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force use of pandoc version >= 3.1.12.2

Browse Source 
The `bin/pandoc-wrapper.sh` tool will verify that the ssytem
has a recent enough version of `pandoc(1)`.

We explain why we insist on `pandoc(1)`. version >= 3.1.12.2
in comments where the $PANDOC_MIN_VERSION is set.

Added `--wrap=preserve` as a default argument to `pandoc(1)`.
While this change will impact every HTML file generated,
we believe this will improve the ability of someone to look
at the generated HTML and correlate with the original markdown.

Changed `bin/pandoc-wrapper.sh` VERSION from "1.4.2 2024-03-17"
to "1.4.3 2024-03-18".

Performed `make www` to achieve all of the above and to generate
HTML using the new  `--wrap=preserve` `pandoc(1)` mode.
This commit is contained in:
Landon Curt Noll committed 2024-03-18 01:26:39 -07:00
1 parent 9eb7a54e9f
commit b0b212acb1
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2019/giles/index.html
+148 -210
View File
@@ -130,8 +130,8 @@
<h2 id="author"><a name="author"></a>Author:</h2>
<ul>
<li>Name: <a href="../../authors.html#Edward_Giles">Edward Giles</a><br>
Location: <a href="../../location.html#AU">AU</a> - <em>Commonwealth of
Australia</em> (<em>Australia</em>) <br><br></li>
Location: <a href="../../location.html#AU">AU</a> - <em>Commonwealth of Australia</em> (<em>Australia</em>)
<br><br></li>
</ul>
<!-- END: next line ends content generated by: bin/output-index-author.sh -->
@@ -145,279 +145,217 @@ Australia</em> (<em>Australia</em>) <br><br></li>
<div class="sourceCode" id="cb2"><pre class="sourceCode sh"><code class="sourceCode bash"><span id="cb2-1"><a href="#cb2-1" aria-hidden="true" tabindex="-1"></a><span class="ex">./prog</span> infile.wav outfile.wav</span></code></pre></div>
<h2 id="try">Try:</h2>
<div class="sourceCode" id="cb3"><pre class="sourceCode sh"><code class="sourceCode bash"><span id="cb3-1"><a href="#cb3-1" aria-hidden="true" tabindex="-1"></a><span class="ex">./try.sh</span></span></code></pre></div>
<p>NOTE: <code>play</code>, which <a href="try.sh">try.sh</a> uses,
comes from SoX, the Swiss Army Knife of sound processing programs. If
you don’t have this installed, see <a href="../../faq.html#sox">FAQ
3.10: How do I compile and use an IOCCC entry that requires
sound</a>.</p>
<p>NOTE: <code>play</code>, which <a href="try.sh">try.sh</a> uses, comes from SoX, the Swiss Army Knife
of sound processing programs. If you don’t have this installed, see <a href="../../faq.html#sox">FAQ 3.10:
How do I compile and use an IOCCC entry that requires sound</a>.</p>
<h2 id="judges-remarks">Judges’ remarks:</h2>
<p>Do you need to pretend enjoying a more spacious living environment
than you actually are in, or the great outdoors with mountains and
canyons, when recording your outgoing voicemail message? Then don’t
waste another minute! Record yourself, send the audio file through this
entry, and let your callers be surprised.</p>
<p>Do you need to pretend enjoying a more spacious living environment than you
actually are in, or the great outdoors with mountains and canyons, when
recording your outgoing voicemail message? Then don’t waste another minute!
Record yourself, send the audio file through this entry, and let your callers be
surprised.</p>
<h2 id="authors-remarks">Author’s remarks:</h2>
<h3 id="description">Description:</h3>
<p>This program takes a WAV audio file as input, and applies an
artificial reverberation effect to it. It works by feeding the audio
through a number of delay lines of various lengths, with various amounts
of feedback, to create a smooth echo that fades away over time. A number
of parameters of the effect can be altered, to change its sonic
characteristics.</p>
<p><a href="BlockDiagram.png">BlockDiagram.png</a> is a block-diagram of
the internal structure of the reverb algorithm, which is most likely
easier to understand than the source code.</p>
<p><a href="MonodyVocals.wav">MonodyVocals.wav</a> is for testing the
program: It is an extract of the unprocessed vocals from <a
href="https://www.youtube.com/watch?v=B7xai5u_tnk">Monody by TheFatRat,
featuring Laura Brehm</a>. The track was published under a free
license.</p>
<p>This program has also been successfully compiled on Windows, with
both the <a href="https://bellard.org/tcc/">Tiny C Compiler</a> and
Microsoft’s C/C++ compiler. However, the latter reports warnings about
