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First Contact - Part Seven / Realization of Second Contact

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Many great cycles had passed without a single contact within the Great Emptiness.
Many of the members of the Unified Science Council began to believe that perhaps it was some kind of lingering energies left over from the Precursor War that had created mass hallucinations, or perhaps it was just isolated incidents with no meaning.
Seventeen Great Cycles and not a single clue that supported the existence of the Solarians, the Clone Directorate, sentient AI's, or any of the other strangeness discovered over that Great Cycle.
Even the Unified Executor Council had been forced to agree that the Solarians had simply, well, vanished.
The Unified High Council had no choice but to allow exploration of the Great Emptiness and so passed legislation to repeal the prohibition against exploration of that region of space.
That is how Monnat Banaltee of the HiKruth found himself in charge of a crew of a dozen of the Deep Space Explorer's Guild and in possession of one of the most advanced ships the Unified Technology Council would permit to be built.
The ship, named To Wrest Answers from the Darkness, had the best jumpspace engines, the most advanced computers with the most powerful computation and analysis lobes, laboratories and testing capabilities more advanced that any other ship, with sensors more sensitive than any other, communications capable of hearing the slightest whisper. Additionally, the ship's omnitranslator had been loaded with the TerraSol lexicons learned so far.
That was an entire Great Cycle ago.
Which was why Monnat, who refused the title of Captain and preferred Most Learned, was almost sick from boredom despite his race being legendary for patience. Even the upcoming arrival in a new solar system, deeper than anyone had gone so far into the Great Emptiness, failed to alleviate his boredom.
How could it? The last thirty systems they'd scanned had been the same: deeper than anyone had explored.
And empty except for a hundred million years of isolated evolution, largely resulting in a few plants or maybe even some non-sapient life more evolved than a cluster of cells.
Monnat was willing to bet his next three research grants that the next one would be the same.
"Preparing to drop," Aastruk stated. A master of astrogation and navigation, who had led whole fleets through jumpspace with his skill during his many years as part of the Unified Military Fleet, Aastruk was capable of making such sublime jump transitions that even the most sensitive of the scientists suffered little more than a light spell of dizziness.
At the end of the countdown there was a slight queasiness and that was all, allowing Monnat to tap his vestigal claws together and stare at Billik, a sensor's technician of extreme skill.
After nearly an entire cycle Monnat was beginning to wonder if Billik had decided not to do his job out of sheer boredom.
"Scan Master Billik?" Monnat asked.
"A moment, please, Most Learned One," Billik said. The scan tech looked over at Z'Mak, the Chief of Maintenance. "Oh Attentive One, Lord and Master of the Mechanical, can you perform a diagnostic upon my lowly instrumentation?"
Monnat sighed internally. Sometimes he wondered if all the insistence on titles and honorifics made it so things took longer than necessary. A heretical thought, he knew, but one had had asked himself many times over his long life.
Z'Mak, who was a stickler for protocol, nodded, the ruffle around his neck and down his spine flushing in pleasure. He examined his displays, tapped in some commands, then leaned back.
"Your instrumentation and displays are all functioning at over 90% efficiency, most attentive and inquisitive scanning technician," Z'Mak said.
At least Billik did not take offense at the obvious omission of honorifics, as he had during the first long cycles of the voyage, as Z'Mak was of the belief that those who joined the Unified Military Council or the Fleet were somehow less than those who devoted their lives to other pursuits.
"Then it appears, at long last, we have found a system with unknown xenosapients," Billik stated. "There are several settlements on the surface, four orbiting stations, solar collectors, and power readings everywhere."
"Launch a probe," Monnat said. "I will be waiting in my chambers. Announce to me when the probe begins to relay data."
Billik nodded as Monnat stood up on all four legs and moved toward his personal chambers.
-------------------
"Most Learned One," E'kotat's voice interrupted Monnat's viewing of a lecture on how a stable reaction within the translation chamber of a jump-drive was only established one way, despite crackpot claims of other possibilities.
"Yes, Second Leader?" Monnat sighed. He doubted that it was going to actually be anything. There had been nearly a dozen false alarms in the first few cycles of his mission. Every time it had turned out to be just a lost colony.
"You should come to the bridge immediately," E'kotat said. "Make all due haste."
Monnat frowned. E'kotat was a Drimarian, cold blooded quasi-mammal who's race's physiology was almost incapable of excitement. For him to urge haste was unusual.
And noteworthy.
When he entered the bridge, Monnat noted that Security Officer Lukamit, a computer code researcher who held a position mostly ceremonial, was busy over his terminals, all three of his lab assistants working with him.
"What is the emergency? Did something happen to the probe?" Monnat sighed, settling into his crash couch.
"We lost contact with it, Most Learned One," Billik stated. "It was intercepted by an energy pulse that shut it down. Soon afterwards, we were..."
"I will inform the Most Learned," Z'Mak snapped. He looked at Monnat. "It was then that we received communication signals. It attempted to open a communications channel but at the same time attempted to penetrate our computer network. Whoever the signal is from, they are most insistent that they be allowed access to our computer systems."
Lukamit interrupted, ignoring Z'Mak's flutter of his crest. "We are fortunate that they only use a binary type logic and only binary signalling. This allows me to use the lobes in parallel to more effect than they can. However, they did access the omnitranslator's lexicon and have been attempting to transfer it to their systems."
Monnat thought a moment. "Allow it."
"But standard is to exchange lexicons," Z'Mak protested.
"Do as I command as Most Learned One," Monnat told Z'Mak, fixing him with a stare that used all four eyes.
Z'Mak backed down.
"Lexicon is transferred. Wait, they've stopped trying to access our systems," Lukamit said. "They've purged their own code and completely withdrawn."
