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MAME 0.218

MAME 0.218

It’s time for MAME 0.218, the first MAME release of 2020! We’ve added a couple of very interesting alternate versions of systems this month. One is a location test version of NMK’s GunNail, with different stage order, wider player shot patterns, a larger player hitbox, and lots of other differences from the final release. The other is The Last Apostle Puppetshow, an incredibly rare export version of Home Data’s Reikai Doushi. Also significant is a newer version Valadon Automation’s Super Bagman. There’s been enough progress made on Konami’s medal games for a number of them to be considered working, including Buttobi Striker, Dam Dam Boy, Korokoro Pensuke, Shuriken Boy and Yu-Gi-Oh Monster Capsule. Don’t expect too much in terms of gameplay though — they’re essentially gambling games for children.
There are several major computer emulation advances in this release, in completely different areas. Possibly most exciting is the ability to install and run Windows NT on the MIPS Magnum R4000 “Jazz” workstation, with working networking. With the assistance of Ash Wolf, MAME now emulates the Psion Series 5mx PDA. Psion’s EPOC32 operating system is the direct ancestor of the Symbian operating system, that powered a generation of smartphones. IDE and SCSI hard disk support for Acorn 8-bit systems has been added, the latter being one of the components of the BBC Domesday Project system. In PC emulation, Windows 3.1 is now usable with S3 ViRGE accelerated 2D video drivers. F.Ulivi has contributed microcode-level emulation of the iSBC-202 floppy controller for the Intel Intellec MDS-II system, adding 8" floppy disk support.
Of course there are plenty of other improvements and additions, including re-dumps of all the incorrectly dumped GameKing cartridges, disassemblers for PACE, WE32100 and “RipFire” 88000, better Geneve 9640 emulation, and plenty of working software list additions. You can get the source and 64-bit Windows binary packages from the download page (note that 32-bit Windows binaries and “zip-in-zip” source code are no longer supplied).

MAME Testers 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

Software list items promoted to working

New NOT_WORKING software list additions

Source Changes

submitted by cuavas to emulation [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 0.218

MAME 0.218

It’s time for MAME 0.218, the first MAME release of 2020! We’ve added a couple of very interesting alternate versions of systems this month. One is a location test version of NMK’s GunNail, with different stage order, wider player shot patterns, a larger player hitbox, and lots of other differences from the final release. The other is The Last Apostle Puppetshow, an incredibly rare export version of Home Data’s Reikai Doushi. Also significant is a newer version Valadon Automation’s Super Bagman. There’s been enough progress made on Konami’s medal games for a number of them to be considered working, including Buttobi Striker, Dam Dam Boy, Korokoro Pensuke, Shuriken Boy and Yu-Gi-Oh Monster Capsule. Don’t expect too much in terms of gameplay though — they’re essentially gambling games for children.
There are several major computer emulation advances in this release, in completely different areas. Possibly most exciting is the ability to install and run Windows NT on the MIPS Magnum R4000 “Jazz” workstation, with working networking. With the assistance of Ash Wolf, MAME now emulates the Psion Series 5mx PDA. Psion’s EPOC32 operating system is the direct ancestor of the Symbian operating system, that powered a generation of smartphones. IDE and SCSI hard disk support for Acorn 8-bit systems has been added, the latter being one of the components of the BBC Domesday Project system. In PC emulation, Windows 3.1 is now usable with S3 ViRGE accelerated 2D video drivers. F.Ulivi has contributed microcode-level emulation of the iSBC-202 floppy controller for the Intel Intellec MDS-II system, adding 8" floppy disk support.
Of course there are plenty of other improvements and additions, including re-dumps of all the incorrectly dumped GameKing cartridges, disassemblers for PACE, WE32100 and “RipFire” 88000, better Geneve 9640 emulation, and plenty of working software list additions. You can get the source and 64-bit Windows binary packages from the download page (note that 32-bit Windows binaries and “zip-in-zip” source code are no longer supplied).

