methods
Class methods which are pure functions are safe. Class methods which modify class variables should be avoided, for all the reasons listed above.
## An Important Note About Thread Safe Guarantees
> Thread safe guarantees can only be made when asynchronous method calls > are not mixed with direct method calls. Use only direct method calls > when the object is used exclusively on a single thread. Use only > `async` and `await` when the object is shared between threads. Once you > call a method using `async` or `await`, you should no longer call methods > directly on the object. Use `async` and `await` exclusively from then on.
@example
class Echo include Concurrent::Async def echo(msg) print "#{msg}\n" end end horn = Echo.new horn.echo('zero') # synchronous, not thread-safe # returns the actual return value of the method horn.async.echo('one') # asynchronous, non-blocking, thread-safe # returns an IVar in the :pending state horn.await.echo('two') # synchronous, blocking, thread-safe # returns an IVar in the :complete state
@see Concurrent::Actor @see en.wikipedia.org/wiki/Actor_model “Actor Model” at Wikipedia @see www.erlang.org/doc/man/gen_server.html Erlang gen_server @see c2.com/cgi/wiki?LetItCrash “Let It Crash” at c2.com/
@!visibility private
# File lib/concurrent/async.rb, line 282 def self.included(base) base.singleton_class.send(:alias_method, :original_new, :new) base.extend(ClassMethods) super(base) end
Check for the presence of a method on an object and determine if a given set of arguments matches the required arity.
@param [Object] obj the object to check against @param [Symbol] method the method to check the object for @param [Array] args zero or more arguments for the arity check
@raise [NameError] the object does not respond to `method` method @raise [ArgumentError] the given `args` do not match the arity of `method`
@note This check is imperfect because of the way Ruby reports the arity of
methods with a variable number of arguments. It is possible to determine if too few arguments are given but impossible to determine if too many arguments are given. This check may also fail to recognize dynamic behavior of the object, such as methods simulated with `method_missing`.
@see www.ruby-doc.org/core-2.1.1/Method.html#method-i-arity Method#arity @see ruby-doc.org/core-2.1.0/Object.html#method-i-respond_to-3F Object#respond_to? @see www.ruby-doc.org/core-2.1.0/BasicObject.html#method-i-method_missing BasicObject#method_missing
@!visibility private
# File lib/concurrent/async.rb, line 270 def self.validate_argc(obj, method, *args) argc = args.length arity = obj.method(method).arity if arity >= 0 && argc != arity raise ArgumentError.new("wrong number of arguments (#{argc} for #{arity})") elsif arity < 0 && (arity = (arity + 1).abs) > argc raise ArgumentError.new("wrong number of arguments (#{argc} for #{arity}..*)") end end
Causes the chained method call to be performed asynchronously on the object's thread. The delegated method will return a future in the `:pending` state and the method call will have been scheduled on the object's thread. The final disposition of the method call can be obtained by inspecting the returned future.
@!macro [attach] async_thread_safety_warning
@note The method call is guaranteed to be thread safe with respect to all other method calls against the same object that are called with either `async` or `await`. The mutable nature of Ruby references (and object orientation in general) prevent any other thread safety guarantees. Do NOT mix direct method calls with delegated method calls. Use *only* delegated method calls when sharing the object between threads.
@return [Concurrent::IVar] the pending result of the asynchronous operation
@raise [NameError] the object does not respond to the requested method @raise [ArgumentError] the given `args` do not match the arity of
the requested method
# File lib/concurrent/async.rb, line 408 def async @__async_delegator__ end
Causes the chained method call to be performed synchronously on the current thread. The delegated will return a future in either the `:fulfilled` or `:rejected` state and the delegated method will have completed. The final disposition of the delegated method can be obtained by inspecting the returned future.
@!macro async_thread_safety_warning
@return [Concurrent::IVar] the completed result of the synchronous operation
@raise [NameError] the object does not respond to the requested method @raise [ArgumentError] the given `args` do not match the arity of the
requested method
# File lib/concurrent/async.rb, line 426 def await @__await_delegator__ end
Initialize the internal serializer and other stnchronization mechanisms.
@note This method must be called immediately upon object construction.
This is the only way thread-safe initialization can be guaranteed.
@!visibility private
# File lib/concurrent/async.rb, line 437 def init_synchronization return self if @__async_initialized__ @__async_initialized__ = true @__async_delegator__ = AsyncDelegator.new(self) @__await_delegator__ = AwaitDelegator.new(@__async_delegator__) self end


{% extends "layout.html" %} {% block body %}
Labelord is simple tool for management of issue labels for GitHub repositories. Server part serves for master-to-master replication of labels thanks to webhooks. It propagates labels changes within group of selected repositories. Cool huh?!
This project has started as a semester work during advanced Python course MI-PYT @ FIT CTU in Prague.
{{ url_for('hook_accept', _external=True) }}
application/json
Application is running currently for following repositories (from config file):
| {{ repo }} | GitHub |


@main("RestAPI") {
The REST APIs provide programmatic access to read the evaluation results of online resources: statistcs about the content, readability scores, dbpedia concepts, etc. Responses of our APIs are in JSON format.


| 035:012 Khan | : |
And the two seas (kinds of water) are not alike, this fresh sweet, and pleasant to drink, and that saltish and bitter. And from them both you eat fresh tender meat (fish), and derive the ornaments that you wear. And you see the ships cleaving (the sea-water as they sail through it), that you may seek of His Bounty, and that you may give thanks. |
| 035:012 Maulana | : |
And the two seas are not alike: the one sweet, very sweet, pleasant to drink; and the other salt, bitter.  And thou seest the ships cleave through it, that you may seek of His bounty and that you may give thanks. |
| 035:012 Pickthal | : |
And the two seas are not alike: this, fresh, sweet, good to drink, this (other) bitter, salt. And from them both ye eat fresh meat and derive the ornament that ye wear. And thou seest the ship cleaving them with its prow that ye may seek of His bounty, and that haply ye may give thanks. |
| 035:012 Rashad | : |
The two seas are not the same; one is fresh and delicious, while the other is salty and undrinkable. From each of them you eat tender meat, and extract jewelry to wear. And you see the ships sailing through them, seeking His provisions, that you may be appreciative. |
| 035:012 Sarwar | : |
The two oceans, one sweet and the other salty, are not alike. From each you can eat fresh meat and obtain ornaments to use. You see ships ploughing their way through them so that you may seek His favor and give Him thanks. |
| 035:012 Shakir | : |
And the two seas are not alike: the one sweet, that subdues thirst by its excessive sweetness, pleasant to drink; and the other salt, that burns by its saltness; yet from each of them you eat fresh flesh and bring forth ornaments which you wear; and you see the ships cleave through it that you may seek of His bounty and that you may be grateful. |
| 035:012 Sherali | : |
And the two seas are not alike: this one palatable, sweet and pleasant to drink and this other saltish, bitter.  And thou seest the ships therein ploughing the waves that you may seek of HIS bounty, and that you may be grateful. |
| 035:012 Yusufali | : |
Nor are the two bodies of flowing water alike,- the one palatable, sweet, and pleasant to drink, and the other, salt and bitter. Yet from each (kind of water) do ye eat flesh fresh and tender, and ye extract ornaments to wear; and thou seest the ships therein that plough the waves, that ye may seek (thus) of the Bounty of Allah that ye may be grateful. |
Concepts/Themes Covered: أركان الإسلام > التوحيد > توحيد الله تعالي > وحدانيته Pillars of Islam> Islamic> Oneness of Allah> Singularity and Being Unique الإيمان > الله جلّ جلاله > شكره جلّ وعلا Faith> Allah, Glory to his Majesty> To Express Thanks to Allah الإنسان والعلاقات الاجتماعية > الإنسان > شرفه ودنوه Man and The Social Relations>Man>When Honourable and When Unhonourable الإنسان والعلاقات الاجتماعية > الرجل والمرأة Man and The Social Relations>Man and Woman العلوم والفنون > الحقائق العلمية و الإشاة إلى وقائع أيدتهاالإكتشافات العلمية > البحر Science and Art> The Scientific Facts and the Indication to Facts which have been supported by the Scientific Discoveries>The Sea العلوم والفنون > الحقائق العلمية و الإشاة إلى وقائع أيدتهاالإكتشافات العلمية > الغيث Science and Art> The Scientific Facts and the Indication to Facts which have been supported by the Scientific Discoveries>The Rain
This tool uses eight English parallel translations for the Holy Quran imported from Mr. Clay Smith. You can also visit Qurany Concepts for browsing the Quran themes or topics. If you want to search the Holy Quran for keywords, please visit Qurany Keywords.