"We have an incoming signal," Juketet stated, listening closely. "Audio and visual, although only across a limited base three-primary color scale. They are not permitting any reply. Transmission only. It's quite rude."
Monnat sighed, fully expecting it to be another lost colony. Probably fallen back to aggression and superstition.
Instead the figure that appeared on the screen was unlike any he'd ever seen. Tall, graceful appearing for a biped, mammalian, with jewels adorning them, dressed in comfortable and gossamer appearing cloth, long golden hair and pointed ears. The female, and it had to be a female as it had mammalian milk ducts that were prominent, was surrounded by scantily clad bipeds that were shorter but had the same lithe build and pointed ears.
For some reason she gave off the appearance of being superior to everyone present. As if something more than nature, because nature could never produce such a perfect specimen, had crafted her to be perfection embodied.
It was a strange feeling for Monnat.
When she spoke, it was a strange language, linguistically designed to flow together and sound like music even mathematically.
Monnat noticed that Z'Mak seemed offended by the being.
The translation showed below, at the bottom of the screen.
"Welcome to the Magic Realms of Meratarrian. I am Queen Radosalvov the Graceful, you may call me Queen, Your Highness, or Radiant Divine One."
Z'Mak almost seemed to choke.
"According to Confederate Law, attempting to pirate views via recording probes without a license as well as permission from Galactic Studios Incorporated and Electronic Artistic Studios is a grave violation of our legal rights."
That caught Lukamit's attention.
"As your language is unknown to me I will assume that you were not meant to intrude upon this realm and I have decided to extend elven hospitality to you."
Monnat kept his expression from changing. Another race. Bipedal, warm blooded, mammalian, forward facing eyes. Obvious Solarian.
"I will allow you four local hours upon the surface as a freeware demonstration for one of your crew. I formally invite a sentient of your choosing in to my realm and invite your ship to stay within communication range of this planet."
She gave a gesture that used up the least amount of effort but still looked imperious, as if she was the most important being in the entire universe and the crew of the Wrest Answers from the Darkness should considered them blessed just to be allowed to view her.
"I will give you one of your time units to decide who shall enter the Magic Realms of Meratarrian."
The image vanished.
"They've cut transmission," Juketet stated unnecessarily. "Wait, they're transmitting a document. It looks like a legal document of some kind."
Monnat perked up. "Send it my ready room and have the ship computer go over it. Let us see what they are offering."
Juketet nodded.
------------------
Halfway through the time limit Monnat realized that even with the computer's help deciphering the document, which was some kind of terms of service, would be impossible. It was, quite possibly, the largest legal document he had ever seen. The ships operating system took up less storage and used less data than the document itself. Just viewing the document gave the issuer of the document legal rights over all kinds of things.
It repeated over and over that the issuers of the document, one Electronic Artistic Studios and one Galactic Studios Incorporated, could not be held liable for any damage to anyone using their services, to include death, dismemberment, disintegration, damage to neural or emotional networks, physical or metaphysical discomfort, damage, or alteration.
It went on and on and on.
But Monnat had been tasked with exploration, and he'd seen that Galactic Studios Incorporated and Electronic Artistic Studios operated under Terran Confederacy law and were based on TerraSol, which meant, despite appearances, the "elven queen" was a Solarian.
Which made no sense.
How many species rose to prominence in the system?
Monnat needed information, but most of all, he needed a volunteer.
And for that, he called Aastruk into his ready room to see if the saurian would volunteer to be part of the "free demonstration" that the "Queen" was offering.
To Monnat's surprise, Aastruk agreed immediately.
Monnat figured it was out of boredom.
-------------------
The shuttle that gathered Aastruk was flamboyant, lavishly decorated with rare elements to enhance its appearance and obviously built to appeal to anyone's eyes. Even mathematically it was almost perfect. Aastruk boarded wearing a vacuum suit and carrying a transponder.
The Queen had agreed to that much of a safety measure, even if she refused to allow recording devices.
Monnat settled down, as the shuttle left, and waited. Four local hours was less than a dozen cycles.
----------------
When Aastruk returned he stated one simple sentence: "We must leave now."
Monnat respected Aastruk's time with the Unified Military Fleet and ordered that the ship move to jumpspace immediately. Once they were safe in jumpspace he called Aastruk into his quarters and urged the reptilian navigator to speak.
"When I first got there, I was given many options. Enhanced virtual reality, real-skin which apparently involves me actually going down to the planet, skin-sheathe which is allowing me to mentally control a cloned version of myself from the station, or something called 'hitch-hiker' mode which is allowing me to see through someone else's eyes," Aastruk said, rubbing his snout wearily.
"What did you choose?" Monnat asked.
"Hitchhiker is the only option available for the free demonstration version," Aastruk said. He shuddered. "It allowed me to not only see and hear what was going on, it allowed me to taste, smell, and feel it. Not only that, I knew I could, well, share thoughts with my host."
Monnat made an annotation. "Did you?"
Aastruk nodded. "She is from someplace called Alpha Centauri, one of the earliest Terran Confederacy's colonies. That's aside, however, and not the important part."
Looking up Monnat frowned. "What is important than that?"
"She was, to use her words, reborn as something called a 'dwarf' and took the profession of blacksmith," Aastruk said. "Working in iron, steel, some exotic metals I've never heard of. She makes armor, weapons, and other metal objects as well as wood carving..."
"Who does she make these weapons for?" Mannot asked.
"Soldiers who guard the town and being who wish to enter into the wilderness to seek out adventure even at the risk of encountering dangerous wildlife that will seek to slay them if they do not slay the wild-life first. She makes weapons and armor for these people and then, and I use her words: magics the excrement out of them which is why...."
