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_(Math.min(_originX, _mouseX) - 3, Math.min(_originY, _mouseY) - 3, Math.abs(_mouseX - _originX) + 6, Math.abs(_mouseY - _originY) + 6) This code makes sure we always draw from the top left point to the bottom right. _(_originX, _originY, _mouseX - _originX, _mouseY - _originY) _mouseX = Math.max(Math.min(_stage.mouseX,_stage.stageWidth), 0) This is to make the mouseX value stay within the limits of the Stage. _mouseY = Math.max(Math.min(_stage.mouseY,_stage.stageHeight), 0) This is to make the mouseY value stay within the limits of the Stage. Private function drawBoundaries(e:MouseEvent):void These values are used later as a starting point for the boundary. _stage.addEventListener(MouseEvent.MOUSE_MOVE, drawBoundaries) Private function onMouseDown(e:MouseEvent):void _stage.addEventListener(MouseEvent.MOUSE_UP, onMouseUp) _stage.addEventListener(MouseEvent.MOUSE_DOWN, onMouseDown) Private function addMouseListeners():void These methods are used to draw the boundaries frame, which allows users to select which part of the stage will be copied to the snapshot. We do this to so we can access the content on the Stage.Įxpand the SnapShot Class to include the following methods. We use the activate() method to pass a reference to the Stage along to the SnapShot Class. Public function activate(stage:Stage):voidĪdd the following lines of code to the Circles Class. This is the Class that will hold all the methods used to take a snapshot. Our snapshot function will work with any stage contents, though, so don't feel that you have to restrict yourself to simple shapes!Ĭreate a new Class file and give it a name of SnapShot.as. Remember to link the Class to the Flash file by writing Circles in the Class field in the the Properties Panel.įor (var i:int = 0 i < _circleCount i++)Ĭ(1, 0xCCCCCC, 1) Ĭ(0x333333, 0.5) Ĭ(Math.random() * stage.stageWidth, Math.random() * stage.stageHeight, (Math.random() * 40) + 20) Create a new Document Class called Circles.as and add the following code. We're going to create some circles and place them randomly around the stage. Recipe 13.6 explains how to set an out point for the sound.We need some content in the Flash file to check if the snapshot tool is working properly. mySound_sound.start(3, 6) 13.5.4 See Also Play the sound six times, each time starting the audio three seconds from the // beginning of the sound clip. There is no pause between the loops even when you specify a nonzero offset. (To specify the looping parameter, you must specify an offset, even if it is 0.) If you pass the method a nonzero offset parameter value, the sound loop begins that many seconds into the audio with each pass. If you want the entire sound to loop, you should pass the start( ) method the value 0 for the first parameter (the offset) as shown in the preceding example. (If you omit the second parameter, the sound plays once.) // Play the sound six times in a row. You also can specify a second parameter ( looping) that instructs the sound to loop the playback a certain number of times. The optional first parameter indicates how far into the sound (in seconds) to begin playing it. The start( ) method tells a sound to begin playing. Use the start( ) method of the Sound object that controls the sound and pass it a looping parameter. You want to loop a sound so that it plays repeatedly. 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Note: To download Torrent, use the Download Manager µTorrent. “When we first got together and we were recording, because he’s a singer, I actually really liked that as him being my producer,” she said. When the now-married couple first started working together writing music – and weren’t yet romantically involved – Avril found a musical kinship with Chad. “ was the first song we wrote together and we weren’t even together at that stage, so our love song was our first song at the wedding and one day I’d like to release it, but our family all got to hear it so it was kind of nice.” “Chad and I wrote that and recorded it together later on in our relationship,” Avril told Billy Bush and Kit Hoover on Tuesday’s Access Hollywood Live. The second cut isn’t out presently, but Avril is hoping to one day share it with her fans. User-contributed text is available under the Creative Commons By-SA License additional terms may apply.Avril Lavigne and Nickelback’s Chad Kroeger wrote two duets together – “Let Me Go,” which is on her self-titled new album, and a second track – “If I Said I Loved You,” the tune they danced to at their wedding. On Sept 3, 2015, after 2 years of marriage, the couple announced that they were separating. The couple met in July 2012 while working on Lavigne's single "Here's To Never Growing Up" and Kroeger proposed 1 month later. Personal Life - in July 2013, Lavigne married Nickelback and fellow Canadian, Chad Kroeger. As of April 2013, Lavigne has sold more than 30 million albums and 50 million singles worldwide. Lavigne has released 5 Top 5 Billboard 200 studio albums: Let Go (2002), Under