Hotel du Vin Birmingham reviewed - is this really one of the best places for Sunday roast?
The Sunday lunch experience at Hotel du Vin which includes a 'lavish French Market Table buffet ' was recently named as one of the top places for a Sunday roast in the UK
by Sanjeeta Bains, https://www.facebook.com/sanjeetabainsbm/Hotel du Vin, along with The Red Lion in the Jewellery Quarter were recently named as two of the best places in the UK for a Sunday roast - named 41st and 16th best, respectively.
I had already tried the impressive Red Lion roast - albeit way back in 2017. But now I had good reason to visit Hotel du Vin for its Sunday offering.
The Bistro du Vin restaurant at the Church street hotel made the Travel 7 UK top 50 thanks to a four course lunch menu which includes a lavish sounding French Market Table buffet table.
So, is this Sunday lunch as sensational as it sounds?
The setting
Hotel du Vin is easily one of Birmingham’s most atmospheric and characterful venues for Sunday lunch.
The hotel is housed in the old Birmingham & West Midlands Eye Hospital and includes its popular restaurant, The Bistro.
The historical interior elements of this Victorian building combined with the olde worlde faded decor adds up to a simply perfect lunch and dinner setting.
The shelves and window sills adorned with empty wine bottles as well as paintings crammed on the walls, certainly helps set the scene for an indulgent afternoon of French bistro eating and drinking.
The Sunday lunch is available from 12 - 4pm and I opted for a 3pm booking.
When my friend and I arrived it was packed out - with a hub of low level talking and tinkering of laughter adding to the buzzy bistro atmosphere. Sadly I heard no French voices, but I definitely felt the Joie de Vivre.
The food
The Sunday lunch menu consists of four courses.
We had soup of the day for starters - a bowl of warming carrot soup. It had a rich colour but tasted very claggy due to the unfortunate oil slick on top of the soup.
There was no need for an olive oil dip for the bread that accompanied the soup, that was for sure.
The starter was not a success but this wasn't such a big deal considering we had three other courses to look forward to including 'the centrepiece of Sunday lunch...The Market Table'.
Basically this was buffet time.
We took our plates around the corner to another room where the French market table was laid out.
There was nothing basic about this buffet.
Spread out on the table was a feast of options - hot and cold smoked salmon, shell on prawns, smoked mackerel pâté, Cumberland Scotch eggs, parfait, Serrano ham on the bone, a selection of charcuterie, grilled vegetables and pickles, artisan breads and salads. Everything looked gorgeous.
To top it off there was an excellent choice of sauces, dips and dressings.
Both my friend and I were polite about how much we piled on our plates - although she did a better job at being restrained.
As it was a late lunch booking I had to alert a waiter to refill a couple of the platters but this was swiftly done.
Once seated back in the restaurant area we got stuck in gleefully.
Everything tasted fresh and flavoursome. My friend ooed and ahhed over the mackerel pate so much I had to have a bite - it was rather wonderful - very smooth and light.
After we finished, the waiter who took our plates away said he was surprised we had not gone back for seconds “because there is no rush.” If only we had known! I made a mental note at that moment to make an earlier lunchtime booking next time so I could really take my time to enjoy the market table.
For the third course - the main course - there was a choice of nine dishes.
From the meat menu you can choose from dishes including pie du jour, steak frites and roast du Vin. The seafood menu includes fish and chips, smoked haddock and Parmesan omelette.
Mushroom buckwheat pancakes are one of the veggie options.
Naturellement, I went for the roast du Vin. There was a choice of two roast dishes - rib of beef from Aberdeenshire or Normandy chicken with roast potatoes, vegetable and Yorkshire pudding.
My friend opted for the fish of the day - which was trout but as she has a mild nut intolerance she was less than impressed when it arrived smothered in a mountain of almonds. Our waitress was very apologetic for not giving us this information beforehand.
I also had cause for complaint - my Yorkshire pudding was burnt and had to be sent back. I was perplexed as to why the waitress thought it was okay to serve up. But not perplexed enough to let it put a dampener on my afternoon.
Both my friend and I were still happily sated from the bistro’s buffet bonanza, so we poured ourselves another glass of red and chatted until the waitress returned with the trout - sans nuts and my less burnt pud.
Overall, the Sunday roast was very nice, mainly thanks to all the trimmings.
There was too much fat on my beef, which made it look a little unappetising, but the meat itself was flavoursome and well cooked.
And it was served up with crispy roasties, nicely roasted vegetables and a very rich, boozy gravy.

Over the table my friend enjoyed her fish - now she could see it - as well as the sharing plate of veg and roasties.
Dessert choices included creme brulee - baked vanilla custard glazed under sugar,mousse au chocolat - chocolate mousse with Chantilley cream or artisan cheeses.
My friend opted for the peach melba sundae which we had both spotted on other diners’s table and agreed looked ‘epic.’
My heart skipped a beat at the sight of the cheese trolley rolling towards me. This was a particularly stand out Sunday highlight.
Even better, was how the waiter took his time going through all the different types of cheeses before letting us choose our favourite three.
Choices include Shropshire Blue, Keltic Gold and Maida Vale - a gorgeous soft milk cheese with an interesting beer flavour due to the rind being washed with ale.
And there was no supplementary charge for opting for the cheese trolley instead of a dessert.
The drink
Quel surprise - Bistro du Vin's wine menu was magnifique. We sensibly opted to forego a bottle for a carafe of the Chateau Bauduc - Bordeaux Rouge, HdV Selection France for £22.
The service
Service was friendly and efficient throughout. The expert service during the cheese trolley demo - which also included an explanation of the various accompanying crackers meant that the nutty fish and cremated Yorkshire Pudding debacle was long forgotten and forgiven.
The cost
£75.98 for two four course meals and one carafe of wine to share.
The verdict
The Sunday lunch at Hotel du Vin is an experience which should not be missed. But its new accolade for being one of the best places for Sunday Roasts in the UK list is slightly misleading.
This is a fabulous place for an overall Sunday lunch experience.
There was far too much fat on my beef to make it as good as The Red Lion roast for me. However all the other trimmings including their rich gravy was delicious.
To judge the Sunday roast here, you have to judge the whole four course menu - including a blooming all you can buffet and cheese trolley ( as a fromage fan this was a massive plus for me) all for £26.95 per head.
And special mention to the unique Hotel du Vin setting - that did make me feel I was enjoying lunch somewhere far pricier.
When it comes to daytime dining, there is a sense of occasion about Bistro du Vin, that not many restaurants in Brum can compete with.
Just make sure you make an early booking so you can really savour your Sunday afternoon feast.
Service 3/5
Atmosphere 5/5
Food 4/5
Value 5/5
Hotel du Vin, 25 Church Street, B3 2NR


Our Branches :
You Can Find us in :
GAZA St. - Building no.:17 - Floor no. 1
For More information :
Mobile :+96271445215 /FaceBook:Salmon
Our Branches :
You Can Find us in :
GAZA St. - Building no.:17 - Floor no. 1
For More information :
Mobile :+96271445215 /FaceBook:Salmon


tait.tech
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Canadian History For Dummies
Industrial Society and Its Future


New York City uses an alternative poverty measure determined by the Center of Economic Opportunity. This poverty threshold reflects the higher cost of housing in New York City and the importance of non-cash benefits.
This visualization can be used to understand what factors determine whether or not a family is in poverty. It is important to remember that this visualization is not a calculator and that all figures are estimates.
The Center for Economic Opportunity calculates whether a household is above or below the poverty threshold using a simple formula. Hover over each part of the formula for more details.
The wages the household makes from employment. The household's income also effects the benefits programs that the family may be eligible for. For example, a household with a high income would not be eligible for food stamps.
The income the household receives from benefits programs. These include SNAP (food stamps), WIC (nutrition for women and children), HEAP (heading assistance), and earned income credits (tax refunds).
Costs that the household incurs. These include transportation, healthcare, child care, and housing.
This figure illustrates that official (pre-tax cash) income fell to 91.9 percent of its 2008 value by 2010. Although it increased over the post-recession years, by 2014 income under the official measure was only at 97.2 percent of its 2008 value.


react-bootstrap-combobox
A combo-box component for React Bootstrap.
This is a very simple stateless wrapper around DropdownButton and MenuItem.
Features
- Minimizes the number of characters one would need to type when building a component in this fashion
- Provides a good looking dropdown component, built on Twitter Bootstrap, customizable with SASS, that works and looks the same in all major browsers
- The dropdown menu has a maximum height automatically calculated to prevent it from overflowing the viewport
- Provides a number of performance optimizations, both in JavaScript and CSS
Hint
Do not forget to set the NODE_ENV
environment variable to "production" in production to get some instant
performance increase from React for free!
Installation
npm i react-bootstrap-combobox --save
Usage
You need to include the "_index.scss" file from this package. If you are using webcompiler then you can simply do:
// import Bootstrap
@import "bootstrap";
// import Bootstrap theme
@import "bootstrap/theme";
// import the component
@import "react-bootstrap-combobox";
and then:
import {Combo} from 'react-bootstrap-combobox';
function someFunc(key: string) {
...
}
<Combo items={{
// keys must be unique
sweden: {label: 'Sweden', header: true}, // any combination of props supported by MenuItem
volvo: 'Volvo', // same as {label: 'Volvo'}
saab: 'Saab',
separator: '-', // same as {divider: true}
germany: {label: 'Germany', header: true},
mercedes: 'Mercedes',
audi: 'Audi'
}} value="volvo" onChange={someFunc} />
Caveats
- Both
items
andvalue
are required props - The component is stateless, which means that its
value
cannot be changed without re-rendering it - For performance reasons
items
are considered immutable


"Let's keep practicing and challenging."
"Think about the future, look far away, but follow the reality"
· Other My pages
· SNS
I started volunteering as a university student volunteer group for the National Health Insurance Corporation and mainly focused on children and multicultural family welfare.
Analysis of overseas visitor path using roaming data.
A Study on the Causes of the Reduction in National Education Rate Using Population Data and the Prediction of Future Changes.
Sell and inventory in the field and order using ERP system.
Perform the mission as a sniper assistant of ROKA in Paju 1st Division.
Operation on the boundary of river and training at the FEBA
GPA: 3.1
600 hour course completion
200 hour course completion
GPA: 4.2
My most desired duties are logistics, production and quality control. The reason is because it corresponds to my major and my desired job. Most of the subjects I am studying are in business information science, and I got interested in them through my major studies, and I studied them in addition.
Next, I would like to take charge of personnel and finance in the management support team. Also, I would like to be a web designer and publisher or application creator.