"Magic?" Monnat scoffed, interrupting. "A people that advanced believing in magic."
Aastruk nodded. "When she explained magic to me was when I realized we must leave at once."
"What was so frightening about it?" Monnat asked, wondering if Aastruk would need therapy.
"Nanotechnology is something we use. For medical, research, manufacturing, computation," Aastruk said. Monnat nodded as Aastruk continued. "They have devised a type of nanite that uses broadcast power to sustain itself and floats through the very air. It permeates he atmosphere, is in everything they drink, everything they eat, even in the objects."
"Risky. What if it went out of control? Entire planets have been lost to such ill advised experimentation," Monnat asked.
Aastruk shook his head. "They aren't worried about it. You see, they use the nanites to manifest certain reactions. From creating a monomolecular sword edge and infusing the blade with nanotech like my host did to calling up fire out of thin air, this so called magic is nanites."
Monnat cringed slightly. "And anyone can use it with a simple interface?"
Aastruk shook his head again. "No. It requires will, being able to chant out loud the command strings, and being able to withstand pain. The more energy intensive the task the nanites carry out, the more pain the nanites inflict."
"Madness," Monnat whispered. "And they willingly subject themselves to this to use this so called magic? I understand, if they are born there and this is the path to power, but still, to willingly subject one's self to pain."
Aastruk shook his head. "No, Most Learned One, it is worse than that."
"How is it worse?" Monnat asked. "Please, Aastruk, will you define worse?"
"While some beings who live on that planet were born there, Most Learned One," Aastruk took a deep breath. "The majority pay for the privilege of living their lives there. Some even pay to be other species, such as my host, who had her entire body rebuilt from 'Pure Strain Human' to 'dwarf' in order to live out her fantasies."
Aastruk fixed Monnat with his gaze. "It's a planet sized, fully interactive, nanite assisted, amusement park that they pay to experience, sometimes for their entire adult lifespan."
Monnat goggled at Aastruk. The thought of having one's body changed to live out a fantasy was grotesque, but the idea that it was some kind of amusement park horrified him.
"You were correct in having us leave at once. Was there anything else that made you so urgent to leave?" Mannot asked.
Aastruk nodded. "At the end of my 'free trial' several of the 'High Elves' offered to sponsor me if I agreed to fight in their name for their glory," He said, shuddering.
Mannot nodded. "A wise idea, returning. I do not blame you for wanting to return when that undoubtedly caused such fear, to be dumped in such a place where advanced technology is used to live out a fantasy of primitivism."
Shivering, Aastruk shook his head. "No, Most Learned One, I did not want to return out of fear, I returned because I wanted to stay."
Aastruk hung his head and whispered softly. "Glory and honor to my house, with eggs and burrows the envy of all, by might or trickery my house, my burrow, my clutch ascendent."
Mannot stared in horror at Aastruk repeating such an ancient mantra of his species and decided that the expedition was over.
----------------
The Unified Exploration Council examined the records as well as the statements of Fleet Admiral (retired) Aastruk eshThsashal and ordered another exploration expedition created.
The Unified Science Council determined that the Solarians, perhaps the entire Terran Confederacy, was using technologies in ways that were prohibited as well as dangerous, not only to the Terran Confederacy itself, but to all those around it.
The Unified Executor Council decided that armed Executors would accompany all other research and exploration vessels to prevent any desertions to such a dangerous civilization.
Aastruk eshThsashal converted all of his possessions and wealth to simple gold bars and vanished.
------------------
I, AASTRUK eshTHSASHAL, agree to abide by the above terms and services as set out by Galactic Studios Incorporated and Electronic Artistic Studios, as well as the Meratarrian code of conduct.
------------------
TO: CONFEDERATE INTELLIGENCE
FROM: QUEEN RADOSALVOV THE GRACEFUL, OVERSEER OF MERATARRIAN (All Rights Reserved)
Had visitors not long ago, like I told. However, it appears that one of their number liked their trial time so much they've returned to my divine embrace (LIFETIME MEMBERSHIP PURCHASED). Attached is crude documents and illusions of their statements about the mundane and boring life they left behind, the poor dear. I'm sending these to you out of consideration.
He is a lovely subject (ITEM SHOP PURCHASE: PLATINUM STARTER PACK), who has been yearning all his life for the adventure (DLC PURCHASED) only I, in my infinite wisdom and beauty, can provide to him (ITEM SHOP PURCHASE: USER GENERATED FRIENDS AND FAMILY PLATINUM PACK). I have hereby granted him asylum from such a dull and dreary place, and made him a citizen (DLC MEGAPACK PURCHASED) of Meratarrian (EXPANSION PURCHASED) with permission to found his own house (DLC PURCHASED) as well as quest for his true love (DLC PURCHASED) as well as create offspring (EXPANSION PURCHASED). I have high hopes for my new subject (ITEM SHOP PURCHASE: KOBOLD HERO PACK) and know that he will go far (ITEM SHOP PURCHASE: DRAGON BLOODED) in my realm.
Enjoy your files.
Love and kisses.
Her Eternal Elven Grace, Divine Light of the Aether, Lady of Magic and Power, Queen Radosalvov.
--------NOTHING FOLLOWS-----------
CONFEDERATE INTELLIGENCE MEMO
CC: Artificial Biological States; Digital Artificial Intelligence Infonet Worlds; TERRASOL.GOV; Cyborg Cooperative; Clone Directorate; Mantid Free Worlds; Traena'ad Hive Worlds
Xenosapient government identified. Native species identified. (See attachments)
Military potential is initially classified as low, to be revisited upon any new information which will be shared to all Confederacy governments as per treaties.
Chance for incursion into Confederate Space is high.
Place all rimward stations, colonies, planetary governments, and military forces on stage two alert. Do not fire unless unable to withdraw or casualties are incurred. Abide by Rules of Engagement for inferior forces unaware of Confederate military and industrial power.
-------NOTHING FOLLOWS-----------
TRAENA'AD HIVE INTELLIGENCE
RE: Your Last
Let's hope we do better with them than when the two of us first met.
--------NOTHING FOLLOWS--------
submitted by Ralts_Bloodthorne to HFY [link] [comments]