MAME Testers 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

Software list items promoted to working

New NOT_WORKING software list additions

Source Changes

submitted by cuavas to MAME [link] [comments]

Vault 7 - CIA Hacking Tools Revealed

Vault 7 - CIA Hacking Tools Revealed
March 07, 2017
from Wikileaks Website


https://preview.redd.it/9ufj63xnfdb41.jpg?width=500&format=pjpg&auto=webp&s=46bbc937f4f060bad1eaac3e0dce732e3d8346ee

Press Release
Today, Tuesday 7 March 2017, WikiLeaks begins its new series of leaks on the U.S. Central Intelligence Agency.
Code-named "Vault 7" by WikiLeaks, it is the largest ever publication of confidential documents on the agency.
The first full part of the series, "Year Zero", comprises 8,761 documents and files from an isolated, high-security network situated inside the CIA's Center for Cyber Intelligence (below image) in Langley, Virgina.
It follows an introductory disclosure last month of CIA targeting French political parties and candidates in the lead up to the 2012 presidential election.
Recently, the CIA lost control of the majority of its hacking arsenal including,
  1. malware
  2. viruses
  3. trojans
  4. weaponized "zero day" exploits
  5. malware remote control systems

...and associated documentation.
This extraordinary collection, which amounts to more than several hundred million lines of code, gives its possessor the entire hacking capacity of the CIA.
The archive appears to have been circulated among former U.S. government hackers and contractors in an unauthorized manner, one of whom has provided WikiLeaks with portions of the archive.
"Year Zero" introduces the scope and direction of the CIA's global covert hacking program, its malware arsenal and dozens of "zero day" weaponized exploits against a wide range of U.S. and European company products, include,

  1. Apple's iPhone
  2. Google's Android
  3. Microsoft's Windows
  4. Samsung TVs,

...which are turned into covert microphones.
Since 2001 the CIA has gained political and budgetary preeminence over the U.S. National Security Agency (NSA).
The CIA found itself building not just its now infamous drone fleet, but a very different type of covert, globe-spanning force - its own substantial fleet of hackers.
The agency's hacking division freed it from having to disclose its often controversial operations to the NSA (its primary bureaucratic rival) in order to draw on the NSA's hacking capacities.
By the end of 2016, the CIA's hacking division, which formally falls under the agency's Center for Cyber Intelligence (CCI - below image), had over 5000 registered users and had produced more than a thousand,
hacking systems trojans viruses,
...and other "weaponized" malware.


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Such is the scale of the CIA's undertaking that by 2016, its hackers had utilized more codes than those used to run Facebook.
The CIA had created, in effect, its "own NSA" with even less accountability and without publicly answering the question as to whether such a massive budgetary spend on duplicating the capacities of a rival agency could be justified.
In a statement to WikiLeaks the source details policy questions that they say urgently need to be debated in public, including whether the CIA's hacking capabilities exceed its mandated powers and the problem of public oversight of the agency.
The source wishes to initiate a public debate about the security, creation, use, proliferation and democratic control of cyberweapons.
Once a single cyber 'weapon' is 'loose' it can spread around the world in seconds, to be used by rival states, cyber mafia and teenage hackers alike.

Julian Assange, WikiLeaks editor stated that,
"There is an extreme proliferation risk in the development of cyber 'weapons'.
Comparisons can be drawn between the uncontrolled proliferation of such 'weapons', which results from the inability to contain them combined with their high market value, and the global arms trade.
But the significance of 'Year Zero' goes well beyond the choice between cyberwar and cyberpeace. The disclosure is also exceptional from a political, legal and forensic perspective."

Wikileaks has carefully reviewed the "Year Zero" disclosure and published substantive CIA documentation while avoiding the distribution of 'armed' cyberweapons until a consensus emerges on the technical and political nature of the CIA's program and how such 'weapons' should analyzed, disarmed and published.

Wikileaks has also decided to Redact (see far below) and Anonymize some identifying information in "Year Zero" for in depth analysis. These redactions include ten of thousands of CIA targets and attack machines throughout,
Latin America Europe the United States

While we are aware of the imperfect results of any approach chosen, we remain committed to our publishing model and note that the quantity of published pages in "Vault 7" part one ("Year Zero") already eclipses the total number of pages published over the first three years of the Edward Snowden NSA leaks.