Primarily devoted to implementing the Univariate Bootstrap (as well as the Traditional Bootstrap). In addition there are multiple functions for DeFries-Fulker behavioral genetics models. The univariate bootstrapping functions, DeFries-Fulker functions, regression and traditional bootstrapping functions form the original core. Additional features may come online later, however this software is a work in progress. For more information about univariate bootstrapping see: Lee and Rodgers (1998) and Beasley et al (2007) <doi.org/10.1037/1082-989X.12.4.414>.
| Version: | 0.1.0 |
| Imports: | MASS, base, stats, psych |
| Suggests: | lavaan |
| Published: | 2018-10-14 |
| Author: | Patrick O'Keefe |
| Maintainer: | Patrick O'Keefe <patrick.okeefe at vanderbilt.edu> |
| License: | GPL-3 |
| NeedsCompilation: | no |
| CRAN checks: | Omisc results |
| Reference manual: | Omisc.pdf |
| Package source: | Omisc_0.1.0.tar.gz |
| Windows binaries: | r-devel: Omisc_0.1.0.zip, r-release: Omisc_0.1.0.zip, r-oldrel: Omisc_0.1.0.zip |
| OS X binaries: | r-release: Omisc_0.1.0.tgz, r-oldrel: Omisc_0.1.0.tgz |
Please use the canonical form https://CRAN.R-project.org/package=Omisc to link to this page.


Id: 54
Name: Vindicator's Base
Type: Spacecraft
Dimension: unknown
Residents: ['https://rickandmortyapi.com/api/character/252']
Url: https://rickandmortyapi.com/api/location/54
Created: 2017-12-31T12:57:37.824Z


This inspection reports any JavaDoc @see,
{@link} and {@linkplain}
tags which reference the method owning the comment, the super method of the
method owning the comment or the class containing the comment. Such links are
unnecessary and can be safely removed using this inspections quickfix. The
quickfix will remove the entire JavaDoc comment if the link is its only content.
Powered by InspectionGadgets


Page maintained by Ke-Sen Huang.
If you have additions or changes, send an e-mail.
Note that when possible I link to the page containing the link to the actual PDF or PS of the preprint.
I prefer this as it gives some context to the paper and avoids possible copyright problems with direct linking.
Thus you may need to search on the page to find the actual document.
Changelog
3D SHAPE DESCRIPTORS
- Characterizing Shape Using Conformal Factors
-
Mirela Ben-Chen,
Craig Gotsman
- 3D Object Retrieval using an Efficient and Compact Hybrid Shape Descriptor
-
Panagiotis Papadakis,
Ioannis Pratikakis,
Theoharis Theoharis,
Georgios Passalis,
Stavros Perantonis
- Isometry-invariant matching of point set surfaces
-
Mauro R. Ruggeri,
Dietmar Saupe
RETRIEVAL BY PARTS
- Markov Random Fields for Improving 3D Mesh Analysis and Segmentation
-
Guillaume Lavoue,
Christian Wolf
- Part Analogies in Sets of Objects
-
Lior Shapira,
Shy Shalom,
Ariel Shamir,
Daniel Cohen-Or
LEARNING
- Similarity Score Fusion by Ranking Risk Minimization for 3D Object Retrieval
-
Ceyhun Burak Akgul,
Bulent Sankur,
Yucel Yemez,
Francis Schmitt
- A Neurofuzzy Approach to Active Learning based Annotation Propagation for 3D Object Databases
-
Michalis Lazaridis,
Petros Daras
APPLICATIONS - 3D FACE RECOGNITION
- Face Recognition by SVMs Classification and Manifold Learning of 2D and 3D Radial Geodesic Distances
-
Stefano Berretti, Alberto Del Bimbo, Pietro Pala and Francisco Jose Silva Mata
- A 3D Face Recognition Algorithm Using Histogram-based Features
-
Xuebing Zhou,
Helmut Seibert,
Christoph Busch,
Wolfgang Funk
PLATFORMS
- On-line and open platform for 3D object retrieval
-
Benoit Le Bonhomme,
Blerim Mustafa, Sasko Celakovsky,
Marius Preda,
Francoise Preteux,
Danco Davcev
kesen.huang@gmail.com


fasta-center [options]
Reads sequences in FASTA format. For each sequence, it outputs the central portion of the sequence. The flanking regions can also be output to a separate file. When the alphabet is specified and the central portion of a sequence consists of nothing but the wildcard it is not output.
Sequences in FASTA format from standard input.
Writes a FASTA format file to standard output.
| Option | Parameter | Description | Default Behavior |
|---|---|---|---|
| Alphabet Options | |||
| General Options | |||
| -len | len | Length of central region to output. If this is larger than the length of a sequence, the entire sequence is output. | 100 |
| -flank | filename | Output the regions flanking the central regions to a file named filename. The FASTA IDs of the flanking regions on the left (right) are the original FASTA ID with '-L' ('-R') appended. | Flanking regions are not output. |
| -reject | filename | Output any rejected central regions to a file named filename. | Rejected central regions are not output. |


A Note About Registering IO Domains
Over the past few weeks, IO domains seem to be gaining quite a lot of traction in the community. They’ve been used by startups and various other companies for a while now, but today Google has decided to accept the domain as a gccTLD meaning search results won’t be affected by the use of the extension (Read here)
This is brilliant news for anyone looking to grab an awesome domain. I myself went on a bit of a shopping spree when I noticed how many good IO domains were available, purchasing both Fine.IO and Fry.IO. When you first Google how to register a domain with the IO extension, you’ll find the first result is NIC.IO. They appear to be the official adminstrators so there was no doubt in my head that this company would be able to handle my domain properly.
However, I would just like to put a word of warning out there: They appear to store passwords in plaintext. I had to change my nameservers a few months back. I wanted to change the password on my account as well so I thought of just asking for a reset. After I’d navigated through their rather cumbersome UI, I found out how to do so. I entered my email and domain and submitted the form (Note the lack of SSL.)
To my surprise, there was an email now sitting in my inbox glaring at me. It contained my password that I had originally used. Transmitted via email in plain text. No link to reset it either. Just a helpful note containing my password. This to me a glaring security flaw with the site. Your domain is one of the most valuable resources you have. What would happen right now if you lost your most prized domain? So please be warned if you are considering registering with NIC.IO


Draggable Polyline
View project on GitHub
See basic example
See google maps directions example
This example shows a basic draggable polyline. Waypoints are ordered according to the position they have been dragged of.
Show me the code


Auto Layout is a powerful feature. It manages the position and size of the views. Basically, we create constraints, Auto Layout will automatically adjust the views to satisfy all constraints.
Animation
Auto Layout animation can be achieved by changing constraint property, and then tell Auto Layout that constraint property is updated, please adjust the views to satisfy new constraint property
The code will look like this.
constraint.constant = someValue //change constraint's property
UIView.animateWithDuration(0.3){
self.view.layoutIfNeeded() //tell the view to layout again
}
For example, I create a width constraint to the view. When I press the button, the view will expand and shrink back and forth.
@IBOutlet weak var widthConstraint: NSLayoutConstraint!
var selected = false
@IBAction func switchButtonPressed() {
selected = !selected
widthConstraint.constant = selected ? 100 : 200
UIView.animateWithDuration(0.3){
self.view.layoutIfNeeded()
}
}
In the code, we saw widthConstraint
is an @IBOutlet
. That means we can setup the constraint in Interface Builder, and then connect it into code.
Real App Animation
Easy right ? Now, let’s make an animation, which we would make it into the real app. Like this:
How to achieve this ? Without Auto Layout, you might calculate tableView frame and check the boundary, I’m sure that it will take more than 10 lines of codes to maintain the positions and sizes.
With Auto Layout. we can achieve this with just these lines of codes. ( see completed project on Github )
tableViewHeightConstraint.constant = tableView.contentSize.height
UIView.animateWithDuration(0.3){
self.view.layoutIfNeeded()
}
Why so short? because, we’ve left other works to Auto Layout in Interface Builder by making these vertical constraints:
//Vertical Constraints
1. middleView height = 80
2. middleView top space to tableView = 0
3. middleView bottom space to bottomView >= 0
4. bottomView height = 80
5. bottomView bottom space to bottom layout guide = 0
6. tableView height = 100, priority = 999
7. tableView top space to top layout guide = 0
Basically, whenever tableViewHeightConstraint
is updated, Auto Layout will also adjust the position of middleView.
Someone might ask. Will it break? If I set the tableView height to 99999, so Auto Layout will not be able to satisfy the constraints. The answer is no.
Ignore? yes, because IB set constraint’s priority to 1000 by default. 1000 means the constraint must be satisfied. Whatever below 1000 means if the constraint can’t be satisfied, then just ignore it.
So, we set tableViewHeightConstraint
’s priority to be less than 1000. This causes Auto Layout to adjust views’ position before tableView’s height, and when tableView’s height exceeds the boundary, the constraint will be ignored.
Another Example
In this case, I have three views. Left, middle and right. I want the behaviour that right view will move closer to left view when middle view is hidden.
if selected{
greenViewWidthConstraint.constant = 0
greenGreyHorizontalSpaceConstraint.active = false
}else{
greenViewWidthConstraint.constant = 75
greenGreyHorizontalSpaceConstraint.active = true
}
UIView.animateWithDuration(0.3){
self.view.layoutIfNeeded()
}
In the code, I use another constraint’s property to animate Auto Layout. .active
tell Auto Layout whether the constraint will be calculated or not.
These are constraints that I setup in IB.
//Horizontal Constraint
1. redButton width = 75
2. redButton leading space to superView = 15
3. redButton trailing space to greenView = 15
4. greenView width = 75
5. greenView leading space to redButton = 15
6. greenView trailing space to greyView = 15
7. greyView leading space to greenView = 15
8. greyView trailing space to superView = 15
9. redButton trailing space to greyView = 15, priority = 999
Summary
We can make animation with Auto Layout by changing constraint property. Auto Layout preserves constraints, even when screen size is changed, or rotated. This ensures that you will get consistent layouts in all screen. So, let Auto Layout do its works, and cheers !!
See completed project on Github


