explanations of the code contained in background.js

The big kitchen, here I add such ingredient, there another ingredient to get a final result. It is not the cooking time that counts, it is not the different temperature variations during the cooking that counts, it is not the way and the cutting dimensions of the ingredients which counts, it is the knowledge How of the cooker that knows how to combine all these different dimensions to draw a delicious balance with nutritional properties far from those imitations of dish that are found in large distribution. Music is like our body, music is what we put in it. The music is like cooking, Art, Faith, and science, to learn to observe what happens in the kitchen (a true step a kitchen of the other sleeve, we must observe the richness of the Techniques, equilibria of the elements to the contrary or repel themselves like vinaigrette), then observe the physical laws by identifying and adjusting the different dimensions.

For a composer creating his own extension firefox, if he only had to touch a file, it would be this one that it would retouch. As required, the dimensions used, its shape can be easily optimized. It is even possible to add particular dimensions or to remove them because unnecessary to the desired acoustic shape.

I created the form of this file using the dimensions in order of importance according to my feeling. I have been greatly influenced by the Celtic descriptions, and even though it may seem surprising by the multidirectional techniques left by prehistoric men in the Ariege caves. In other words, I encourage everyone to change the structure according to their beliefs or desires, because the current result can only be directed towards a result that wounds me.

To create this file, I first identified the laws of the mix to be able to combine several basic sounds. There is the accompanying mix with its limits and the mix of surfing that imposes a work to the white that I have named unicorn. To create a unicorn, there must be a space without variation after the first sound to be stored in memory, then the second sound (the unicorn) begins with a low pressure variation (even if we increase Force through repetition).

We note that to describe this dimension, I had already to use two others, because we are in a linked whole.

Secondly, even before I created the audio format, I noticed that by cutting the human voice at a high amplitude we created a piano sound. So I tested in early 2010, the different variations starting from a high amplitude going towards low amplitudes and identified the sounds of piano, guitar, drum ... This is the reason for the construction of the current code that In first allows to play on the durations and the amplitudes of the fronts.

In the third, looking at the acoustic forms, we find that there is one which often returns, and sometimes even the different sounds are built only with this dimension. It is a form of plateau, it is like the balance of a system naturally stable beyond the balance of natural pressures.

In order to create fixed funds, which will react differently according to the variations of the fronts of attack, I added 4 fronts to the first two fronts.

In order to play opposite effects, and bearings, I added several forms of front mixes, but this part is more of the acoustic curiosity, looking for an art on the human voice or effects on the violin.

The hands in the entrails of the fat duck.

- with
var donne = [];
donne[74] = document.getElementById("don1n74").value;

I'm looking at if there is a javascript file containing the given variable, if it does not exist, the extension is not active. If this exists, I memorize how many acoustic elements will be generated. For by convention I fixed, the index 74 of data, indicates the number of acoustic bricks.

- With this loop, I will look for the 75 indices of the acoustic brick

for(var pui= 1; pui < 74; pui++)
donne[pui] = document.getElementById(basedeconstruc.concat(pasop,"n",pui )).value;

- Then in the code, I create variables and functions so that you can set limits so that variables do not come out of the possible cases. I did this :
switch (Number(donne[53]))

At the switch, I begin to analyze and direct which form will be created, and according to the values indicated in the acoustic bricks, I generate this or that acoustic form. In my code structure, we can say that gives index 53 is the first branch of sorts. What would be translated into the current language by: if index 53 gives equal to this value, does this, if it gives index 53 equals such value, does this, and as a function of the index value 53 we will go in such area Code processing or code processing area for generating an audio format of type abadie.joa

Introduction to audio format abadie.joa

As described above, we will generate in html5 a raw audio format of 2 bytes per information containing 44100 information per second to meet the technological standards of today's audio cards. If we use an application audacity type to visualize the forms of an audio recording, we will notice that the fronts are composed of accompaniment mix (carrier type), accompaniment mix (complementary type), several values of Jo according to the distance, ...
The current audio format is like standing on the shore of a lake and recording with 2 bytes the position of the water on the shore 44100 times per second after throwing a stone and then another stone. The abadie joa format aims to get as close as possible: to indicate how many stones were thrown and how they were thrown.
For this we take values which will produce the causes with equivalent effect, writing only the value of the crest of the forehead and the duration. Unlike the audio format that shows only large pressures, the audio format abadie.joa indicates that the cretes of the fronts with their durations. Background.js generates an audio file in abadie.joa format
Background.js generates a sequence of edges with equivalent effects as those imitated using the understanding of laws according to dimensions.
The sizing of the dimensions is done by means of switches which are controlled by the 75 values located in each acoustic brick.