Analysis

CIA malware targets iPhone, Android, smart TVs
CIA malware and hacking tools are built by EDG (Engineering Development Group), a software development group within CCI (Center for Cyber Intelligence), a department belonging to the CIA's DDI (Directorate for Digital Innovation).
The DDI is one of the five major directorates of the CIA (see above image of the CIA for more details).
The EDG is responsible for the development, testing and operational support of all backdoors, exploits, malicious payloads, trojans, viruses and any other kind of malware used by the CIA in its covert operations world-wide.
The increasing sophistication of surveillance techniques has drawn comparisons with George Orwell's 1984, but "Weeping Angel", developed by the CIA's Embedded Devices Branch (EDB), which infests smart TVs, transforming them into covert microphones, is surely its most emblematic realization.
The attack against Samsung smart TVs was developed in cooperation with the United Kingdom's MI5/BTSS.
After infestation, Weeping Angel places the target TV in a 'Fake-Off' mode, so that the owner falsely believes the TV is off when it is on. In 'Fake-Off' mode the TV operates as a bug, recording conversations in the room and sending them over the Internet to a covert CIA server.
As of October 2014 the CIA was also looking at infecting the vehicle control systems used by modern cars and trucks. The purpose of such control is not specified, but it would permit the CIA to engage in nearly undetectable assassinations.
The CIA's Mobile Devices Branch (MDB) developed numerous attacks to remotely hack and control popular smart phones. Infected phones can be instructed to send the CIA the user's geolocation, audio and text communications as well as covertly activate the phone's camera and microphone.
Despite iPhone's minority share (14.5%) of the global smart phone market in 2016, a specialized unit in the CIA's Mobile Development Branch produces malware to infest, control and exfiltrate data from iPhones and other Apple products running iOS, such as iPads.
CIA's arsenal includes numerous local and remote "zero days" developed by CIA or obtained from GCHQ, NSA, FBI or purchased from cyber arms contractors such as Baitshop.
The disproportionate focus on iOS may be explained by the popularity of the iPhone among social, political, diplomatic and business elites.
A similar unit targets Google's Android which is used to run the majority of the world's smart phones (~85%) including Samsung, HTC and Sony. 1.15 billion Android powered phones were sold last year.
"Year Zero" shows that as of 2016 the CIA had 24 "weaponized" Android "zero days" which it has developed itself and obtained from GCHQ, NSA and cyber arms contractors.
These techniques permit the CIA to bypass the encryption of, WhatsApp
  1. Signal
  2. Telegram
  3. Wiebo
  4. Confide
  5. Cloackman
...by hacking the "smart" phones that they run on and collecting audio and message traffic before encryption is applied.
CIA malware targets Windows, OSx, Linux, routers
The CIA also runs a very substantial effort to infect and control Microsoft Windows users with its malware.
This includes multiple local and remote weaponized "zero days", air gap jumping viruses such as "Hammer Drill" which infects software distributed on CD/DVDs, infectors for removable media such as USBs, systems to hide data in images or in covert disk areas ("Brutal Kangaroo") and to keep its malware infestations going.
Many of these infection efforts are pulled together by the CIA's Automated Implant Branch (AIB), which has developed several attack systems for automated infestation and control of CIA malware, such as "Assassin" and "Medusa".
Attacks against Internet infrastructure and webservers are developed by the CIA's Network Devices Branch (NDB).
The CIA has developed automated multi-platform malware attack and control systems covering Windows, Mac OS X, Solaris, Linux and more, such as EDB's "HIVE" and the related "Cutthroat" and "Swindle" tools, which are described in the examples section far below.
CIA 'hoarded' vulnerabilities ("zero days")
In the wake of Edward Snowden's leaks about the NSA, the U.S. technology industry secured a commitment from the Obama administration that the executive would disclose on an ongoing basis - rather than hoard - serious vulnerabilities, exploits, bugs or "zero days" to Apple, Google, Microsoft, and other US-based manufacturers.
Serious vulnerabilities not disclosed to the manufacturers places huge swathes of the population and critical infrastructure at risk to foreign intelligence or cyber criminals who independently discover or hear rumors of the vulnerability.
If the CIA can discover such vulnerabilities so can others.
The U.S. government's commitment to the Vulnerabilities Equities Process came after significant lobbying by US technology companies, who risk losing their share of the global market over real and perceived hidden vulnerabilities.