loss of information when converting <code>float</code>s, and that
<code>void (*)()</code> and <code>void (*)(void)</code> are not the same
thing.</p>
<p>Interesting fact: The size of the program from
<code>./iocccsize -i</code> is 2019.</p>
<p>This program takes a WAV audio file as input, and applies an artificial
reverberation effect to it. It works by feeding the audio through a number of
delay lines of various lengths, with various amounts of feedback, to create a
smooth echo that fades away over time. A number of parameters of the effect can
be altered, to change its sonic characteristics.</p>
<p><a href="BlockDiagram.png">BlockDiagram.png</a> is a block-diagram of the internal
structure of the reverb algorithm, which is most likely easier to understand
than the source code.</p>
<p><a href="MonodyVocals.wav">MonodyVocals.wav</a> is for testing the program: It is an
extract of the unprocessed vocals from <a href="https://www.youtube.com/watch?v=B7xai5u_tnk">Monody by TheFatRat, featuring Laura
Brehm</a>. The track was published
under a free license.</p>
<p>This program has also been successfully compiled on Windows, with both the <a href="https://bellard.org/tcc/">Tiny
C Compiler</a> and Microsoft’s C/C++ compiler. However,
the latter reports warnings about loss of information when converting <code>float</code>s,
and that <code>void (*)()</code> and <code>void (*)(void)</code> are not the same thing.</p>
<p>Interesting fact: The size of the program from <code>./iocccsize -i</code> is 2019.</p>
<h4 id="how-to-use">How to use:</h4>
<div class="sourceCode" id="cb4"><pre class="sourceCode sh"><code class="sourceCode bash"><span id="cb4-1"><a href="#cb4-1" aria-hidden="true" tabindex="-1"></a><span class="ex">./prog</span> input [output [size [dry [wet <span class="pp">[</span><span class="ss">damping</span><span class="pp">]</span>]]]]</span>
<span id="cb4-2"><a href="#cb4-2" aria-hidden="true" tabindex="-1"></a><span class="ex">prog.exe</span> input [output [size [dry [wet <span class="pp">[</span><span class="ss">damping</span><span class="pp">]</span>]]]]</span></code></pre></div>
<ul>
<li><code>input</code>: The path to the input file. Required.</li>
<li><code>output</code>: The path to the output file. Optional, defaults
to <code>out.wav</code>.</li>
<li><code>size</code>: The perceived size of the room, i.e. the
approximate amount of time taken for the echo to fade away. Optional,
default 1.6 seconds.</li>
<li><code>dry</code>: The amount of unprocessed signal (“dry” in audio
terminology) to add to the output. Optional, default 0.3 or 30%.</li>
<li><code>wet</code>: The amount of processed (“wet”) signal to add to
the output. Optional, default 0.5 or 50%.</li>
<li><code>damping</code>: The amount by which high frequencies are
damped out as the echo continues. This models the tendency for higher
frequencies to be absorbed more than lower ones. Increasing this value
causes the echo to be less “harsh” and more “muffled”. Optional, default
0.06 or 6%.</li>
<li><code>output</code>: The path to the output file. Optional, defaults to <code>out.wav</code>.</li>
<li><code>size</code>: The perceived size of the room, i.e. the approximate amount of time
taken for the echo to fade away. Optional, default 1.6 seconds.</li>
<li><code>dry</code>: The amount of unprocessed signal (“dry” in audio terminology) to add to
the output. Optional, default 0.3 or 30%.</li>
<li><code>wet</code>: The amount of processed (“wet”) signal to add to the output. Optional,
default 0.5 or 50%.</li>
<li><code>damping</code>: The amount by which high frequencies are damped out as the echo
continues. This models the tendency for higher frequencies to be absorbed more
than lower ones. Increasing this value causes the echo to be less “harsh” and
more “muffled”. Optional, default 0.06 or 6%.</li>
</ul>
<p>The values <code>size</code>, <code>dry</code>, <code>wet</code>, and
<code>damping</code> can be specified either as decimal numbers
(e.g. 0.35) or as percentages (e.g. 35%).</p>
<p>The default settings are designed to make the effect obvious rather
than subtle, so it may be a good idea to adjust the ratio of “dry” to
“wet”, to give a more pleasant result:</p>
<p>The values <code>size</code>, <code>dry</code>, <code>wet</code>, and <code>damping</code> can be specified either as
decimal numbers (e.g. 0.35) or as percentages (e.g. 35%).</p>
<p>The default settings are designed to make the effect obvious rather than subtle,