[PI] The last surviving logs of the crew of the I.S.S. Conan, a space cruiser that was sent to investigate a particular celestial anomaly near the Conflictus Solar System.

Had great fun writing this. I'm still flexing my muscles on writing as well as on English grammar (I'm non native English). Would love to see what you think of it.
Original prompt: https://www.reddit.com/WritingPrompts/comments/hp76pb/wp_the_last_surviving_logs_of_the_crew_of_the_iss/
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8 days 4 hrs to event
“You’re sure this is genuine?”
Abel looked Myogi straight into her light brown eyes, searching for any trace of doubt she had concerning the message. His voice being the only notable sound apart from the soft hum of the ship’s life support system. They were on the bridge of the I.S.S. Conan. A place designed for function not aesthetic, able to hold six of the small cruiser’s crew of eight. Currently, only four people were present.
She returned his stare unwavering.
The front of the oval shaped bridge held the navigation consoles and the main screen for displaying whatever it was that was important. This was Ahmed’s station, the I.S.S. Conan’s first helmsman, though at the moment Gerald, his junior, was operating it. Tactical was to the right manned by Karl the ship's chief engineer. Communication was to the left, until recently manned by the ship’s XO commander Myogi Shizu. Command was where Abel and Myogi were standing now, at the center of the bridge.
Only twenty-eight? Way too young!
Abel remembered his first impression when he and Myogi first met, just over two years ago. But she showed him his doubts were unfounded by taking command of the ship and its crew. Oh, he tested her, of course. But she passed all his challenges with flying colours. And with every success, Abel's respect for this young woman had grown.
“It’s genuine, sir!” Her strong voice showed not even a hint of uncertainty. “The quantum encryption seal has been verified and the origin of the message has been established as coming from sector HQ at Jewel-4.”
Abel read the flash message again.
To: Cmdr. H.P.F. Abel, I.S.S. Conan From: I.S.S. Sector HQ, Tantalus Sector, Jewel-4 Priority: High You are to set course immediately to the Conflictus System, Heagon Sector. Investigate anomaly at coordinates 298-8876-98. Report on 8 hour intervals upon arrival. Yours sincerely, Commodore Aginov Tantalus Sector Admiral 
She wouldn’t screw up such a simple thing as this. After all their time together, Abel was certain commander Myogi Sizu was among the best of XO’s he ever served with. He feared the moment she would leave his ship to take on her own command.
"Besides,” she added, “who could possibly be interested in creating a fake ISS message? I mean, it’s not that there are any aliens out there trying to trick us."
Abel smiled. Two centuries of interstellar space flight, but mankind had yet to come across other intelligent life. Let alone lifeforms that deliberately tried to divert a small cruiser to an unknown location.
Abel activated the navigation computer and entered their new destination. A holographic representation of the Heagon sector appeared. It was a small sector, with few stars and zero colonies or outposts. Barely interesting. He added the I.S.S. Conan’s current location and suddenly whistled with surprise.
“That will take us a week to get there.”
“Should I plot the course, sir?” Myogi asked.
Abel nodded.
“Yes. And inform the crew about our new orders. I’m going to request confirmation on this.”
***
1 day 9 hrs to event
Confirmation came within twenty-four hours. Now, with less than eight hours travel time left to their destination, Abel noticed how much the tension on board his ship had increased. Of course, any new mission brings a given amount of stress. But patrolling between colonies and occasionally inspecting civilian transports for contraband was hardly a dangerous task. This time it felt different.
“You should eat, sir,” Myogi said.
Abel looked at his still untouched plate containing his evening dinner. A small piece of fried chicken, some flavored potatoes and carrots.
“I’m not hungry.”
They were dining alone. The rest of the crew was either being on station or resting. Myogi had already finished her meal and had used most of their time together to bring him up to date with the crew status. Most of her time was spent on regular issues, like Dylan who was angry at Karl for having been scowled at during the latest drill or Gerald complaining that Sorland, as acting chief security, inspected his cabin without him knowing. Of more pressing concern were the details of the sour relation between Karl and Ahmed. Each of their disputes seemed to be about something rather trivial. As a result Myogi now concluded that the ship's medical officer, young Irene Caldwell, was at the heart of their enmity.
“Only two weeks fresh on board and she is already driving our most senior crewmen crazy. I really should talk to her about this.” She concluded.
Abel wasn’t listening. And halfway through her report Myogi must have realised she was having a monologue.
“You’re not listening, are you sir?”
He nodded.
“The ship is in excellent condition, sir. Nothing can go wrong. We'll go in, scan whatever it is we find there, and get out. In a week's time we'll be drinking cocktails on the beach of Lake Pelmac in the Feynman colony, enjoying our shore leave.”
She tried hard to let her voice sound relaxed, like there was nothing wrong. But with two years of close collaboration Abel immediately noticed the tiny aberrations in her usually clear voice.
So you feel it too?
Again he started reflecting how much, as a senior officer, Myogi had grown over the last two years. She would be leaving soon, he now was sure of it.
“My grandfather was captain of the Xerxes during the pacification of the Tantalus sector, when they were fighting the pirates,” Abel started. “That was a real war! He once told me that when you are in command for a long enough period, you start to develop a sort of sixth sense for when danger lurks. I always thought he said it to boast his stories a bit.”
Abel looked his XO directly in her eyes.
“Now I’m not so sure anymore. Ever since I got that damn confirmation back from HQ I feel terrified.”
“Trust your team, captain.” Myogi’s slender fingers touched his hand briefly, reassuring him. Then she gathered her plate and cutlery and got up. Just before leaving she added:
“Now finish your plate, sir!”
“Yes, ma'am,” Abel laughed.
***
26 hrs to event
They should have added more room to the bridge.
The thought popped up as he watched his entire crew of seven in the confined space. They were fully operational now, with Ahmed and Gerard at the helm as well as Karl and Dylan at the tactical stations. Sorland was making himself useful by manning communications. That left Myogi and Irene who were just standing idle to his right side. Abel could understand everyone wanted to see firsthand why they were sent to this remote location in space, though he suspected that Irene’s motivation was less about curiosity and more about ascertaining her own safety.
Give her a break, she just left the academy.