The government stated that it would disclose all pervasive vulnerabilities discovered after 2010 on an ongoing basis.
"Year Zero" documents show that the CIA breached the Obama administration's commitments. Many of the vulnerabilities used in the CIA's cyber arsenal are pervasive and some may already have been found by rival intelligence agencies or cyber criminals.
As an example, specific CIA malware revealed in "Year Zero" is able to penetrate, infest and control both the Android phone and iPhone software that runs or has run presidential Twitter accounts.
The CIA attacks this software by using undisclosed security vulnerabilities ("zero days") possessed by the CIA but if the CIA can hack these phones then so can everyone else who has obtained or discovered the vulnerability.
As long as the CIA keeps these vulnerabilities concealed from Apple and Google (who make the phones) they will not be fixed, and the phones will remain hackable.
The same vulnerabilities exist for the population at large, including the U.S. Cabinet, Congress, top CEOs, system administrators, security officers and engineers.
By hiding these security flaws from manufacturers like Apple and Google the CIA ensures that it can hack everyone at the expense of leaving everyone hackable.
'Cyberwar' programs are a serious proliferation risk
Cyber 'weapons' are not possible to keep under effective control.
While nuclear proliferation has been restrained by the enormous costs and visible infrastructure involved in assembling enough fissile material to produce a critical nuclear mass, cyber 'weapons', once developed, are very hard to retain.
Cyber 'weapons' are in fact just computer programs which can be pirated like any other. Since they are entirely comprised of information they can be copied quickly with no marginal cost.
Securing such 'weapons' is particularly difficult since the same people who develop and use them have the skills to exfiltrate copies without leaving traces - sometimes by using the very same 'weapons' against the organizations that contain them.
There are substantial price incentives for government hackers and consultants to obtain copies since there is a global "vulnerability market" that will pay hundreds of thousands to millions of dollars for copies of such 'weapons'.
Similarly, contractors and companies who obtain such 'weapons' sometimes use them for their own purposes, obtaining advantage over their competitors in selling 'hacking' services.
Over the last three years the United States intelligence sector, which consists of government agencies such as the CIA and NSA and their contractors, such as Booz Allan Hamilton, has been subject to unprecedented series of data exfiltrations by its own workers.
A number of intelligence community members not yet publicly named have been arrested or subject to federal criminal investigations in separate incidents.
Most visibly, on February 8, 2017 a U.S. federal grand jury indicted Harold T. Martin III with 20 counts of mishandling classified information.
The Department of Justice alleged that it seized some 50,000 gigabytes of information from Harold T. Martin III that he had obtained from classified programs at NSA and CIA, including the source code for numerous hacking tools.
Once a single cyber 'weapon' is 'loose' it can spread around the world in seconds, to be used by peer states, cyber mafia and teenage hackers alike.
U.S. Consulate in Frankfurt is a covert CIA hacker base
In addition to its operations in Langley, Virginia the CIA also uses the U.S. consulate in Frankfurt as a covert base for its hackers covering Europe, the Middle East and Africa.
CIA hackers operating out of the Frankfurt consulate ("Center for Cyber Intelligence Europe" or CCIE) are given diplomatic ("black") passports and State Department cover.
The instructions for incoming CIA hackers make Germany's counter-intelligence efforts appear inconsequential: "Breeze through German Customs because you have your cover-for-action story down pat, and all they did was stamp your passport" Your Cover Story (for this trip) Q: Why are you here? A: Supporting technical consultations at the Consulate. Two earlier WikiLeaks publications give further detail on CIA approaches to customs and secondary screening procedures.
Once in Frankfurt CIA hackers can travel without further border checks to the 25 European countries that are part of the Shengen open border area - including France, Italy and Switzerland.
A number of the CIA's electronic attack methods are designed for physical proximity.
These attack methods are able to penetrate high security networks that are disconnected from the internet, such as police record database. In these cases, a CIA officer, agent or allied intelligence officer acting under instructions, physically infiltrates the targeted workplace.
The attacker is provided with a USB containing malware developed for the CIA for this purpose, which is inserted into the targeted computer. The attacker then infects and exfiltrates data to removable media.
