i - output default initializers for all non-final fields ff - output class fields before methods (default: after methods) f - output fully qualified names for classes/fields/methods (default: off) disass - disassemble method bytecodes (no JAVA source generated) dead - try to decompile dead parts of code (if any) (default: off) d - directory for output files (will be created when necessary) b - output redundant braces (e.g., if(a), default: off) clear - clear all prefixes, including the default ones (can be abbreviated as -cl) af - same as -a, but output fully qualified names when annotating a - annotate the output with JVM bytecodes (default: off) Jad looks for inner classes in the directory of their top-level On UNIX Jad skips inner classes if there is more than It automatically skips matching inner classes. When Jad expands wildcards in the input file names, Jad supports the inner and anonymous classes. In a case you want to check the accuracy of the decompilation or justĬurious, there is an option -a which tells Jad to annotate the output UNIX the last argument should be single-quoted: It is handled by Jad rather than the command shell, so on Note the use of the "two stars" wildcard ('**') in the previousĬommand. Output file will have a name 'src/a/b/c.java'. 'tree/a/b/c.class' contains class 'c' from package 'a.b', then Of 'src' according to package names of classes. Subdirectories of 'tree' and creates output files in subdirectories If you want to decompile the whole tree of JAVA classes, class files in the current directoryĪnd places all output files with extension. (or jad -o -d test -s java *.class, which has the same effect) Which are created, by default, in the current directory. Option -d allows you to specify another directory for output files, Your own output file name use the output redirection: For example, if classįile 'example1.class' contains JAVA class 'test1' then Jad will createįile 'test1.jad' rather than 'example1.jad'. Jad uses JAVA class name as an output file name. Options -o and -sjava together, because Jad can accidentally overwrite This command creates file 'example1.java'. Option -s allows to change output file extension: class extension and/or use wildcards in the names of Option -o permits overwriting without a confirmation. If such file already exists Jad asks whether you want to overwrite it or not. This command creates file 'example1.jad' in the current directory. To decompile a single JAVA class file 'example1.class' an executable file named 'jad.exe' (Windows *) Unzip jad.zip file into any appropriate directory on your hard drive. Jad 1.5.5.3 for AIX 4.2 on IBM RS-6000 platform Jad 1.5.7a for Solaris 7 on Intel platform Jad 1.5.7b for Mac OS X (Rhapsody 5.3) on PowerPC platform Jad 1.5.7f for BeOS 5.0 on Intel platform Jad 1.5.7f for Solaris 7 on Sun Sparc platformĬompiled on Sun 4m (Sparc10) using GCC 2.8.1, statically linked. Jad 1.5.7g for Linux on Sun Sparc platform - statically linked Jad 1.5.7g for Linux on Sun Sparc platform Jad 1.5.8c for Mac OS X (Darwin 1.3) on PowerPC platform Jad 1.5.8c for Solaris 8 on Intel platform OS/2 version was cross-compiled on Windows using EMX and RSXNT packages, therefore it requires EMX runtime (EMX.DLL should be enough). Take this version if the one above crashes or displays the "seek error" message. Jad 1.5.8g for Mac OS X 10.4.6 on Intel platform Jad 1.5.8g for Windows 9x/NT/2000 on Intel platform
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Still lots to explore, seems like every preset is its own universe of possibilities and I definitely haven’t heard everything it’s capable of. In my setup it’s probably going to cover looper and ambient drone box duties, and can do both quite capably. It's so easy to find useable sounds fast and hav been very inspiring. It is both complex and easy to use with great sounds for ambient, shoegaze, weird experimental, electronic music. I am typically more into rack units for their deep editing capabilities as well sound quality, however I have not heard of anything that can do what the Microcosm does. It is in there so tight I get nervous I may break something. (quieter) Also I have trouble getting the power cable to come out of the unit when I am done. I have to change the amp master level a lot since some effects will be more dry, (hence louder), and some more wet. As you turn up the mix knob your dry guitar tone gets turned down as the effected signal is introduced. The filter sounds good, though it does sound stepped. There are some things that I wish could be better. So many of its sounds are tempo based and lots of other tempo based pedals don't have midi, so this is a huge plus. But I am excited to be able to perfectly sync it to my DAW's tempo. Quantized looping sounds cool but I haven't yet played with that. You do have different looper configurations, like placing it pre fx or post fx. I know a lot of people use looping a lot for their playing but I haven't used many loopers to really know what is good or bad in a looper. From what I have tried though, it works pretty well. They are also for the global configuration of the pedal.Īs of yet I have barely used the looper. They represent user banks and patches, if you are in normal or reverse effect mode, when you have triggered an effect, the tempo of the effect as it plays, rate and depth of modulation, as well as just an on/off effect indicator light. The 4 bars of colorful lights in the middle actually tell you a lot that is going on with the pedal. Most effects are still present when you put all knobs to zero so you would still have whatever effect going on in the reverb section mixed in with your bare guitar. The sound quality is there I think, however it is only applied to the wet effected sound and not to your overall wet dry mix. I have seen people ask if you could use it as a main reverb. The stereo reverb sounds great! It goes 100% wet. I could still find uses for all of them, even if sparingly. The glitchy ones are a little harder to incorporate into my music but they are so fun to play with. You can get weird subtle sounds from them as well as bizarre sci fi sounds. I find myself gravitating towards the haze, tunnel, strum, pattern, and warp effects. With the Microcosm you can get very nice reverse delays that behave how a normal delay would act by having your guitar trigger exactly when the reverse starts. You often end up playing in time with the delay rather than the other way around. Most reverse delays are just constantly cycling through the set bpm and reversing audio that falls within it's grid lines of quarter notes or whatever, which results in slightly sloppy, less than ideal delay sounds. Because of the envelope triggered effects, you can get reverse delays that are much more useable! If you have ever use most reverse delay pedals you'll know what I mean. Every effect can be reversed which is awesome. The majority of the effects are envelope triggered it appears, so you may need to change exactly how you play into it. I LOVE the secondary knob functions that control overall modulation depth and rate. There's 3 or 4 main knobs (activity and repeats being the main 2) that do a lot of the effect shaping, which doesn't sound like a lot of variety, but often just by changing one knob, all the other knobs now behave differently to the new parameter changes. I wouldn't say there's a huge learning curve, just that the main knobs that control most parameters are macro knobs that may control several things at once all based on which effect is loaded. I have briefly run my synths through it but mostly I have been plugging in my guitar. I think this would also be a very good pedal for synthesizers. I like to play/make shoegaze music and I can hear tons of good sounds for that. It is beautifully weird and unpredictable! There are a lot of sounds I haven't heard other pedals make. Here are some of my thoughts on the pedal. Ok so I finally got my Microcosm and have taken a week or so to try and wrap my head around this thing. 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