"Visual on screen," Ahmed announced. His loud voice broke the silence on board the I.S.S. Conan’s bridge. The main screen went black, then it suddenly showed the outside environment.
Abel watched the image on the screen, a deep black space. But the countless stars usually visible were missing. Instead the black of the image was broken by wide lanes of partially translucent brown. Dust! At the center a large yellow star was visible, shedding a bright corona, and to the right a smaller yet surprisingly bright purple companion could be seen. For a moment it appeared the astro charts had missed classifying Conflictus as a binary star system, then Abel realised the purple companion was the anomaly.
An unsettling knot formed in his stomach.
Ahmed adjusted the I.S.S. Conan’s heading. The purple companion now centered on the screen. As the ship covered more of the remaining distance, it slowly enlarged into a pulsating blob of gas roughly measuring a thousand kilometers in diameter. A fascinating view, Abel found. And one like he never had seen before.
“Wow. That looks weird,” Myogi said, her voice filled with wonder.
Abel nodded in agreement. As they approached the image of the anomaly was filled with more details. The gas cloud was packed with dancing streaks of purple running like lightning criss cross. The sight was beautiful yet disturbing.
Abel felt the knot in his stomach grow a little tighter.
“Sorland, report to HQ that we have arrived as planned at our destination. And—”
At that moment the ship’s main computer activated the alarm, preventing Abel from finishing his second order. The direct image of the anomaly on the main screen was replaced with a simplified tactical view. Moments later Dylan’s voice boomed in the confined space of the bridge.
“Contact..contact..contact..!! Bearing zero-three-nine. Range two-point-eight.”
Practiced drills kicked in. Abel and Myogi immediately sat down in their seats and buckled up. Karl activated the ship's weapon systems, linking it with whatever it was Dylan's sensors had located, while Gerald powered up the ship's emergency thrusters. Irene remained standing. Frozen. Her face pale white displaying fear.
Abel fired his commands.
“Full stop! Karl, identification on the contact!”
The reply came almost immediately.
“Contact is orbiting the anomaly at three thousand klicks, sir. No identification, but it’s big.”
So that’s why the computer went berserk!
“Sorland, send that message!” Abel commanded. “Include we have an unidentified contact!” Then he noticed Irene. “And please escort Irene to her cabin.”
Sorland acknowledged. Abel never heard it. His attention had already returned to the main screen.
“Any sign on the EM-band?” he asked.
“Negative, sir!” Karl answered. “Whatever it is, it’s quiet as a rock.”
Why are we here?
Abel started to question his orders as he contemplated the situation. What had Aginov exactly meant by ‘investigate anomaly’? Was HQ aware of the unknown object around of... something else unknown? And what exactly was it he was now meant to investigate?
Again, Abel felt the unsettling knot in his stomach. He looked to the right, at Myogi. Unlike him, the young woman seemed to be at ease, her attention focused on the main screen, radiating self-confidence.
Perhaps I should let her take command!
Feeling his stare, she turned to look at him.
“You’re okay, sir?” she asked.
“Yeah” he lied.
Abel added to it a silent curse. What was wrong with him? He was her captain, not some pitiful old man. He should be the one being self-confident. So why the hell was he still questioning this mission? Abel gestured his XO to come near. As she leaned over to him, he made sure he kept his voice down.
“Commander, I want your assessment on the continuation of this mission.”
Myogi gave him a puzzled look.
“You want to abort the mission, sir?” Like Abel, Myogi too kept her voice down, realising her captain wanted a private confer.
He gave her a short nod in reply.
“I don’t like it. We came to investigate a stellar anomaly. Now we have an unknown contact, possibly hostile.”
“We don’t know if it is hostile, sir.” she said. “Up until now we only know the computer identified something out there and labeled it artificial.”
Abel contemplated her words. She was right of course. The computer had found something out there that simply didn’t match it’s programmed parameters, so it sounded the alarm. Had it been wartime, or had their mission been of a more aggressive posture, any unidentified contact would likely pose a threat. But this mission was neither.
“I still don’t like it,” he said. “You think the computer is wrong?”
“No, sir. We just don’t know what it is. And that’s exactly why we need to investigate it. If we leave, it will take more than a week for another ship to reach this location. By then it might be gone and we will never know.”
A simple and solid rational analysis. Something he had come to expect from her, Abel thought. She was going to be a great captain.
“Sir...,” Myogi hesitated, “you should also take into consideration that admiral Aginov is just waiting for another event to question your ability to command. He did not seem to be happy how you'd dealt with the issue concerning the freighter Leonov.”
The Leonov...
Abel had almost forgotten the incident. He was sure Aginov would cherish the fact if he ignored his orders. And he wouldn't hesitate to court marshal him over it.
“Captain, what are our orders?” Karl’s loud voice interrupted Abel and Myogi’s deliberation. He needed to make a decision. Fast. Abel looked his XO in the eyes. Perhaps it was her time.
“So you want to investigate it, Myogi?” Abel whispered, thinking aloud. He still had his doubts but Myogi was right: ending this mission right here right now would effectively end his career as a flag officer. Besides, toying the idea of putting Myogi in command, if she pulled this off it would flag her as exceptionally talented. He then had a bonus for her file, before forwarding his already written request for promoting her to captain. A soft smile lined his face.
“Very well, commander. You convinced me, for now.”
Abel addressed his crew, still waiting for his orders. “We are going to continue our present course.” Then, following his idea, he added. “Commander Shizu has the conn.”
Whether or not Myogi was surprised by him handing over command of the ship to her, she didn’t show it. With a trained efficiency she directed the crew of the I.S.S. Conan towards the unknown object, ascertaining the ship had always a direct escape route out of danger. Abel watched her with a sense of pride.
***
Abel’s heart missed a beat.
It had taken the I.S.S. Conan ten minutes to cover the distance between the ship and the unknown contact, enabling visual inspection. Abel was standing at the far end of the bridge, accompanied by Sorland. The latter one, having escorted Irene to her cabin, had joined him in witnessing Myogi’s command of the ship. It had made Abel smile. He long since suspected his chief security having an interest in the ship’s XO surpassing only professional.
Now everyone on the bridge froze.
“Fuck!” Karl muttered.
Even Myogi lost her cool. “Oh my god”
Abel remained silent and stared at the main screen. Stunned. On it, something was visible that couldn’t be. The undeniable proof of alien intelligent life, for all on the bridge to see!