For example, the CIA attack system Fine Dining, provides 24 decoy applications for CIA spies to use.
To witnesses, the spy appears to be running a program showing videos (e.g VLC), presenting slides (Prezi), playing a computer game (Breakout2, 2048) or even running a fake virus scanner (Kaspersky, McAfee, Sophos).
But while the decoy application is on the screen, the underlying system is automatically infected and ransacked.
How the CIA dramatically increased proliferation risks
In what is surely one of the most astounding intelligence own goals in living memory, the CIA structured its classification regime such that for the most market valuable part of "Vault 7", the CIA's, weaponized malware (implants + zero days) Listening Posts (LP) Command and Control (C2) systems, ...the agency has little legal recourse.
The CIA made these systems unclassified.
Why the CIA chose to make its cyber-arsenal unclassified reveals how concepts developed for military use do not easily crossover to the 'battlefield' of cyber 'war'.
To attack its targets, the CIA usually requires that its implants communicate with their control programs over the internet.
If CIA implants, Command & Control and Listening Post software were classified, then CIA officers could be prosecuted or dismissed for violating rules that prohibit placing classified information onto the Internet.
Consequently the CIA has secretly made most of its cyber spying/war code unclassified. The U.S. government is not able to assert copyright either, due to restrictions in the U.S. Constitution.
This means that cyber 'arms' manufactures and computer hackers can freely "pirate" these 'weapons' if they are obtained. The CIA has primarily had to rely on obfuscation to protect its malware secrets.
Conventional weapons such as missiles may be fired at the enemy (i.e. into an unsecured area). Proximity to or impact with the target detonates the ordnance including its classified parts. Hence military personnel do not violate classification rules by firing ordnance with classified parts.
Ordnance will likely explode. If it does not, that is not the operator's intent.
Over the last decade U.S. hacking operations have been increasingly dressed up in military jargon to tap into Department of Defense funding streams.
For instance, attempted "malware injections" (commercial jargon) or "implant drops" (NSA jargon) are being called "fires" as if a weapon was being fired.
However the analogy is questionable.
Unlike bullets, bombs or missiles, most CIA malware is designed to live for days or even years after it has reached its 'target'. CIA malware does not "explode on impact" but rather permanently infests its target. In order to infect target's device, copies of the malware must be placed on the target's devices, giving physical possession of the malware to the target.
To exfiltrate data back to the CIA or to await further instructions the malware must communicate with CIA Command & Control (C2) systems placed on internet connected servers.
But such servers are typically not approved to hold classified information, so CIA command and control systems are also made unclassified.
A successful 'attack' on a target's computer system is more like a series of complex stock maneuvers in a hostile take-over bid or the careful planting of rumors in order to gain control over an organization's leadership rather than the firing of a weapons system.
If there is a military analogy to be made, the infestation of a target is perhaps akin to the execution of a whole series of military maneuvers against the target's territory including observation, infiltration, occupation and exploitation.
Evading forensics and anti-virus
A series of standards lay out CIA malware infestation patterns which are likely to assist forensic crime scene investigators as well as, Apple
  1. Microsoft
  2. Google
  3. Samsung
  4. Nokia
  5. Blackberry
  6. Siemens
  7. anti-virus companies,
...attribute and defend against attacks.
"Tradecraft DO's and DON'Ts" contains CIA rules on how its malware should be written to avoid fingerprints implicating the "CIA, US government, or its witting partner companies" in "forensic review".
Similar secret standards cover the, use of encryption to hide CIA hacker and malware communication (pdf) describing targets & exfiltrated data (pdf) executing payloads (pdf) persisting (pdf), ...in the target's machines over time.
CIA hackers developed successful attacks against most well known anti-virus programs.
These are documented in, AV defeats Personal Security Products Detecting and defeating PSPs PSP/DebuggeRE Avoidance For example, Comodo was defeated by CIA malware placing itself in the Window's "Recycle Bin". While Comodo 6.x has a "Gaping Hole of DOOM".
CIA hackers discussed what the NSA's "Equation Group" hackers did wrong and how the CIA's malware makers could avoid similar exposure.