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hello world
This is my 1st Atom project
Welcome to my 1st website! I am about to embark on the exciting journey of learning how to code.Won't join me
like us on fb


TURIP Manifest Portal
You can research about
TURIP
modules' Manifest.
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I was born into a large family and raised in a small town in Wisconsin. I had a midwestern childhood filled with hot summers and snowy winters.  We love to celebrate and get together often.
My passion: I love crocheting- it is quite versatile as an artistic expression. I tend to give most of my creations away as gifts. It has developed into designing crochet projects which has given me an idea for creating a new app.
I have a love of beekeeping. My husband and I look forward to each beekeeping season and manage our four-hives down by Lake Waconia. We have a great time sharing this hobby. Every fall we harvest the honey, make wax candles, and share the spoils with family and friends.


| Statement | Range | Description |
|---|---|---|
| #TITLE{...}; | (String) | Specify title.
#TITLE{title}; |
| #SIGN{...}; | [A-G][+#-b]?m? | Specify key scale and set default key signitures group.
#SIGN{Fm}; fgab<cdef; // Set key signitures as Fm (flats on b,e,a and d) |
| #REV{...}; | (octave|volume) | Reverse the octave or/and volume shift signs．With 'octave' option, the '<' is octave down and the '>' is octave up. With 'volume' option, the '(' is volume down and the ')' is volume up. Without any options (write only '#REV;'), reverse both meanings.
#REV; cdefgab>c; // Same as "cdefgab<c" |
| #MACRO{...}; | (static|dynamic) | Spesify how to expand a macro in a macro. With 'static' option, expand in the macro definitions (default). With 'dynamic' option, expand when its expand.
#MACRO{static}; #A=cde;#B=Afg;o5B; #A=gfe;o4B; // Expand as "o5cdefg; o4cdefg" #MACRO{dynamic}; #A=cde;#B=Afg;o5B; #A=gfe;o4B; // Expand as "o5cdefg; o4gfefg" |
| #VMODE{...}; | (n88|mdx|mck|tss|%x|%v) | Set all tracks %x and %v commands.
#VMODE{n88}; v15cv12cv9c; // v command on log scale |
| #TMODE{...}; | (unit|fps|timerb)=?n | Specify the unit of 't' command. With 'unit' option, t command parameter is divided by specifyed number. With 'fps' option, t command based on frames per beat. The 'timerb' option sets supplied clock speed (kHz) by n value, t command is based on OPMs timerB register value for 1/192 note.
#TMODE{unit=100}; t10050cde; // t10050 means bpm=100.5 #TMODE{fps=60}; t30cde; // t30 means 30[frames/beat](bpm=120) |
| #QUANTn; | 1 - (8) | Specify the maximum value of 'q' command. The default value of 'q' is 75% of the maximum value.
#QUANT16; q8cde; // Set maximum value of 'q' to 16 |
| #FPSn; | 1 - 1000 (60) | Specify the default value of '@fps' command.
#FPS100; // Set default value of '@fps' to 100 |
| #END; | Ignore text after this command.
#END; Ignore text here. |
| C, Am | (no key signifures) |
| G, Em | f+ |
| D, Bm | f+, c+ |
| A, F+m, F#m | f+, c+, g+ |
| E, C+m, C#m | f+, c+, g+, d+ |
| B, G+m, G#m | f+, c+, g+, d+, a+ |
| F+, F#, D+m, D#m | f+, c+, g+, d+, a+, e+ |
| C+, C#, A+m, A#m | f+, c+, g+, d+, a+, e+, b+ |
| F, Dm | b- |
| B-, Bb, Gm | b-, e- |
| E-, Eb, Cm | b-, e-, a- |
| A-, Ab, Fm | b-, e-, a-, d- |
| D-, Db, B-m, Bbm | b-, e-, a-, d-, g- |
| G-, Gb, E-m, Ebm | b-, e-, a-, d-, g-, c- |
| C-, Cb, A-m, Abm | b-, e-, a-, d-, g-, c-, f- |
| Statement | Range | Description |
|---|---|---|
| #[A-Z]=...; | (MML text) | Define macro．Write '#ABCD=c;' or '#A-D=c;' to set macros A,B,C,D to 'c'.
#A=cde; l8AAgedAd; // Expand as "l8cdecdegedcded" #A-C=cde; l8ABgedCd; // Expand as "l8cdecdegedcded" |
| #[A-Z]+=...; | (MML text) | Add text to macro．Write '#ABCD+=c;' or '#A-D+=c;' to add 'c' to macros A,B,C,D.
#A=cde; #B=efg; #AB+=fg; l8AB; // Expand as "l8cdefgefgfg" |
| Statement | Range | Description |
|---|---|---|
| #WAVBn{...}; | n;0 - 255 | Define the wave shape by hex refer from SCC sound module (%4). The hex is expressed with unsigned char (-128=0x80, -1=0xff, 127=0x7f).
#WAVB0{36454d4b41362f303639332309efd9cc362f220df2d9c8c3c6cbccc6bab0aeb7}; %4@0 cde; |
| #WAVn{...}(formula...); | n;0 - 255 | Define the wave shape by array of numbers refer from SCC sound module (%4). The number of entries is 32, and the entrie are between -128 and 127. When the number of entries are less than 32, remains are filled up with 0.
#WAV0{(0,127)8,(127,-128)16,(-128,0)8}; %4@0 cde; |
| #WAVCOLOR/#WAVCn{...}; | n;0 - 255 | Define the wave shape by wave color refer from SCC sound module (%4). The wave color is an unsigned int hex expressing 7 draw bars(from 8th to 1st) of Hammond organ by each 4bits. The 4 MSBs are the wave shape number.
#WAVCOLOR0{08400f0f}; %4@0 cde; |
| #TABLEn{...}(formula...); | n;0 - 254 | Define the envelop teble refer from the commands of @@,na,np,nt,nf,_@@,_na,_np,_nt and _nf. The range of entry is depended on the commands.
#TABLE0{(64,0)5,(32,0)5,(16,0)5}; q8 na0 cde; |
| Statement | Range | Description |
|---|---|---|
| #@n{...}(sequence...); | n;0 - 255 | Write the parameters specifyed in @al,@fb and @ commands (Except for this command, you can specify decimal number in parameter 'multiple'. This dicimal number is corresponding to the 2nd argument of @ml command). The number of operators depends on the number of parameters, 1 operator for 18 parameters, 2ope for 33param, 3ope for 48param and 4ope for 63param. See also @al command.
#@0{ alg[0-15], fb[0-7], fbc[0-3], (ws, ar, dr, sr, rr, sl, tl, ksr, ksl, mul, dt1, detune, ams, phase, fixedNote) x operator count }; %6@0 cde; |
| #OPL@n{...}(sequence...); | n;0 - 255 | Write the parameters of OPL3. The number of operators depends on the number of parameters, 1ope for 13param, 2ope for 24param, 2ope for 35param, 4ope for 46param. See also @al command about algorisms.
#OPL@0{ alg[0-3], fb[0-7], (ws[0-7], ar[0-15], dr[0-15], rr[0-15], egt[0,1], sl[0-15], tl[0-63], ksr[0,1], ksl[0-3], mul[0-15], ams[0-3]) x operator count }; %6@0 cde; |
| #OPM@n{...}(sequence...); | n;0 - 255 | Write the parameters of OPM. The number of operators depends on the number of parameters, 1ope for 13param, 2ope for 24param, 2ope for 35param, 4ope for 46param. See also @al command about algorisms.
#OPM@0{ alg[0-7], fb[0-7], (ar[0-31], dr[0-31], sr[0-31], rr[0-15], sl[0-15], tl[0-127], ks[0-3], mul[0-15], dt1[0-7], dt2[0-3], ams[0-3]) x operator count }; %6@0 cde; |
| #OPN@n{...}(sequence...); | n;0 - 255 | Write the parameters of OPNA. The number of operators depends on the number of parameters, 1ope for 12param, 2ope for 22param, 2ope for 32param, 4ope for 46param. See also @al command about algorisms.
#OPN@0{ alg[0-7], fb[0-7], (ar[0-31], dr[0-31], sr[0-31], rr[0-15], sl[0-15], tl[0-127], ks[0-3], mul[0-15], dt1[0-7], ams[0-3]) x operator count }; %6@0 cde; |
| #OPX@n{...}(sequence...); | n;0 - 255 | Write the parameters of OPX. The number of operators depends on the number of parameters, 1ope for 14param, 2ope for 26param, 2ope for 38param, 4ope for 50param. The range of alg depends on the number of operators. See also @al command about algorisms.
#OPX@0{ alg[0-15], fb[0-7], (ws[0-7], ar[0-31], dr[0-31], sr[0-31], rr[0-15], sl[0-15], tl[0-127], ks[0-3], mul[0-15], dt1[0-7], detune[], ams[0-3]) x operator count }; %6@0 cde; |
| #MA@n{...}(sequence...); | n;0 - 255 | Write the parameters of MA3. The number of operators depends on the number of parameters, 1ope for 14param, 2ope for 26param, 2ope for 38param, 4ope for 50param. The range of alg depends on the number of operators. See also @al command about algorisms.
#MA@0{ alg[0-7], fb[0-7], (ws[0-31], ar[0-15], dr[0-15], sr[0-15], rr[0-15], sl[0-15], tl[0-63], ksr[0,1], ksl[0-3], mul[0-15], dt1[0-7], ams[0-3]) x operator count }; %6@0 cde; |
// Modify filter and quantize settings when change tone in a sequence. #@0{ 8, 0, 0; 16, 40, 0, 34, 34, 0, 13, 1, 0, 1, 0, 0, 0, 0, 0; 1, 34, 28, 0, 0, 15, 35, 1, 0, 2, 0, 0, 0, 0, 0; 4, 63, 63, 0, 0, 0, 42, 1, 0, 5, 0, 0, 0, 0, 0; 0, 36, 0, 0, 34, 0, 0, 1, 0, 1, 0, -3, 0, 0, 0; } @f96,2,32,72q4; %6@0 cdefedc;
