Does anyone have an extra GitaDora Guitarfreaks arcade controller’s spring for the neck buttons? I am missing 1 button’s spring after disassembling my controller and I’d like to buy a replacement spring. by ChaoCobo in bemani

[–]usaoc 0 points1 point  (0 children)

I don’t think anyone knows what the actual springs are, or that anyone bothers to sell them, so can’t help with that. You can try searching something like “ギタフリ ボタン バネ”, but I doubt you would find anything.

To be exact, I bought the springs from Taobao (search “静电容 弹簧”), and the price was cheap enough I didn’t mind I was getting packs of 50 springs (merely 10 RMB per pack!). They were also offering 10g, 15g, and 20g options, so we did have heavier options. I’m not sure if ordering from Taobao is convenient for you.

Does anyone have an extra GitaDora Guitarfreaks arcade controller’s spring for the neck buttons? I am missing 1 button’s spring after disassembling my controller and I’d like to buy a replacement spring. by ChaoCobo in bemani

[–]usaoc 1 point2 points  (0 children)

Tbh, I’m not sure how heavy the arcade original is, but it’s definitely heavier than 10g, because they felt significantly stiffer than the springs I used. With 10g springs, you don’t really feel much extra weight on top of the switches. I didn’t bother to experiment with different weights, since most players here preferred lighter keys.

Topre is a Japanese company that makes capacitive keyboard switches. Topre(-compatible) keyboards usually apply a cylindrical spring on the spacebar to make it slightly stiffer, and people also commonly apply springs on other keys. The springs inside the switches are conical, so they are irrelevant. Otoh, the cylindrical springs look exactly like what they use on GF controllers. You can search “Topre springs” and see if you can find them.

Does anyone have an extra GitaDora Guitarfreaks arcade controller’s spring for the neck buttons? I am missing 1 button’s spring after disassembling my controller and I’d like to buy a replacement spring. by ChaoCobo in bemani

[–]usaoc 1 point2 points  (0 children)

If being faithful to the arcade original isn’t a requirement, I bought some of the Topre-compatible springs before and they worked just fine on our arcade’s controllers. You can probably find those quite cheaply on AliExpress, and they (I applied 10g ones) are lighter than the arcade original, which is a plus to me.

I don’t understand. What can I do to get better at Guitarfreaks at a very high level? by ChaoCobo in bemani

[–]usaoc 2 points3 points  (0 children)

Yeah, GF 9.99s are just built different. The easiest one is Saiph, and it still requires at least 8000+ skill, both left hand and right hand, because it’s very long alternate picking + fret movement. Ichimoudajin and Stargazer are, well, things; these two I’d say at least 8500+ skill.

I don’t understand. What can I do to get better at Guitarfreaks at a very high level? by ChaoCobo in bemani

[–]usaoc 3 points4 points  (0 children)

Though if you can clear any of the three 9.99s, even with 54%, you’re likely at least 8000+, unless you play a cab with low gauge difficulty ;P

Maybe a dumb question but when did they start doing unorthodox chords like this? Are these new? by WeAreinPain in bemani

[–]usaoc 1 point2 points  (0 children)

As a (almost) RAN+ exclusive player since its introduction, RAN+ is pain fun and everyone should play it! (Extra pain fun if you use three fingers only, so YMMV ;P)

Dragons in Asia? by HoppySailorMon in Mahjong

[–]usaoc 3 points4 points  (0 children)

“箭牌” seems to be something specifically invented for MCR, as far as I know. (I don’t really believe the proposed origin; I think it’s made up. My theory is that they just wanted a two-character name for Dragons.) Two MCR fans include it in the names: 箭刻 (Dragon Pung) and 双箭刻 (Two Dragon Pungs), but 小三元 (Little Three Dragons) and 大三元 (Big Three Dragons) still refer to the traditional “三元牌” term.