Examples

The CIA's Engineering Development Group (EDG) management system contains around 500 different projects (only some of which are documented by "Year Zero") each with their own sub-projects, malware and hacker tools.
The majority of these projects relate to tools that are used for,
penetration infestation ("implanting") control exfiltration
Another branch of development focuses on the development and operation of Listening Posts (LP) and Command and Control (C2) systems used to communicate with and control CIA implants.
Special projects are used to target specific hardware from routers to smart TVs.
Some example projects are described below, but see the table of contents for the full list of projects described by WikiLeaks' "Year Zero".
UMBRAGE
The CIA's hand crafted hacking techniques pose a problem for the agency.
Each technique it has created forms a "fingerprint" that can be used by forensic investigators to attribute multiple different attacks to the same entity.
This is analogous to finding the same distinctive knife wound on multiple separate murder victims. The unique wounding style creates suspicion that a single murderer is responsible.
As soon one murder in the set is solved then the other murders also find likely attribution.
The CIA's Remote Devices Branch's UMBRAGE group collects and maintains a substantial library of attack techniques 'stolen' from malware produced in other states including the Russian Federation.
With UMBRAGE and related projects the CIA cannot only increase its total number of attack types but also misdirect attribution by leaving behind the "fingerprints" of the groups that the attack techniques were stolen from.
UMBRAGE components cover,
keyloggers
  1. password collection
  2. webcam capture
  3. data destruction
  4. persistence
  5. privilege escalation
  6. stealth
  7. anti-virus (PSP) avoidance
  8. survey techniques

Fine Dining
Fine Dining comes with a standardized questionnaire i.e menu that CIA case officers fill out.
The questionnaire is used by the agency's OSB (Operational Support Branch) to transform the requests of case officers into technical requirements for hacking attacks (typically "exfiltrating" information from computer systems) for specific operations.
The questionnaire allows the OSB to identify how to adapt existing tools for the operation, and communicate this to CIA malware configuration staff.
The OSB functions as the interface between CIA operational staff and the relevant technical support staff.
Among the list of possible targets of the collection are,
  • 'Asset'
  • 'Liason Asset'
  • 'System Administrator'
  • 'Foreign Information Operations'
  • 'Foreign Intelligence Agencies'
  • 'Foreign Government Entities'
Notably absent is any reference to extremists or transnational criminals. The 'Case Officer' is also asked to specify the environment of the target like the type of computer, operating system used, Internet connectivity and installed anti-virus utilities (PSPs) as well as a list of file types to be exfiltrated like Office documents, audio, video, images or custom file types.
The 'menu' also asks for information if recurring access to the target is possible and how long unobserved access to the computer can be maintained.
This information is used by the CIA's 'JQJIMPROVISE' software (see below) to configure a set of CIA malware suited to the specific needs of an operation.
Improvise (JQJIMPROVISE)
  1. 'Improvise' is a toolset for configuration, post-processing, payload setup and execution vector
  2. selection for survey/exfiltration tools supporting all major operating systems like,
  3. Windows (Bartender)
  4. MacOS (JukeBox)
  5. Linux (DanceFloor)
  6. Its configuration utilities like Margarita allows the NOC (Network Operation Center) to customize tools
based on requirements from 'Fine Dining' questionnaires.
HIVE
HIVE is a multi-platform CIA malware suite and its associated control software.
The project provides customizable implants for Windows, Solaris, MikroTik (used in internet routers) and Linux platforms and a Listening Post (LP)/Command and Control (C2) infrastructure to communicate with these implants.
The implants are configured to communicate via HTTPS with the webserver of a cover domain; each operation utilizing these implants has a separate cover domain and the infrastructure can handle any number of cover domains.
Each cover domain resolves to an IP address that is located at a commercial VPS (Virtual Private Server) provider.
The public-facing server forwards all incoming traffic via a VPN to a 'Blot' server that handles actual connection requests from clients.
It is setup for optional SSL client authentication: if a client sends a valid client certificate (only implants can do that), the connection is forwarded to the 'Honeycomb' toolserver that communicates with the implant.
If a valid certificate is missing (which is the case if someone tries to open the cover domain website by accident), the traffic is forwarded to a cover server that delivers an unsuspicious looking website.
The Honeycomb toolserver receives exfiltrated information from the implant; an operator can also task the implant to execute jobs on the target computer, so the toolserver acts as a C2 (command and control) server for the implant.
Similar functionality (though limited to Windows) is provided by the RickBobby project.
See the classified user and developer guides for HIVE.