| Statement | Range | Description |
|---|---|---|
| #SAMPLERn{waveID, oneShotFlag, pan, channelCount, startPoint, endPoint, loopPoint}; | n;0 - 127 waveID;String oneShotFlag;0,1(0) pan;-64~64(0) channelCount;1,2(2) startPoint;Number(-1) endPoint;Number(-1) loopPoint;Number(-1) |
Specify note number of this sample by n, and specify id string by waveID. When oneShotFlag is 1, the sound does not stop by gate time. The pan sets panning of this sample, The channelCount sets stereo or monoral. Refer the appendex about startPoint, endPoint and loopPoint. |
| Statement | Range | Description |
|---|---|---|
| #PCMWAVEn{waveID, samplingNote, keyRangeFrom, keyRangeTo, channelCount, startPoint, endPoint, loopPoint}; | n;0 - 255 waveID;String samplingNote;0,1(0) keyRangeFrom;0~127(0) keyRangeTo;0~127(127) channelCount;1,2(2) startPoint;Number(-1) startPoint;Number(-1) loopPoint;Number(-1) |
Specify PCM voice number by n, and specify id string by waveID. The samplingNote sets sampling point, keyRangeFrom and keyRangeTo set keyboard range of this wave. The channelCount sets stereo or monoral. Refer the appendex about startPoint, endPoint and loopPoint. |
| Statement | Range | Description |
|---|---|---|
| #PCMVOICEn{volumeCenterNote, volumeKeyRange, volumeRange, panCenterNote, panKeyRange, panRange, ar, dr, sr, rr, sl}; | n;0 - 255 volumeCenterNote;0-127(4) volumeKeyRange;0-127(0) volumeRange;-128~128(0) panCenterNote;0-127(64) panKeyRange;0-127(0) panRange;-128~128 ar;0~63 dr;0~63 sr;0~63 rr;0~63 sl;0~15 |
Specify PCM voice number by n, and changing rate of volume and panning by note number. And last 5 arguments set envelope. See appendex. |
| Statement | Range | Description |
|---|---|---|
| #FM{...}; | (formula) | Connect channels after this command (see also @i,@o commands). Following sequences are indexed alphabetically and discribe the connections by "+"(mixing) and "(...)"(modulating). Write 'An(B)' to connect A frequency modulated by B (n(0-7);degree of modulation，default as n=5(this value is same modulation as an OPM does)), and 'A+B' to mix A and B, (You can abbreviate '+'). So 'A(B+C)' means A modulated by mixed output of B and C. #FM{B3(A)}; %5q8s63cde; %5q2cde; // same as "@o1%5q8s63cde; @i3%5q2cde;" |
| Statement | Range | Description |
|---|---|---|
| #EFFECTn{...}; | (MML for effector) | Connect effector to specifyed slot. The value of n=0 is for master effect.
// Connect LPF->delay to Slot1．EffectSendLevel=32． #EFFECT1{lf3000delay300,32,1}; @v64,32q0cder; // Slot0 is the master effect. Effects final output. #EFFECT0{autopan}; q0$cdefed; // Slot1 output is connected to Slot2 by send_level of 64. #EFFECT1{dist}@v128,64;#EFFECT2{delay}; %11@v0,32 cder; |
| Statement | Range | Description |
|---|---|---|
| eqlg,mg,hg,lf,hf | lg;Low gain[%](100) mg;Middle gain[%](100) hg;High gain[%](100) lf;Low freq.[Hz](800) hf;High freq.[Hz](5000) |
3Band EQualizer |
| wsdist,level | dist;Distortion[](50) level;Output level[%](100) |
Wave Shaper |
| delaytime,fb,cross,wet | time;Delay time[ms](200) fb;Feedback[%](25) cross;Stereo channel crossing(0) wet;wet level[%](100) |
DELAY |
| reverbdly1,dly2,fb,wet | dly1;Long delay time[%](70) dly1;Short delay time[%](40) fb;Feedback[%](80) wet;wet level[%](100) |
REVERB |
| chorustime,fb,depth,wet | time;Delay time[ms](20) fb;Feedback[%](50) depth;Depth[](200) wet;wet level[%](100) |
CHORUS |
| distpre,post,lpf,slope | pre;PreGain[dB](-60) post;PostGain[dB](-12) lpf;LPF Freq[Hz](2400) slope;LPF Slope[oct](1) |
DISTortion |
| compthres,wnd,ar,rr,gain,level | thres;Threshold[%](70) wnd;Window Width[ms](50) ar;Attack[ms](20) rr;Release[ms](20) gain;Max gain[db](6) level;output level[%](50) |
COMPressor |
| autopanfreq,depth | freq;Frequency[Hz](1) depth;Panning width[%](100) |
AUTOPAN |
| stereowide,pan,phase | wide;enhancement[%](140) pan;Panning(0) phase;Phase invert(0) |
STEREO enhancer |
| dsfreq, bits, ch | freq ; Freq.Shift(0) bits ; bit ratio(16) ch ; channel count(2) |
Down Sampler. Freq.Shift=0 sets 44.1kHz, 1 sets 22.05kHz, 2 sets 11.02kHz ... |
| speakerhardness | hardness ; diaphragm hardness[%](10) | SPEAKER simulator |
| lffreq,band | freq;Frequency[Hz](800) band;band width[oct](1) |
Low pass Filter |
| hffreq,band | freq;Frequency[Hz](5000) band;band width[oct](1) |
High pass Filter |
| bffreq,band | freq;Frequency[Hz](3000) band;band width[oct](1) |
Band pass Filter |
| nffreq,band | freq;Frequency[Hz](3000) band;band width[oct](1) |
Notch (band stop) Filter |
| pffreq,band | freq;Frequency[Hz](3000) band;band width[oct](1) |
Peaking Filter |
| affreq,band | freq;Frequency[Hz](3000) band;band width[oct](1) |
All pass Filter |
| lbfreq,slope,gain | freq;Frequency[Hz](3000) slope;slope[oct](1) gain;gain[dB](6) |
Low Booster |
| hbfreq,slope,gain | freq;Frequency[Hz](5500) slope;slope[oct](1) gain;gain[dB](6) |
High Booster |
| nlfcut,res | cut;cutoff table index(255) res;resonance table index(255) |
ENvelope controlable Low pass Filter |
| nhfcut,res | cut;cutoff table index(255) res;resonance table index(255) |
ENvelope controlable High pass Filter |
| vowelout,f1,g1,f2,g2 | out;output[%](100) f1;1st freq.(800) g1;1st gain[dB](36) f2;2nd freq.(1300) g2;2nd gain[dB](24) |
Vowel filter |
| Statement | Range | Description |
|---|---|---|
| tn | 1 - 511 (120) | (Tempo)Specify BPM.This command changes the BPM of all channels wherever this command is written in, initial/default value is 120. In the 2nd repeat of '$' command, the 't' command is ignored. You can change the tempo in the repetition of "[]" command.
t100cde t200cde; |
| $ | (segno)Repeat infinitely.Repeat from this command point when the playing pointer achieves to the end of the sequence.
l8 $cde; // "cdecdecde..."(repeat infinitely) |
|
| [...|...]n | 1 - 65535 (2) | (loop)Loop.Specify repeating count at the end of '[...]'. Repeat 2 times when you omit the repeating count. When you write '|' command inside of loops '[...]'，the pointer skips a sequence after '|' command in the last repetition. You can specify the repeating count at both of the start '[' and the end ']', but the number at the end has priority. [Recommended] Specify the repeat count at the end except for some special cases.
l8 [cd|e]3; // "cdecdecd" |
| @mask | 0 - 63 (0) | (event MASK)Ignore mask for the events．Ignore some events after this command. initial/default value is 0 (see below appendex).
@mask1 v1c; // ignore "v1" |
| [A-Z] [A-Z](n) |
-128 - 127 (0) | Expand macro.Expand the macro defined by "#[A-Z]". The expantion is note-shifted when you specify the argument after this command. The expansion way of the macro in macro is specifyed by '#MACRO{dynamic|static}' command.
#A=cde; l8 AAA; // expand as "cdecdecde" #A=cde; l8 AA(2)A(-2); // expand as "cdedef+>b-<cd" |
| // ... | Comment.Ignore the text after '//'.
// Comment |
|
| /* ... */ | Multi-line comment.gnore the text between '/*' and '*/'.
/* Comment */ |
|
| ![n...!|...!] | 1 - 256 (2) | [NOT RECOMMENDED] You can expand the loop when its comiping. You cannot nest this loop and the maximum value of repitation is 256. |
| Statement | Range | Description |
|---|---|---|
| [a-g][+#-]?n | 1 - 1920 (default value is specifyed by "l" command) | (note)Specify notes. From 'c' to 'b' are corresponding to the notes. Shaped by '+', '#' and flated by '-' after these notes. You can specify the length of note by argument and apply the value specifyed by 'l' command when you abbreviate the paremeter. The '#SIGN' command makes shapes and flats in some notes.
#SIGN{G}; cdef-gab<c // natural on 'f'. |
| rn | 1 - 1920 (default value is specifyed by "l" command) | (Rest)Specify rest. You can specify the length of note by argument. Same as notes.
cder cder gedcdedr; |
| on | 0 - 9 (5) | (Octave)Specify octave. The center frequency 440kHz is 'o5a'. The initial/default value is 5．
o4[co5c] // plays 'o4c o5c o4c o5c'. the 'o' command is little strange at the entry of the loop. |