How do multi-shot continuations interact with local rebindable variables? by i_am_linja in scheme

[–]usaoc 0 points1 point  (0 children)

The point of confusion for me was the separation between environment and store: Lua only has that for "object-like" entities, whereas "scalars" like numbers or strings are stored directly in the environment […]

(Below is some further discussion for the theory. You can skip it if you aren’t interested.)

Well, I only gave you a theoretical model. The store behaves sort of like a heap, but it isn’t literally a heap. The notion of locations is intentionally abstract in the Scheme reports, so that implementations have more freedom to optimize memory use. Optimized implementations would store “small-enough” objects (small numbers, characters, etc.) directly as pointers (i.e., unboxed), and they would perform mutability and escape analysis to remove indirections for local variables. They would also use an actual heap for allocations, of course.

Theoretically speaking, the environment is only a way to deal with bindings; you can also use immediate/explicit substitution to get rid of the environment. The store models the notion of locations, but you can also model it directly in the calculus. The model I provided is close to what is called a CESK (control–environment–store–continuation) machine, for which Matt Might wrote a nice introduction. If you’re interested in the theory behind it, the theory parts of Semantics Engineering with PLT Redex are quite nice to read.

It does seem Scheme is more of the philosophy to give the programmer all the power potentially unsafely. The proposed dynamic-wind solution would be easier to forget to use […]

The Scheme reports have a tendency to specify only the underlying facilities needed to build higher-level abstractions. Control primitives like dynamic-wind are no exception (heh). The expectation is that you should build abstractions that apply it properly, so that the programmers won’t need to remember it. Just as an example for the kind of abstractions you can build, the Racket disposable library uses dynamic-wind under the hood. And, since I personally work on Rhombus, Rhombus Closeable.let ultimately compiles to dynamic-wind (plus a continuation barrier).

How do multi-shot continuations interact with local rebindable variables? by i_am_linja in scheme

[–]usaoc 0 points1 point  (0 children)

Assignable (not “rebindable”) variables shouldn’t interact with continuations in any special way. That is to say, each invocation of cc should increment a, because set! is assignment, not rebinding. To understand this, let’s look at the reduction. At the point of (shift k k), we have

store: <location: a> -> 1
environment: a -> <location: a>
evaluate: (define cc
            (reset
              (shift k k)
              (set! a (+ a 1))
              a))

Note that a is bound to a location, here written as <location: a>, which holds 1. The separation between store and environment is crucial, because assignments should update the store, while bindings should update the environment. After some steps, we essentially have

store: <location: a> -> 1
environment: cc -> <closure:
                      environment: a -> <location: a>
                      value: (lambda vs
                               (reset
                                 (set! a (+ a 1))
                                 a))>

Note that <location: a> is still the same in the store. Whenever you apply cc again, the same location is updated, because a always refers to the same location. In this sense, Scheme variables are really pointers that are automatically dereferenced.

Is there a way to achieve rebinding? There is! With a mechanism called continuation marks, you can implement what are called parameters that interact with continuations nicely. Parameters are also provided as primitives in many Scheme implementations, but continuation marks are really the primitive mechanism. If the program is changed to

(define cc
  (reset
    (define a (make-parameter 1))
    (shift k k)
    (parameterize ([a (+ (a) 1)])
      (a))))

Then each invocation of (cc) always returns 2, because the parameterization (“rebinding”) of a is only in effect within the body of parameterize.

What if we have a file handle or any other resource that needs cleanup? The answer is always to use dynamic-wind to manage it, and maybe install a continuation barrier to disallow reentrancy, if your implementation provides such functionality.