My Skin (2004), The Best Damn Thing (2007), Goodbye Lullaby (2011), and Avril Lavigne (2013). To date, Lavigne has had 8 Top 20 Billboard Hot 100 hits, including the best-selling single in 2007, Girlfriend, which was released as the lead single from her third studio album, The Best Damn Thing. Lavigne is one of the top-selling artists releasing albums in the US, with over 11 million copies certified by the RIAA. Since her professional debut, Lavigne's honors notably are 8 Grammy award nominations as well as 8 Juno awards from 24 nominations. In 2002, Lavigne reached mainstream success after her debut single, Complicated, and her debut album Let Go, gained lots of media attention and honourably earned her reputation of a 'skater punk' persona and 'pop punk princess' when she was only 17 years old. Other patents pending.Īvril Lavigne (born Avril Ramona Lavigne, Septemin Belleville, Ontario, Canada), is a Juno award-winning and Grammy-award nominated singer, songwriter. Lyrics © Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd., Warner/Chappell Music, Inc., Universal Music Publishing Group Song Discussions is protected by U.S. Love's never too lateI've broken free from these memoriesĭon't let me go, don't let me goDon't let me go, don't let me go, don't let me goWon't let you go, don't let me goĭAVID HODGES, TAMAR MARDIROSSIAN, STEVE MCMORRAN, AVRIL RAMONA LAVIGNEPublished by So this time, I won't let goThere's only one thing left here to say Gotta let it go, just let it goI let it go, and now I know Thought we were meant to beOh, there isn't one thing left you could say Gotta let it go, just let it goYou came back to find I was goneĪnd that place is empty, like the hole that was left in me I'm sorry it's too lateI'm breaking free from these memories Used to mean something, but now it means nothingīut I still remember, the pain of DecemberOh, there isn't one thing left you could say It has a soft level cap at around 56 to 61.
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It’s all relatively simple stuff in VR terms, but each can add to the anxiety as plague-ridden Ganados bear down on you. That weapon must be pumped and rechambered between each shell. The knife is on your chest, healing items can be grabbed from behind your left shoulder, two-handed weapons such as the shotgun pulled from behind your right. The pistol sits in its holster, ammo must be grabbed from packs on your left hip, slotting the magazine in before pulling back the slide to fully load. While you can use a weapon wheel with a squeeze of the left trigger, you are strapped with your selected gear which can be grabbed from Leon’s tactical vest. Resident Evil 4 follows that to a tee and, again, it suits the anxiety and pace of the original game. VR has pretty much nailed the ‘floating hands’ form of FPS control, predicated on making the handling of weapons and tools as natural and intuitive as possible. The tweaks to make use of the VR and motion controls seem sensible and substantial enough to sustain 15 hours of play, even if some can seem a little unusual.īut first, the controls. And it has been translated in full this is the entirety of the story, rather than the highlights package occasionally deployed in VR, and presented largely as intended. So, yes, as if there was much doubt, Resident Evil 4’s panic-stricken action translates rather well to virtual reality. That prickly feeling up the back of your neck was potent enough in the traditional third-person view, let alone in VR, particularly when you hear “ ¡Allí está!” –there he is!– yelled behind you. Your head snaps from side-to-side, turning on your heels (if playing stood up), one arm popping off pistol shots while the other wards off approaching ghouls with a knife. Once disturbed, the Ganados descend in a mob, pursuing you around the village square as you desperately seek the briefest of respite to reload and regroup. But there is definitely an added layer of dread in Resident Evil 4 VR when you are enveloped in a headset and know what is about to come next. Many players will be all too familiar with the grisly tableau, having played one of Resident Evil 4’s myriad versions since its original release in 2005. Prowling its stone houses are shambling Ganados, mumbling incoherently and armed with pitchforks and wood axes. As our hero Leon Kennedy searches for the US President’s daughter in a mysterious, mist-shrouded corner of Europe, he comes across town square centred on a flaming pyre and some poor soul nailed up in its middle. Though it was indicated that the cutscenes and character animations would remain unaltered, it seems parts of the original script may be left on the cutting room floor.That famous first encounter in Resident Evil 4’s twisted village hits rather different in virtual reality. The VR version already promised the biggest departure from Capcom's initial vision, complete with a new first-person perspective for more immersive scares, improved art and textures, and gameplay tweaks to better serve the virtual reality environment (per Oculus). It received several ports and enhancements in the ensuing years, launching across multiple Nintendo, PlayStation, Xbox, and mobile generations. "Resident Evil 4" released for the GameCube in 2005. Facebook and Capcom aim to keep the momentum going with a "Resident Evil 4 VR" remake for Oculus Quest 2 however, recent reports have indicated that this fresh take on a classic may have ditched some of the original text and dialogue. Before "Village" drew high marks from critics, the title's sexy vampire lady, Alcina Dimitrescu, became the darling of the internet, spawning a deluge of memes and fan projects. The "Resident Evil" franchise has enjoyed a strong year. 