Frequently Asked Questions

Why now?
WikiLeaks published as soon as its verification and analysis were ready. In February the Trump administration has issued an Executive Order calling for a "Cyberwar" review to be prepared within 30 days.
While the review increases the timeliness and relevance of the publication it did not play a role in setting the publication date.
Redactions
Names, email addresses and external IP addresses have been redacted in the released pages (70,875 redactions in total) until further analysis is complete. Over-redaction: Some items may have been redacted that are not employees, contractors, targets or otherwise related to the agency, but are, for example, authors of documentation for otherwise public projects that are used by the agency.
Identity vs. person: the redacted names are replaced by user IDs (numbers) to allow readers to assign multiple pages to a single author. Given the redaction process used a single person may be represented by more than one assigned identifier but no identifier refers to more than one real person.
Archive attachments (zip, tar.gz, ...), are replaced with a PDF listing all the file names in the archive. As the archive content is assessed it may be made available; until then the archive is redacted.
Attachments with other binary content, are replaced by a hex dump of the content to prevent accidental invocation of binaries that may have been infected with weaponized CIA malware. As the content is assessed it may be made available; until then the content is redacted.
Tens of thousands of routable IP addresses references, (including more than 22 thousand within the United States) that correspond to possible targets, CIA covert listening post servers, intermediary and test systems, are redacted for further exclusive investigation.
Binary files of non-public origin, are only available as dumps to prevent accidental invocation of CIA malware infected binaries.
Organizational Chart
The organizational chart (far above image) corresponds to the material published by WikiLeaks so far.
Since the organizational structure of the CIA below the level of Directorates is not public, the placement of the EDG and its branches within the org chart of the agency is reconstructed from information contained in the documents released so far.
It is intended to be used as a rough outline of the internal organization; please be aware that the reconstructed org chart is incomplete and that internal reorganizations occur frequently.
Wiki pages
"Year Zero" contains 7818 web pages with 943 attachments from the internal development groupware. The software used for this purpose is called Confluence, a proprietary software from Atlassian.
Webpages in this system (like in Wikipedia) have a version history that can provide interesting insights on how a document evolved over time; the 7818 documents include these page histories for 1136 latest versions.
The order of named pages within each level is determined by date (oldest first). Page content is not present if it was originally dynamically created by the Confluence software (as indicated on the re-constructed page).
What time period is covered?
The years 2013 to 2016. The sort order of the pages within each level is determined by date (oldest first).
WikiLeaks has obtained the CIA's creation/last modification date for each page but these do not yet appear for technical reasons. Usually the date can be discerned or approximated from the content and the page order.
If it is critical to know the exact time/date contact WikiLeaks.
What is "Vault 7"
"Vault 7" is a substantial collection of material about CIA activities obtained by WikiLeaks.
When was each part of "Vault 7" obtained?
Part one was obtained recently and covers through 2016. Details on the other parts will be available at the time of publication.
Is each part of "Vault 7" from a different source?
Details on the other parts will be available at the time of publication.
What is the total size of "Vault 7"?
The series is the largest intelligence publication in history.
How did WikiLeaks obtain each part of "Vault 7"?
Sources trust WikiLeaks to not reveal information that might help identify them.
Isn't WikiLeaks worried that the CIA will act against its staff to stop the series?
No. That would be certainly counter-productive.
Has WikiLeaks already 'mined' all the best stories?
No. WikiLeaks has intentionally not written up hundreds of impactful stories to encourage others to find them and so create expertise in the area for subsequent parts in the series. They're there.
Look. Those who demonstrate journalistic excellence may be considered for early access to future parts.
Won't other journalists find all the best stories before me?
Unlikely. There are very considerably more stories than there are journalists or academics who are in a position to write them.
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