He studied the image shown on the screen. A construction, trapezoid in shape, containing three large spheres connected with tubes. A pair of very large solar foils were stretched out on either side. Both shape and style were unlike any spaceship or space station Abel ever had come across.
“Captain?” Myogi looked at him, her eyes searching for any hint he wanted to retake command of the ship. Abel just stared back. She understood, firing a new set of commands that returned activity to the bridge.
“Ahmed, take us in, one hundred klicks. Karl, keep offensive weapons locked on that thing. And keep scanning the EM-band. If they even switch on a single dashboard light I want to know."
You’re doing great, Myogi.
***
To: Cmdr. H.P.F. Abel, I.S.S. Conan From: I.S.S. Sector HQ, Tantalus Sector, Jewel-4 Priority: High +++ this mission is now classified top secret +++ Your preliminary report on the object has been examined. I agree on your initial assessment the object discovered is no longer operational. As to its origin, it is still a mystery. Permission is hereby granted to extent the investigation on the object. The I.S.S. Dealus and I.S.S Galileo have been dispatched to your location and will join you in five days. Yours sincerely, Commodore Aginov Tantalus Sector Admiral 
***
20 hrs to event
They had assembled in the ship’s mess. Like the bridge this room too hadn’t been designed for a full gathering of the crew. With only two tables there was just enough room for half of them to sit down. Abel preferred standing.
It had only been six hours since they had made their discovery. They had spent the time scanning the object for any electrical activity, finding none. Also, a more detailed visual survey had revealed extensive damage on the forward two spheres, whereas the solar foils showed a severe lack of maintenance.
It was dead.
Both Karl and Dylan had agreed on this and, being the ship’s engineers, they were the closest thing Abel had to an expert on ship design. Following their conclusion, Abel and Myogi both agreed the unknown object posed no threat to the I.S.S. Conan and its crew.
Then why am I still worried?
Abel still felt like he was missing something, that something was eluding him. Apart from its origin, if the unknown object was dead, the most important question was: what happened to its crew? And would the answer to that question lead to a reassessment of the object’s threat status? Again he felt uncomfortable.
“Captain? Our new orders?”
Myogi interrupted Abel’s pondering, bringing him back to his current task: informing the crew. He let his eyes wander over the men and women serving on board the I.S.S. Conan. Their faces were displaying a mixture of excitement, worry and, in case of Irene, anxiety. Abel noticed Irene had taken her seat next to Karl, who had put his arm protectively over her shoulder. He also noticed the malicious look Ahmed was giving both of them.
Trouble is brewing..
Whatever it was that was going on between them, it had to stop. Abel made a mental note to schedule a private chat with both of his senior crew members, then started addressing his crew.
“I don’t think I have to explain how much of historical significance our mission has become.” Abel's voice immediately commanded the attention of everyone in the room. “Already the discovery of this unknown object is changing how we view our galaxy.”
And with a grin. “And I’m really glad that the object found is dead as a rock.”
He received a single approving nod from Myogi and a small chuckle from Karl, who recognized his own words being used. The rest of his team remained silent, yet Abel’s small joke did ease the tension.
“An hour ago we received new orders. The I.S.S. Daelus and I.S.S. Galileo are currently enroute to our location. They’ll join us in approximately five days. We are to wait here until they arrive.”
The news caused a visible ripple of relief among his small audience. Abel took a pause. They needed this, he realised.
“In the meantime we have been given permission to extend our survey.”
“What do you suggest, sir?” Karl asked. “We don’t have any survey droids on board.”
Abel nodded. “I know that, Karl. Commander Shizu and I already discussed this. She suggested we should try to board the object.”
***
14 hrs to event
“Approaching… distance… one hundred meters… eighty...”
Abel listened to Myogi’s voice coming in over the speaker. In front of him, on the bridge’s main screen, three tiny figures in space suits were visible, manoeuvring towards the rear sphere of the unknown object. She was one of them, though Abel no longer could be sure which of the figures was her.
Why is it different?
The question suddenly popped up as Abel’s mind involuntarily registered the anomaly, partially visible in the background. The purple streaks no longer seemed to dance randomly through the gas cloud. Instead it appeared as if they were coming from a focal point, it’s exact location blocked from view by the unknown object, as if it had reacted to their presence. Abel felt a sudden chill. Then, shaking his head, he immediately dismissed his absurd thoughts.
You’re seeing ghosts, old man.
Myogi’s voice interrupted his thinking. “There’s damage also visible on this sphere.”
That was new. Already they had ascertained the unknown object had sustained damage on the forward two spheres but due to the position of the I.S.S. Conan and the unknown object, they hadn’t been able to perform a more thorough visual inspection of the most remote sphere.
“Bloody hell...” Karl suddenly interrupted. “Commander, looks like the damage here came from an explosion on the inside.”
Abel signalled Dylan. “Can you switch to Karl’s suit camera?” The assistant engineer nodded and a single moment later the main screen switched to the chief engineer’s camera. A close up view of the hull of the rear sphere became visible. Abel inspected the footage and immediately agreed on Karl’s assessment. A gaping rupture was visible, the inner support structure bending outward. Whatever the cause, it had come from the inside.
Myogi’s voice continued “...there’s some kind of entrance here. It’s spherical, roughly three meters wide. We move in to inspect it.”
“Captain?”
A sudden soft voice behind Abel disturbed his observation on the boarding operation. Annoyed Abel turned, Irene was standing there. Her eyes confused, the trembling of her body betraying great suffering. Then Abel noticed the blood.
“Irene…” he carefully asked “what happened?”
She looked in his eyes. “I’m… so… sorry… captain,” she said. Her voice filled with grief. Then tears started to roll down her cheeks as she collapsed on the floor. Sobbing.
Abel turned, finding Gerald and Dylan looking at Irene, horror stricken. “Where’s Ahmed?” he asked. Both men stayed silent. The shock on their face acknowledging what he already suspected.
Abel turned back to Irene. Seeing her huddled on the floor, hands over her face, crying, he realised the young woman was in no condition to give him any more information. He quickly ordered Gerald to take care of her, then was off into the corridor. A rising urgency manifesting as he searched the crew cabins for his first helmsman. They were all empty. Abel pressed on to the mess, then to sickbay. He found Ahmed lying on the floor, motionless. A light red pool already visible around a large wound across his throat.