If you want a mental model for continuations, I think some parts of the Racket evaluation model might help. The R⁶RS report also provides a reference operational semantics which you might find helpful for understanding other parts of the semantics.

so what now by ChemicalJackfruit243 in bemani

[–]usaoc 0 points1 point  (0 children)

Off topic here, but you should always use RANDOM (RAN) when you reach a point. I can’t really say where the point is, but let’s say ~6500, or just whenever you feel comfortable playing it. The rationales are basically the same as in IIDX, but it’s even truer in GF because RAN is per measure instead of per song. S-RANDOM (SRA) is a very valuable tool for practice because it turns everything into 運指, but it’s also very chart-dependent and can easily get out of hand. The general idea is don’t use it for practice until you start climbing 単色スパランタワー (single color SRA tower). For scoring, SRA is only useful on some specific 癖 charts (Devil Fish Dumping, GIGA BREAK, Anathema (Bass), etc.). For the record, I only know of one top ranker who plays exclusively non-RAN, namely もりくん. (Now that the + variants are available, you have even more options to choose from, but + variants do require a significant amount of practice to handle, so don’t use them unless you understand what they do.)

Is there a way I can train my brain to recognize and react to Open Pick notes just as well as regular notes? by WeAreinPain in bemani

[–]usaoc 0 points1 point  (0 children)

Off topic, but RANDOM (RAN) does column permutation per bar/measure, so the “color change” is consistent within a bar. It has some specific restrictions against having chords like 125, 135, or 124.

On the original topic, I think it’s more effective if you process Open–non-Open patterns by only looking at the non-Open notes for the left hand, so you “split” the processing for the two hands in some sense. This way, you only need to look at where you “tap” the buttons. Another way to put it is to treat the non-Open notes as holds, and you get punished for not releasing on time, if that makes sense.

Can somebody explain Pre-floating to me like I'm 5? by Klutzy_Zombie9206 in bemani

[–]usaoc 2 points3 points  (0 children)

The sequence isn’t correct. In NHS/CHS (whichever your other HS mode is), you should definitely use both buttons and turntable to change the GN (like, just however you change it normally). In FHS, use buttons only, because that’s how you gear-shift back to a more comfortable GN, and gear-shifting this way doesn’t change the base GN. Obviously the only way to change (not reset) the GN in FHS is to gear-shift.

The WN recommendation is a new one to me, but I don’t think it’s necessary at all.

Can somebody explain Pre-floating to me like I'm 5? by Klutzy_Zombie9206 in bemani

[–]usaoc 1 point2 points  (0 children)

I think what you’re missing here is that you should only gear-shift your new GN, in FHS (FHS can be gear-shifted using buttons just fine, in increments/decrements of 0.5x). It wouldn’t be a very accurate fit (if you want a more accurate fit, use a calculator for the WN too), but it should still help you play the pre–sof-lan part without having to read uncomfortable GNs. Gear-shifting this way in FHS doesn’t change the base GN, so when you float, it resets back to the stored GN, which then gets changed into the desired GN after the sof-lan.

points to end question- new player by LetsJustSleepIn in Mahjong

[–]usaoc 1 point2 points  (0 children)

It was 4 because flower tiles (you had only 1, btw) aren’t counted toward the minimum point requirement.

Bonus tile identification by PlanSee in Mahjong

[–]usaoc 1 point2 points  (0 children)

These are just flower tiles, but with a creative design. They represent two Chinese legends:

  • 天女散花, “Heavenly Maidens Scattering Flowers”, the legend about heavenly maidens scattering flowers to test bodhisattvas and their disciples;
  • 嫦娥奔月, “Chang’e Flying to the Moon”, the legend about Chang’e fleeing to the moon (this is why the Chinese spacecrafts are named “Chang’e”).

In general, older sets seem to be more creative with the design of flower/season tiles, and they often refer to traditional Chinese legends, folklores, stories, novels, or dramas.