| [<>]n | 1 - 9 (1) | (octave shift)Increment/decrement octave value. '<' increments octave and '>' decrements octave in the default setting. The meaning is inverted when '#REV' command appears. This command is ignored when the octave is out of range(0-9).
o4c<c<c // plays 'o4c o5c o6c' o4[c<c] // plays 'o4c o5c o4c o5c'. the '<' command is also strange at the entry of the loop. |
| kn | -8192 - 8191 (0) | (Key detune)Key detune. The unit of argument is a halftone divided by 64. The initial/default value is 0．
k-2cde; k2cde; |
| ktn | -128 - 127 (0) | (Key Transpose)Key transpose. The unit of argument is a halftone. The initial/default value is 0.
cde; kt7cde; |
| * | (pitch bend)Pitch bending. This command makes intergradation between two notes.
c*<c; // pitch intergradation for 1 octave |
|
| pon | 0- | (POrtament)Portament. This command makes intergradation between two notes connected by slur. The stating timing of intergradation is different from pitch bending, it starts at 2nd notes attack. The argument sets intergradation term in frames. The initial/default value is 0.
po6l8c&g&f& |
| !@krn | -8192 - 8191 (0) | [NOT RECOMMENDED] (Key detune Relative)Relative key detune. |
| !@nsn | -128 - 127 (0) | [NOT RECOMMENDED] (Note Shift)Relative key transpose. |
| Statement | Range | Description |
|---|---|---|
| ln | 1 - 1920 (4) | (Length)Specify default value of note/rest length．'l1' means whole, 'l4' means quarter, 'l16' means 16th. The initial/defanult value is 4.
cder l8cder l16cder; |
| ^n | 1 - 1920 (default value is specifyed by "l" command) | (extension)Extension of note length. Increment note/rest/l commands argument. The default value is specifyed by "l" command.
c4^16; // play c with a length of 'quarter + 16th' |
| qn | 0 - 8 (6) | (Quantize) Quantize.Specify the timing of key-off. 'q0' sets key-off at the timing of key-on. 'q4' sets key-off timing at the half length. 'q8' sets no key-off. The initial/default value is 6.
q0cr q4cr q8cr; |
| @qn1,n2 | 0 - 192 (0) | (Absolute Quantize)Quantize specifyed by the absolute value/The dekay of key-on timing. The 1st argument sets key-off timing by the absolute value (The unit is a whole note divided by 192). The 2nd argument delays the timing of key-on. The initial/default value is 0. [SPECIFICATIONS]When the slur command appears with a setting of [key-on delay]>0, SiOPM ignore the key-on delay of the 1st note and the slur of the 2nd note.
q8 @q48cr @q24cr @q0cr; // same as "q0cr q4cr q8cr" q8 @q,24 o5c2c2; q0 l8o4[8c]; // The timing of key-on delays 8th. |
| & | (slur)Slur. This command ignores the key-off, so the next note is played smoothly. The envelop and wave phase is NOT reset at the beginning of 2nd note.
cd&e; // No key-off between "d" and "e" c&c; // No phase reset, so the boundary cannot be recognized. #TABLE0{(0,128)90};na0 c&d&e; // No envelop reset. |
|
| && | (weak slur)Weak slur. This command ignores the key-off. The envelop and wave phase is reset at the beginning of 2nd note.
c&&c; // Phase reset at the beginning of 2nd note, so the boundary can be recognized. #TABLE0{(0,128)90};na0 c&&d&&e; // The envelop reset at the beginning of 2nd note. |
| Statement | Range | Description |
|---|---|---|
| vn | 0 - 32 (16) | (Volume)Volume. 'v0' makes silent and 'v16' sets at the maximum. 'v16-32' makes wave shape distorted. The inital/default value is 16.
%5 v4c v8c v12c v16c v20c v24c v28c v32c; |
| [()]n | 1 - 32 (1) | (volume shift)Increment/decrement volume. '(' increments volume and ')' decrements volume at the default setting. The meaning is inverted when '#REV' command appears. This command is ignored when the volume is out of range(0-32).
v1l8 c(c(c(c(c(c(c(c(c(c(c(c(c(c(c(c)4c)4c)4c)4c; |
| xn | 0 - 128 (128) | (eXpression)Expression. The initial/default value is 128. 'x0' makes silent and 'x128' sets at the maximum. The table envelop commands for expression (na,_na) overwrite this value, so the value specifyed by this command is ignored when the 'na' or '_na' appears.
v8 x32c x64c x96c x128c v4 x32c x64c x96c x128c; // "v" and "x" are independent. see below appendex. |
| %vn1,n2 | n1=0 - 4(0) n2=0 - 7(4) |
(Volume setting)Volume setting．The 1st argument represents scaling mode, 0=linear, 1-4=non-linear(log scale, dynamic range of 96dB,64dB,48dB,32dB respectively. The 2nd argument represents maximum value of 'v' command as (256>>[n2]). default value = 4 (means v max@16). This setting is applyed also on volume shift command.
%v3,1 v128c v96c v64c v32c; // non-linear scale(dr=48dB)，v command max@128 |
| %xn | 0 - 4(0) | (eXpression setting)Expression setting．The argument represents scaling mode, 0=linear, 1-4=non-linear(log scale, dynamic range of 96dB,64dB,48dB,32dB respectively. This scale is applyed also on table envelop.
%x1 x128c x120c x112c x104c; // non-linear scale(dr=96dB) |
| @vn1,...n8 | 0 - 128 (n1=64/n2-n8=0) | (m@ster Volume)Master volume and effect send level. The initial/default value is 64 for n1 and 0 for others. The n1 sets the master volume of this channel, and n2-n8 sets effect send level to the #EFFECT slot. The n1 value is also independent from 'v' and 'x' values.
@v64 v4c v8c v12c v16c @v32 v4c v8c v12c v16c; // "@v" and "v" (and "x") are independent. see below appendex. #EFFECT1{chorus}; @v64,32 cde; // [effect send]=32 for effect slot #1 (chorus) |
| pn | 0 - 8 (4) | (Panning)Panning. 'p0' sets output left only, 'p4' centers panning, 'p8' sets output right only. The initial/default value is 4. [Argument of '@p'] = ([Argument of 'p'] - 4) x 16. p0c p2c p4c p6c p8c; |
| @pn | -64 - 64 (0) | (fine Panning)Fine panning. '@p-64' sets output left only, '@p0' centers panning, '@p64' sets output right only. The initial/default value is 0.
@p-64c @p-32c @p0c @p32c @p64c; // same as above |
| Statement | Range | Description |
|---|---|---|
| %n1,n2 | n1; 0 - 9 (0) n2; 0 - 7 (0) |
(module)Select sound module. The sound module type specifies on the 1st argument and the channel number specifies on the 2nd argument. This command changes the meanings of '@' commands 1st argument.
%0c %1c %2c %3c; |
| @n1,...n15 | n1; 0 - 1023 (0) | (tone)Select/Modify tone color. Select tone color and modify operator settings. This command has 15 arguments(can be abbreviated, see below appendex). The meaning of 1st argument depends on sound module type(1st argument of "%").
%5 @0c @1c @2c @3c @4c @5c @6c @7c; // select wave shape by 1st argument @0,32,28,28,28,2,0 cde; // modify envelop by 2nd-7th arguments. |
| @fn1,...n10 | n1; 0 - 128 (128) n2; 0 - 9 (0) |
(Filter)Modify filter. Modify the filter and its envelop. The 1st argument sets cut-off and the 2nd argument sets resonance. This command has 10 arguments(can be abbreviated, see below appendex).
%2 @f64,3 q0 c; // noise with LPF(cutoff=64, resonance=3) @f0,2,32,32,32 cde; // filter envelop specifyed by 3rd-10th arguments |
| %fn | n; 0,1,2 (0) | (Filter)Filter mode. 0=low-pass, 1=band-pass，2=high-pass filter for envelop.
%f2 @f96 cde; // high pass filter |
| sn1,n2 | n1; 0 - 63 (28) n2; -256 - 255 (0) |
(Sustain sweep)Modify release rate. The 1st argument sets the release rate of final carrior operator. The 2nd argument sets pitch sweeping after key-off. [Pitch sweep speed[halftone/frame]] = [2nd argument] / 21 q4 s63cr s32cr s24cr s20cr s12cr; q4 s28,-32cde; // pitch sweep after key-off |
| @aln1,n2 | n1; 1 - 4 (1) n2; 0 - 15 (0) |
(ALgorism)Select connecting algorism. The 1st argument sets the number of operators, the 2nd argument sets connecting algorism (see below appendex). The initial number of operator is 1. In this case the output is simple wave (not frequency modulated). This command initializes all settings of all operators. The default value of 2nd argument is the parallel connecting argorism (2ope;alg=1, 3ope;alg=5, 4ope;alg=7).
%5 @al2,0 cde; // 2ope frequency modulating connection [o1(o0)] |
| @fbn1,n2 | n1; 0 - 7 (0) n2; 0 - 3 (0) |
(FeedBack)Modify feedback connection. The 1st argument sets feedback，the 2nd argument sets the index of operator feedback from (If you want multi-operator feedback like OPX, specify 2nd argument).