Too late!
Abel swore aloud as he looked at the body of his senior officer. Already blaming himself for not having held that chat he had promised himself hours ago. He surveyed the I.S.S. Conan’s sickbay. There were signs of a struggle. The examination table was thrown to a side and a medical pad was lying on the floor, broken. To the left of Ahmed’s corpse a blood covered scalpel was visible. No doubt the weapon used. As he bent over to pick it up, Dylan’s panicking voice screamed over the intercom.
“CAPTAIN TO THE BRIDGE”
It took Abel only twenty seconds to return. As he rushed in on the bridge, he heard Myomi’s alarming voice over the speaker.
“Faster… we’re losing him…” His blood ran cold.
Gerald elucidated. “Suit malfunction. They’re trying to reach the airlock before he runs out of air.” Then with a grave voice he added “I don’t think they’re going to make it.”
“Who?” Abel asked.
“Karl!”
The moment he mentioned Karl, Irene issued a long wailing cry that filled the entire bridge, shattering the last remaining doubts Abel had that both incidents were unrelated.
“NOOO…”
***
12 hrs to event
They made it in time. Barely. But Karl had suffered from massive asphyxiation, rendering him in a deep coma. And with sickbay now being a crime scene Abel had no other option than to move his chief engineer to his cabin. That was where they now had assembled, Sorland now administering whatever first aid he could think of.
“So, she killed him?” Myogi asked.
“Yes.” Abel nodded.
“That bitch.” Myogi fumed, then she was off. Abel watched her go. Moments later Sorland followed her. Abel was about to stop him, then decided against it. With Myogi being so agitated, Sorland was probably the only one capable of restraining her. He looked back at Karl, still lying motionless on his bed. His breathing being heavy but regular. Abel felt tired. There was just too much that had happened. And it didn’t make any sense. Aginov would grill him on this mess. His career was now finished.
***
10 hrs to event
“No, we are not going to try to board it again!”
Abel ignored Myogi standing in front of him. His eyes were looking straight past her, absorbing the image on the main screen. There were more purple streaks visible now in the anomaly, casting a purple haze over the unknown object in front of it.
Loneliness…
Abel suddenly wondered why he was thinking about him feeling alone when Myogi was standing in front of him, yelling at him. He felt agitated.
“The answers we need are found over there!” Myogi’s voice was loud and angry, her right hand pointing to the main screen.
“We wait until the arrival of the I.S.S. Daelus and I.S.S. Galileo.”
Abel now clearly voiced his irritation. He and Myogi had been working together for two years now and they didn’t always agree. Yet he couldn’t remember her ever being so angry. Nor could he remember her being this disrespectful. She paused, still fuming, her lips twitching.
“Admiral Aginov is right.”
Her words struck home. Abel gave his XO an angry look.
“What? What did you say?”
“You’re weak,” she spat, her voice ringing with contempt. “Always trying to hide for danger. If it wasn’t for me you would have headed for the hills.”
Abel no longer hid his anger. “Watch it commander. You’re not captain yet and if you continue like this you will never become one.”
A sudden high pitched scornful laugh from her filled the bridge.
“Captain? You’re not a captain,” she mocked. “You’re a caretaker. Just like my parents. Always finding excuses to hide, to not take risks, to stay a nobody forever.”
“Well, I’m not going to be a nobody.” Myogi walked past him and left the bridge.
“Myogi?” Suddenly his anger was gone. Abel realised his XO was about to do something that, without doubt, would have severe consequences for her. Then he looked at Sorland who, like everyone else on the bridge, had followed their open disagreement with horror.
“Get her back here, Sorland!” Abel commanded. “ Before she does something stupid.”
As Sorland left the bridge, he returned staring at the main screen. The purple haze had grown stronger. It gave him an eerie feeling.
***
Myogi never returned to the bridge. And neither did Sorland. About fifteen minutes after they both left the bridge Dylan reported. “The inner entrance to the airlock has been opened, captain.”
“Fuck!”
Abel sped away, reaching the entrance to the airlock in less than twenty seconds. Myogi and Sorland had already donned their EVA-suit and had already closed the inner airlock door. Abel punched the intercom and yelled.
“Commander! Stop!” His fists pounding on the small window in the steel enforced door.
Myogi just smiled at him as she put on her helmet.
“Sorland! Stop her!” Abel roared.
As he heard his name, the chief security looked at him. His face saddened.
“I’m sorry Hieronymus," he apologised. "I cannot let her go alone.”
Then he too put on his helmet. After they made their final security checks, Sorland depressurised the chamber. One minute later the outside door of the airlock opened and the full force of the anomaly now entered Abel's view taking him by surprise.
Pain…
Watching through the window he saw Myogi turn towards him, smiling, waving, as they both drifted outside in the direction of the unknown object. He watched them go until they were no longer visible. Then he turned away, sank to the floor and started crying.
***
Anger...
He didn't know how long it had been. But while he sat there, his back against the cold steel door protecting him from the relentless vacuum outside, his grief slowly turned into anger. A deep primeval type of anger.
Hate...
"Stupid insolent bitch!"
Abel slowly made his way back to the bridge. As he passed Irene's cabin he noticed the door no longer was locked. Her laughter emanating from the inside, as well as other sounds that left little imagination as to what was going on. Whoever was with her had ignored his order to keep her locked up until she could be trialed.
Revenge…
For a moment Abel considered to intervene, then he continued his way. He would soon trial them all. As he entered the bridge, Gerald rose from his seat, unsure what to do.
"Dylan went to see..." he started.
Abel held up his hand. "Irene! I know." Then he eyes locked with the main screen. The unknown object in full view, the anomaly, the fury it now displayed. Yes! It was reacting to their presence. Abel closed his eyes. He could almost hear it calling...
Kill…
***
3 days 11 hours after event
"We're entering the system now, admiral."
Aginov watched the main screen of the I.S.S. Daelus come alive, uncovering the dust streaked space surrounding Conflictus. At its center a yellow star radiated brightly.
"Any word from commander Abel?" he asked.
"Negative," the young lieutenant, manning the communications station, replied.
“Keep trying” he commanded, his eyes still focused on the main screen in front of him.
"Picking up a single contact." Tactical reported.
"Identifying… it's the I.S.S. Conan, sir."
Aginov exhaled, relieved. "Any other contacts?" he asked. The reply came instantly.
"Negative, sir." Followed by "Nothing on the EM-band, sir. She's dead!"
Aginov's blood ran cold.
***
submitted by darquin to WritingPrompts [link] [comments]