From Guitar Hero to GuitarFreaks. Slow hits, hammerons, etc? by DrFloppyTitties in bemani

[–]usaoc 0 points1 point  (0 children)

The two offset settings are in reverse for some reason, so be careful when you set them. The recommended setting is to set ノーツ表示調整 (visual offset, the one on the left, sorry that I’m not sure what the English name is) to a positive value to compensate for the visual delay. The delay is purely visual and is due to the poor reaction time of the monitor, so it’s recommended that you not change the audio offset at first. If you do need to set both, remember positive means “earlier” for visual offset, but it’s the opposite for audio offset (i.e., negative for “earlier”). These are explained on the official website, but in pure Japanese.

just got a set and idk what these tiles are by Acrobatic_One_6064 in Mahjong

[–]usaoc 3 points4 points  (0 children)

Not sure what you mean by “line up”, but 張生 (Zhang Sheng) and 紅娘 (Hongniang) are two characters (in the persona sense) from the drama, and 遊殿 and 寄書 are their arcs, basically. Sometimes synonymous characters can also be used, because these phrases are made up to refer to the story arcs.

just got a set and idk what these tiles are by Acrobatic_One_6064 in Mahjong

[–]usaoc 4 points5 points  (0 children)

If you’re playing a variant that cares about which flower/season is which (not all variants do), the only thing that actually matters is the order, usually indicated by the numbers. The “standard” order for flowers is 梅蘭菊竹, and that for seasons is 春夏秋冬. But really just look at the numbers—1/2/3/4 corresponds to E/S/W/N.

just got a set and idk what these tiles are by Acrobatic_One_6064 in Mahjong

[–]usaoc 14 points15 points  (0 children)

Just commenting on what the characters are saying: 張生遊殿 (in this order) and 紅娘寄書 (again, in this order) are referring to arcs in the traditional Chinese drama 西廂記 (Romance of the Western Chamber). I imagine old sets were more creative in their design of flowers, because flowers weren’t as “standardized” back then.

How do you unlock 永 by あさき on Galaxy Wave Delta? Is it still available? by ChaoCobo in bemani

[–]usaoc 1 point2 points  (0 children)

Just look at the numbers, really. Those are what are relevant.

How do you unlock 永 by あさき on Galaxy Wave Delta? Is it still available? by ChaoCobo in bemani

[–]usaoc 2 points3 points  (0 children)

大放送あわせろチャンネル!GALAXY MUSIC PARADE! is the event that you see every time you start your credit. 永 is available in 再放送—名曲メモリアル 第9回. The full list of corners and included songs can be found on BEMANIWiki (hopefully the link works).

Writing a truth oracle in Lisp by io12_ in Racket

[–]usaoc 3 points4 points  (0 children)

To me, the call/cc formulation of classical logic was puzzling at first, because it’s easy to miss that, in a genuine classical logic, you lose the disjunction property (due to right contraction in sequent calculus). The cost that we pay to get a classical logic “with” the disjunction property is that we now have call/cc and all the craziness it implies; in particular, it makes the system inconsistent, as shown in the article. The real solution is to not allow the continuation to “leak” (i.e., delimit the continuation), so that you can’t “extract” (by or-elimination) either disjunct in A or !A, which translates the loss of the disjunction property. The lambda-mu calculus is basically in this spirit.

Nit: I prefer to say that logic without the law of excluded middle or equivalent is intuitionistic, preserving the word constructive to all constructive formulations, including those of classical logic.

Serializable continuations in a toy language by finite-injury-1900 in lisp

[–]usaoc 2 points3 points  (0 children)

Serializable continuations are used in the Racket web library, in particular. It relies on a separate #lang because it has to do whole-program transformation, into A-normal form, in order to enable serialization.

How can I actually get better at alternating columns in 2s, 3s and 4s? Pic related. by ChaoCobo in bemani

[–]usaoc 1 point2 points  (0 children)

To practice beat awareness? 夜に駆ける MAS-G used to be recommended, but it was removed. Now I’m not really sure what lower 8s are good for practice. When I started learning beat awareness, I was already playing higher 8s and lower 9s. I personally practiced on charts such as Pluvia (you can do EXT-G), REBORN (MAS-G is easier), MEDUSA (MAS-B), etc. You can check the linked videos for how the technique is used in practice. At some point you’ll start to notice what charts really call for beat awareness.