%5 @al2,0 @fb5,1 cde; // feedback from 2nd operator [o1(o0(o1))] |
| in | 0 - 3 (last operators index) | (operator Index)Select operator to modify. This command chooses a operator for '@','@rr','@tl','@ml','@dt','@ph','@fx' and '@se' commands.
%5 @al2 i0@0 i1@1 cde; // The operator#0 outputs sin wave and the operator#1 outputs saw wave. |
| @rrn1,n2 | n1;0 - 63 (28) n2;-256 - 255 (0) |
(@ Release Rate)Same as 5th argument of '@' command.The 2nd argument sets pitch sweep after key-off (same as 2nd argument of 's'). |
| @tln | 0 - 127 (0) | (@ Total Level)Same as 7th argument of '@' command. |
| @mln1,n2 | n1;0 - 15 (1) n2;-128 - 127 (0) |
(@ MuLtiple)Same as 10th argument of '@' command.The 2nd argument sets non-integral harmonics. [frequency ratio] = [1st argument(In the case of "0"->0.5)] + [2nd argument] / 128 |
| @dtn | -8192 - 8191 (0) | (@ DeTune)Same as 12th argument of '@' command.'k' modifies all operators, and '@dt' modifies only one operator specifyed by 'i'. |
| @phn | -1 - 255 (0) | (@ PHase)Same as 14th argument of '@' command. |
| @fxn | 0 - 127 (0) | (@ FiXed note)Same as 15th argument of '@' command. |
| @sen | 0 - 17 (0) | (@ SSG Envelpe control)Emulate SSGEC Register of OPNA.The argument of 16 and 17 are extension of SiOPM. 16;Argument=8 with same gain repetition, 17;Argument=12 with same gain repetition. |
| @ern | 0 , 1 | (@ Envelop Reset)Envelop reset.The argument of 1 sets envelop to bottom at the begin of attack. This parameter sets all operators. |
| 1st argument of '%' | 1st argument of '@' | ||||||||||||||||||||||||||||||||||||
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| '%0' PSG | Emulation for AY-3-8910/SN76489. The pitch is also PSG emulated (poor pitch for high note/narrow pitch range). @0-2 is available.
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| '%1' NES | Emulation for NES pAPU(2a03). The pitch is also PSG emulated (poor pitch for high note/narrow pitch range). @0-11 is available.
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| '%2' Noise | Noise unit. Select noise type by @0-15.
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| '%3' MA3 | Wave shape from YMU762(MA3) (same as OPL3/OPX from @0 to @7). Select wave shape by @0-31.
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| '%4' WaveTable | Emulation for KONAMI SCC chip. Use wave shapes defined by #WAV, #WAVB. Select wave shape by @0-255. | ||||||||||||||||||||||||||||||||||||
| '%5' all | All wave shapes. Select wave shape by @0-511.
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| '%6' FM | Emulation for frequency modulation sound module. Load setting defined by #@, #OPL@, #OPM@, #OPN@, #OPX@ and<EMAIL_ADDRESS>Select voice by @0-255. | ||||||||||||||||||||||||||||||||||||
| '%7' PCM | Sampling wave module. Play mp3 data loaded internaly. Select bank by @0-255. 'o5a' is original frequency.
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| '%8' Pulse | Pulse wave (duty changable square wave) unit. Select duty ratio by @0-15 or @16-31.
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| '%9' Ramp | Ramp wave. Interplation of saw and triangle wave. @0=upward-saw -> @64=triangle -> @127=downward-saw
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| '%10' Sampler | Sampler module without pitch control. Play mp3 data loaded internaly. You can select wave by note number like a drum track of MIDI sound module.
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| '%11' PMS Guitar | Physical Modeling Synthesize GuitarPhysical Modeling Synthesizer with Karplus-Strong alogrism.
|
@ [ws], [ar], [dr], [sr], [rr], [sl], [tl], [ksr], [ksl], [mul], [dt1], [detune], [ams], [phase], [fixed pitch]
| n1; | (Wave Shape)Select tone color[0-1023]. See above appendex. |
| n2; | (Attack Rate)Output amplification speed after key-on[0-63(63)]. Small values for slower attack. No rising edge (becomes maximum suddenly) for ar=63. Slowest rising for ar=1. |
| n3; | (Decay Rate)Output attenuation after achieving maximum[0-63(0)]. Small values for slower decay. dr=63 makes Sustain Level suddenly after attack. dr=0 keeps maximum output until key-off. |
| n4; | (Sustain Rate)Output attenuation after achieving Sustain Level[0-63(0)]. Small values for slower sustain. sr=63 makes silent suddenly after achieving Sustain Level. sr=0 keeps Sustain Level until key-off. |
| n5; | (Release Rate)Output attenuation after key-off[0-63(28)]. Small values for slower release. rr=63 makes silent suddenly after key-off. rr=0 makes keeps output until next note. same as '@rr'. |
| n6; | (Sustain Level)Output level of changing point from dr to sr. This is relative value with Total Level[0-15(0)]．[Changing point level]=[argument]x-1.5[dB] |
| n7; | (Total Level)Maximum output level of envelop[0-127(0)]. [Maximum level]=[argument]x-0.375[dB]. Same as '@tl'. |
| n8; | (Key Scale Rate)Correction faster envelop for higher pitch[0-3(0)]. 0.4[rate/octave] for ksr=0, 0.8 for ksr=1, 1.6 for ksr=2 and 3.2 for ksr=3. |
| n9; | (Key Scale Level)Correction lower output for higher pitch[0-3(0)]. No correction for ksl=0, -0.15[dB/octave] for ksl=1;，-0.3 for ksl=2 and -0.6 for ksl=3. |
| n10; | (Multiple)Multiplier for wave frequency[0-15(1)]. x0.5 for mul=0. Same as '@ml'. |
| n11; | (Detune1)Parameter 'dt1' of OPM/OPN[0-7(0)]. Fine detune. 0-3 for pitch up and 4-7 for pitch down. |
| n12; | (Detune)Detune [-8192-8191(0)]. The unit is same as 'kt'(64 for 1 halftone). Same as '@dt'. |
| n13; | (Amplitude Modulation Shift)The width of Amplitude Modulation('ma' command) [0-3(1)]. ams=0 sets the amplitude modulation off. |
| n14; | (Phase)Wave phase at the timing of key-on[0-255(0)]. ph=255 makes no phase reset on key-on. ph=-1 randamizes. [phase]=[argument]/128*PI. Same as '@ph'. |
| n15; | (Fixed note)Fix wave frequencey. fx=0 makes not fixed. The argument of 60 means 'o5c'. Same as '@fx'. |
| Operators | Algolism |
|---|---|
| 1 | |
| 2 | |
| 3 | |
| 4 |
| alg:0 | alg:1 | alg:2 | alg:3 | alg:4 | alg:5 | alg:6 | alg:7 | |
|---|---|---|---|---|---|---|---|---|
| 2ope | @al2,0 | @al2,1 | @al2,1 | @al2,1 | @al2,1 | @al2,0 | @al2,1 | @al2,1 |
| 3ope | @al3,0 | @al3,1 | @al3,2 | @al3,3 | @al3,3 | @al3,4 | @al3,3 | @al3,5 |
| 4ope | @al4,0 | @al4,1 | @al4,2 | @al4,3 | @al4,4 | @al4,5 | @al4,6 | @al4,7 |
| alg:0 | alg:1 | alg:2 | alg:3 | alg:4 | alg:5 | alg:6 | alg:7 | |
|---|---|---|---|---|---|---|---|---|
| 2ope | @al2,0 | @al2,1 | error | error | error | error | error | error |
| 3ope | @al3,0 | @al3,3 | @al3,2 | @al3,2 | error | error | error | error |
| 4ope | @al4,0 | @al4,4 | @al4,8 | @al4,9 | error | error | error | error |
| alg:0 | alg:1 | alg:2 | alg:3 | alg:4 | alg:5 | alg:6 | alg:7 | |
|---|---|---|---|---|---|---|---|---|
| 2ope | @al2,0 | @al2,1 | @al2,1 | @al2,1 | @al2,0 | @al2,1 | @al2,1 | @al2,1 |
| 3ope | error | error | @al3,5 | @al3,2 | @al3,0 | @al3,3 | @al3,2 | @al3,2 |
| 4ope | error | error | @al4,7 | @al4,2 | @al4,0 | @al4,4 | @al4,8 | @al4,9 |
| alg:0 | alg:1 | alg:2 | alg:3 | alg:4 | alg:5 | alg:6 | alg:7 | alg:8 | alg:9 | alg:10 | alg:11 | alg:12 | alg:13 | alg:14 | alg:15 | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 2ope | @al2,0 | @al2,0 @fb0,1 | @al2,1 | @al2,2 | error | error | error | error | error | error | error | error | error | error | error | error |
| 3ope | @al3,0 | @al3,0 @fb0,1 | @al3,1 | @al3,2 | @al3,3 | @al3,3 @fb0,1 | @al3,5 | @al3,6 | error | error | error | error | error | error | error | error |
| 4ope | @al4,0 | @al4,0 @fb0,1 | @al4,1 | @al4,2 | @al4,3 | @al4,3 @fb0,1 | @al4,4 | @al4,4 @fb0,1 | @al4,8 | @al4,11 | @al4,6 | @al4,6 @fb0,1 | @al4,5 | @al4,9 | @al4,12 | @al4,7 |
@f [co], [res], [ar], [dr], [sr], [rr], [co2], [co3], [sc], [rc]
| n1; | (Cutoff Freq.)Cut off frequency[0-128(128)]. 128 for full open. |
| n2; | (Resonance)Resonance[0-9(0)]. 0 for no resonance, 9 for maximum. |
| n3; | (Attack Rate)Attack[0-63(0)]. The changing speed from Cutoff Freq. to Cutoff Freq.#2. ar=0 keeps Cutoff Freq. ar=63 changes suddenly. |