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It's a bit of an unusual‑looking setting, because it's a very fast‑acting and with a maximum threshold, so on its own it sounds rather odd and stuttery. Now pop Cubase's VST3‑format Expander plug‑in into the LeadVocal channel's top Insert slot, and set it up as shown in the screenshot above. To feed the LeadVocal group channel, select it from the lead‑vocal track's Sends menu, switching on the send and Control‑clicking its little fader to set it to unity gain (0.0dB). You can save time by doing this in bulk: highlight a series of tracks and then hold down the Shift key while you select the required destination from the Inspector's top pane. Label these two LeadVocal and BackingTrack, and then reassign all the tracks in your song, with the exception of your lead vocal, to the latter group channel track. To start with, you'll want two stereo ones, so adjust the pop‑up dialogue box accordingly. First of all, right‑click in the Track List and select Add Group Channel Track. The final, refined setup: group channels for lead‑vocal and backing‑track signals, and another to enable equalisation of the lead‑vocal Expander's side‑chain signal. When that loud drum hit comes along, the expander responds to it by letting more of the lead vocal through, thereby boosting the overall level of the vocal in the mix for that instant and defeating some of the drum's masking effect. Once this is operational, you can mix in the expanded vocal signal alongside the unexpanded one to achieve the desired degree of automatic gain‑riding. In Cubase, the trick to managing this is to send signal from your lead‑vocal channel to a Group Channel with the VST3‑format Expander plug‑in inserted, and then configure that plug‑in to respond (via its side‑chain) to the level of the backing track. However, there is a way to take the sting out of this frequently tedious job, and that is to set up some processing that monitors the level of the backing track and then applies corresponding gain changes to the vocal track to compensate for the masking effects. Because of this, a lot of effort goes into the micro‑automation of vocal levels in professional productions, and if you want to compete on that level, you can't afford to ignore the issue. In case you don't see the point of riding vocal levels, the basic concept is this: even if you compress a vocal heavily, its subjective level will nonetheless appear somewhat inconsistent because the backing track will mask the vocal more the louder it gets, and the amount of masking will change rapidly from moment to moment a loud drum hit will mask the vocal more than a quieter acoustic‑guitar strum, perhaps. You can see roughly what it should look like in the drop‑down Send menu here. In order to get the lead‑vocal Expander to respond to the backing track, you need to send to the plug‑in's side‑chain input. and it turns out that it is! So here's how you do it. If you're wondering what the hell any of this has to do with Cubase, well, I'm also a Cubase user and, spurred on by memories of frappucino catastrophe, I recently began wondering if it would be possible to implement a similar automatic vocal‑riding scheme in Cubase too. So when I noticed the plug‑in's price‑tag, my low‑fat cinammon frappucino almost spurted out of my nose! I'm sure that Waves' boffins have put some very whizzy technology under Vocal Rider's bonnet, but there's just something in me that rebels against parting with the cost of curry for 12 in return for something that simply adjusts gain, especially when I'm already pretty happy with my home‑brew alternative. I was intrigued to hear about the launch of Waves' Vocal Rider vocal-level automation plug‑in, because vocal micro‑automation is a regular part of my normal mixing process particularly intrigued, in fact, because I'd already implemented a similar scheme using Cockos Reaper's dynamic parameter modulation. Notice that the external side‑chain input (the orange button at the top) is activated. Here's you can see some suggested settings for Expander at the centre of this month's setup. Waves' ground‑breaking Vocal Rider plug‑in takes the pain out of vocal level‑automation, but if your budget can't stretch, you can get part of the way there using nothing more than Cubase 5's built-in processors. |
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