Comprehensive Guide for getting into Home Recording

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

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

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

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

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

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

DAW - Digital Audio Workstation

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

Playback - Monitors are not just for looking at!

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

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


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

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

MAME 0.216

MAME 0.216

With the end of November in sight, it’s time to check out MAME 0.216! We’ve addressed the reported issues with last month’s bgfx update, and made a whole lot of little improvements to MAME’s internal user interface. In particular, setting up controls should be easier, and several issues affecting macOS users with non-English number format settings have been fixed. Some of the issues caused bad settings to be written to INI files. If you still don’t see the filter list panel on the system selection menu, try removing the ui.ini file.
This month, we’re able to present two unreleased 1970s prototypes from Italian developer Model Racing: their internal code names are Cane and Orbite. With the assistance of former Model Racing employees, the source code was extracted from the original disks. These games are incomplete, but they provide a unique look into early CPU-based arcade development. Game & Watch titles continue to be emulated, with the addition of Mario The Juggler, and the panorama screen Mickey Mouse and Donkey Kong Circus games in this release.
This release brings GameKing emulation to MAME. The system-on-a-chip used in this low-cost, low-resolution hand-held console from the early 2000s has been identified and emulated. Games for the colour-screen GameKing III are also playable. Acorn BBC Micro emulation has been re-worked to support internal expansion boards, and a number of additional peripherals are now available. ZX Spectrum emulation has been enhanced with better open bus read behaviour and support for two Miles Gordon Technology peripherals.
Of course, these are just the highlights. You can get the source and Windows binary packages from the download page.

MAMETesters Bugs Fixed

New working machines

New working clones

Machines promoted to working

New machines marked as NOT_WORKING

New clones marked as NOT_WORKING

New working software list additions

Software list items promoted to working

New NOT_WORKING software list additions

Source Changes

submitted by cuavas to emulation [link] [comments]

MAME 0.213

MAME 0.213

It's really about time we released MAME 0.213, with more of everything we know you all love. First of all, we’re proud to present support for the first Hegener + Glaser product: the “brikett” chess computers, Mephisto, Mephisto II and Mephisto III. As you can probably guess, there’s an addition from Nintendo’s Game & Watch line. This month it’s Mario’s Bombs Away. On a related note, we’ve also added Elektronika’s Kosmicheskiy Most, exported as Space Bridge, which is an unlicensed total conversion of the Game & Watch title Fire. If you haven’t played any of the handheld LCD games in MAME, you’re missing something special – they look superb with external scanned and traced artwork.
On the arcade side, we’ve added The Destroyer From Jail (a rare Philko game), and alternate regional versions of Block Out and Super Shanghai Dragon’s Eye. The CD for Simpsons Bowling has been re-dumped, resolving some long-standing issues. With its protection microcontroller dumped and emulated, Birdie Try is now fully playable. Protection microcontrollers for The Deep and Last Mission have also been dumped and emulated. Improvements to Seibu hardware emulation mean Banpresto’s SD Gundam Sangokushi Rainbow Tairiku Senki is now playable, and sprite priorities in Seibu Cup Soccer have been improved.
In computer emulation, two interesting DOS compatible machines based on the Intel 80186 CPU are now working: the Mindset Personal Computer, and the Dulmont Magnum. The Apple II software lists have been updated to include almost all known clean cracks and original flux dumps, and the Apple II gameport ComputerEyes frame grabber is now emulated. We’ve received a series of submissions that greatly improve emulation of the SWTPC S/09 and SS-30 bus cards. On the SGI front, the 4D/20 now has fully-working IRIX 4.0.5 via serial console, and a whole host of improvements have gone into the Indy “Newport” graphics board emulation. Finally, MAME now supports HDI, 2MG and raw hard disk image files.
As always, you can get the source and Windows binary packages from the download page.

MAMETesters Bugs Fixed

New working machines

New working clones

Machines promoted to working

Clones promoted to working

New machines marked as NOT_WORKING

New clones marked as NOT_WORKING

New working software list additions

New NOT_WORKING software list additions

Source Changes

submitted by cuavas to emulation [link] [comments]

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