| n4; | (Decay Rate)Decay[0-63(0)]. The changing speed from Cutoff Freq.#2 to Cutoff Freq.#3．dr=0 keeps Cutoff Freq.#2. dr=63 changes suddenly. |
| n5; | (Sustain Rate)Sustain[0-63(0)]. The changing speed from Cutoff Freq.#3 to Suatain Freq. sr=0 keeps Cutoff Freq.#3. sr=63 changes suddenly. |
| n6; | (Release Rate)Release[0-63(0)]. The changing speed from key-off to Release Freq. rr=0 keeps cutoff frequency at key-off. rr=63 changes suddenly. |
| n7; | (Cutoff Freq.#2)Cutoff frequency #2[0-128(128)]．2nd cutoff frequency after Attack. |
| n8; | (Cutoff Freq.#3)Cutoff frequency #3[0-128(64)]．3rd cutoff frequency after Decay. |
| n9; | (Sustain CutOff)Cutoff frequency after Sustain[0-128(32)]．4th cutoff frequency. This frequency is kept until key-off. |
| n10; | (Release CutOff)Cutoff frequency after key-off[0-128(128)]. The cutoff frequency changes into this value after key-off, when rr>0. |
// PCM sound module can control pitch<EMAIL_ADDRESS>// Sampler assigns a wave on each note. %10v16l8cre4cce.c16rc16c16ercce.e16; %10o4l16[v16c8cv12c]8v16f1;
@0,[ar],[dr],[tl],[pitch],[ws]When the 1st argument is 0, voice is defined by following 5 arguments.
@1,[FM voice number]
@2,[PCM wave number]When the 1st argument is 1 or 2, the 2nd argument specifies FM voice number or PCM wave number, respectively. In this case, you can use FM voice or PCM wave as a plunk noise.
| Statement | Range | Description |
|---|---|---|
| %tn1,n2,n3 | n1; - (0) n2; 0 - 3 (1) n3; 0 - 3 (1) |
(event Trigger)Event trigger setting. This command is used to interlock with ActionScript. The 1st argument sets trigger ID, 2nd argument sets trigger type for note on and 3rd argument sets trigger type for note off. |
| %en1,n2 | n1; - (0) n2; 0 - 3 (1) |
(dispatch Event)Dispatch note on event once. This command is used to interlock with ActionScript. The 1st argument sets trigger ID, 2nd argument sets trigger type. |
| Statement | Range | Description |
|---|---|---|
| @lfon1,n2 | n1; 1 - (20) n2; 0 - 3 (2) |
(Low Frequency Oscilator)Setting of LFO. The 1st argument sets time cycle of LFO (60=1[sec]) and 2nd argument sets wave shape (0;downward saw, 1;square, 2;triangle, 3;random, 4-7;phase invered 0-3, 8-255;refer #TABLE). When you refer #TABLE, the table length is 256 and the value is ranged in 0-255. This command initilaizes settings of 'mp' and 'ma' ("mp0ma0").
@lfo30 mp32c1 @lfo10 mp32c1 |
| mpn1,n2,n3,n4 | n1; 0 - 8191 (0) n2; 0 - 8192 (0) n3; 0 - 65535 (0) n4; 0 - 65535 (0) |
(Pitch Modulation)Setting of pitch modulation (Vibrato). This command swings pitch by LFO. n1(modulation) and n2(end modulation) values are on 64=1 halftone．n3(delay) and n4(changing time) values are on frame count.
mp8,32,60,40 c1^1 |
| man1,n2,n3,n4 | n1; 0 - 8191 (0) n2; 0 - 8192 (0) n3; 0 - 65535 (0) n4; 0 - 65535 (0) |
(Amplitude Modulation)Setting of volume modulation (Tremolo). This command swings volume by LFO. n1(modulation) and n2(end modulation) values are same as Total Level when ams=3. The width of modulation depends on 'ams' parameter of each operator. n3(delay) and n4(changing time) values are on frame count.
ma0,32,60,40 c1^1 |
| Statement | Range | Description |
|---|---|---|
| @fpsn | 1 - 1000 (default value is specifyed by #FPS) | (Frame Per Second) Setting of frame counter. This command sets the speed of '@@','na','np','nt','nf','_@@','_na','_np','_nt','_nf','po','@rr','mp' and 'ma' by frame per second.
#TABLE0{(0,12)30}; q8 nt0 @fps30 c1 @fps120 c1; |
| @@n1,n2 | n1; 0 - 255 (255) n2; 1 - 65535 (1) |
(tone envelop) Tone color number changing by table. This overwrites '@' by table during key-on.
#TABLE0{(0,32)32}; q8 %3 @@0,5 c1^1; // Changes tone color from '%3@0' to '%3@31' for 5 frames each. |
| nan1,n2 | n1; 0 - 255 (255) n2; 1 - 65535 (1) |
(Amplitude ENvelop) Volume envelop by table. This overwrites 'x' by table during key-on.
#TABLE0{(128,0)10 (64,0)10|(32,0)10}; na0q8 l2cde; |
| npn1,n2 | n1; 0 - 255 (255) n2; 1 - 65535 (1) |
(Pitch ENvelop) Pitch envelop by table. This controls 'k' by table, but it is independent from 'k' commands value.
#TABLE0{(0,128,-64,0)60}; np0q8 c1; |
| ntn1,n2 | n1; 0 - 255 (255) n2; 1 - 65535 (1) |
(noTe ENvelop) Note changing by table. This controls 'kt' by table, but it is independent from 'kt' commands value.
#TABLE0{|0,4,7}; nt0 cde; // high speed arpeggio by table |
| nfn1,n2 | n1; 0 - 255 (255) n2; 1 - 65535 (1) |
(Filter ENvelop) Filter envelop by table. This controls '@f' by table, but it is independent from '@f' commands value.
#TABLE0{|(128,64,128)20}; nf0 c1; // Wah-wah |
| _@@n1,n2 | n1; 0 - 255 (255) n2; 1 - 65535 (1) |
(release tone envelop) Tone color number changing by table after key-off. This overwrites '@' by table after key-off.
#TABLE0{|1,5};q4 %5 _@@0 cdef; |
| _nan1,n2 | n1; 0 - 255 (255) n2; 1 - 65535 (1) |
(release Amplitude ENvelop) Volume envelop by table after key-off. This overwrites 'x' by table after key-off. When you want control envelop after key-off only by this command, you have to set 's0' because this command is independent from '@rr' or 's'.
#TABLE0{32}; _na0 q4s0cder _na255x0c; |
| _npn1,n2 | n1; 0 - 255 (255) n2; 1 - 65535 (1) |
(release Pitch ENvelop) Pitch envelop by table after key-off. This controls 'k' by table after key-off, but it is independent from 'k','s' and '@rr' commands value.
#TABLE0{(0,64,0)20}; _np0 q4cde; |
| _ntn1,n2 | n1; 0 - 255 (255) n2; 1 - 65535 (1) |
(release noTe ENvelop) Note changing by table after key-off. This controls 'kt' by table after key-off, but it is independent from 'kt' commands value.
#TABLE0{|0,3,7}; _nt0 q4cde; |
| _nfn1,n2 | n1; 0 - 255 (255) n2; 1 - 65535 (1) |
(release Filter ENvelop) Filter envelop by table after key-off. This controls '@f' by table after key-off, but it is independent from '@f' commands value.
#TABLE0{(0,128)20}; _nf0 q2cde; |
| !nan1,n2 | n1; 0 - 255 (255) n2; 1 - 65535 (1) |
[NOT RECOMMENDED](Amplitude ENvelope) Relative volume envelop. This command adds table values on original 'x' value. |
#TABLE0{|0,4,7}; nt0,1c nt0,2c nt0,5c; // 2nd argument sets speed
| Statement | Range | Description |
|---|---|---|
| @on1,n2 | n1; 0 - 2 (0) n2; 0 - 3 (0) |
(Output pipe)Pipe output. You can connect channels by '@i' or '@r' after this channel. The 1st argument sets output mode (0;Normal stereo output, 1;Overwrite pipe, 2;Add pipe). The 2nd argument sets output pipe index(0-3). @o1 %5q8s0 cde; @i5 %5 cde; |
| @in1,n2 | n1; 0 - 7 (5) n2; 0 - 3 (0) |
(freqency modulating Input pipe)Pipe input as a modulator of FM connection. You can use the data in pipe as a modulator of FM connection.
The 1st argument sets modulation (0-7, 0;off, 5;modulation of OPM). The 2nd argument sets input pipe index(0-3).
@o1 %5q8s0 cde; @i3 %5 cde; // frequency modulation |
| @rn1,n2 | n1; 0 - 8 (4) n2; 0 - 3 (0) |
(Ring modulating input pipe)Pipe input as a modulator of Ring modulation connection. You can use the data in pipe as a modulator of Ring modulation connection.
The 1st argument sets modulation (0-9, 0;off, 4;modulation of C64 SID chip). The 2nd argument sets input pipe index(0-3).
@o1 %5q8s0 cde; @r5 %5gab; // ring modulation |


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If the Seahawks DONT win the Superbowl this year I will swear off football for the rest of my life!
- Are you sick?
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If the Seahawks DONT win the Superbowl this year I will swear off football for the rest of my life!


TCP/IP - IPv6
IP Mode
IPv4
IPv6
Dual Stack
Host Name:
IPv6
Enable Manual Address:
Enabled
Get IP Address from DHCP:
Enabled
IP Address:
/
Stateless Address 1:
::/0
Stateless Address 2:
::/0
Stateless Address 3:
::/0
Link-Local Address:
%IPV6ADDRESS%
Gateway Address:
Automatically Configured Gateway Address:
::
DNS
DNS Domain Name:
IPv6
Obtain IPv6 DNS Server Address Automatically:
Enabled
DNS Server Address:
Dynamic DNS Registration (IPv6):
Enabled
Auto Generation of Search List:
Enabled
Search Domain Name:
Connection Timeout:
seconds (1 ~ 60)