so it may be a good idea to adjust the ratio of “dry” to “wet”, to give a more
pleasant result:</p>
<div class="sourceCode" id="cb5"><pre class="sourceCode sh"><code class="sourceCode bash"><span id="cb5-1"><a href="#cb5-1" aria-hidden="true" tabindex="-1"></a><span class="ex">./prog</span> in.wav out.wav 1.8 80% 15%</span></code></pre></div>
<p>The program only supports WAV files, and only mostly. Other audio
formats, such as MP3, are not supported because they are difficult to
decode, but there are free programs such as <code>ffmpeg</code> that can
perform the conversion. Some of the advanced features of the WAV file
format are also not supported, such as metadata, 3 or more channels, or
a bit depth other than 16 bits. Fortunately, WAV files that don’t use
these features are very common. The program validates the input file, so
passing it a file it can’t process will cause the program to print
<code>Bad input file</code> or
<code>Wave file must be 16 bits,1-2 channels.</code> depending on what
it thinks the problem is. If the output file cannot be opened, the
program will print <code>Can't open output file</code>.</p>
<p>The program only supports WAV files, and only mostly. Other audio formats, such
as MP3, are not supported because they are difficult to decode, but there are
free programs such as <code>ffmpeg</code> that can perform the conversion. Some of the
advanced features of the WAV file format are also not supported, such as
metadata, 3 or more channels, or a bit depth other than 16 bits. Fortunately,
WAV files that don’t use these features are very common. The program validates
the input file, so passing it a file it can’t process will cause the program to
print <code>Bad input file</code> or <code>Wave file must be 16 bits,1-2 channels.</code> depending on
what it thinks the problem is. If the output file cannot be opened, the program
will print <code>Can't open output file</code>.</p>
<h3 id="assumptions">Assumptions:</h3>
<ol type="1">
<li>The code is compiled using the C99 or C11 standard.</li>
<li>Values are stored in memory in little-endian order.</li>
<li><code>float</code> is a floating-point type of any size, such that
all zero bits represents the number zero.</li>
<li><code>int16_t</code> and <code>int32_t</code> are 2’s-complement,
<code>sizeof(int16_t) == 2</code> and
<li><code>float</code> is a floating-point type of any size, such that all zero bits
represents the number zero.</li>
<li><code>int16_t</code> and <code>int32_t</code> are 2’s-complement, <code>sizeof(int16_t) == 2</code> and
<code>sizeof(int32_t) == 4</code>.</li>
</ol>
<h3 id="obfuscations">Obfuscations</h3>
<p>The main obfuscation is that digital signal processing algorithms are
inherently opaque. They just consist of iterating through a list of
floating-point numbers and performing a series of arithmetic operations
on each value. Even if this entry were entirely cleaned of all other
obfuscation, it will appear to the average programmer to do the
following:</p>
<p>The main obfuscation is that digital signal processing algorithms are inherently
opaque. They just consist of iterating through a list of floating-point numbers
and performing a series of arithmetic operations on each value. Even if this
entry were entirely cleaned of all other obfuscation, it will appear to the
average programmer to do the following:</p>
<ul>
<li>Read and validate command-line arguments.</li>
<li>Read and validate the header portion of the input file, and print
some errors if that fails.</li>
<li>Read and validate the header portion of the input file, and print some errors
if that fails.</li>
<li>Write a modified form of that header into the output file.</li>
<li>Print the parameters read from the command-line arguments, in a
human-readable format.</li>
<li>Dynamically allocate some arrays of floating-point numbers, to be
used later, with lengths based on the <code>size</code> parameter.</li>
<li>Print the parameters read from the command-line arguments, in a human-readable
format.</li>
<li>Dynamically allocate some arrays of floating-point numbers, to be used later,
with lengths based on the <code>size</code> parameter.</li>
<li>Read 16-bit audio samples from the input file, converting them to
floating-point.</li>
<li>For each audio sample, do a weird combination of addition,
subtraction, and multiplication by constants, using the
previously-allocated arrays to store results between iterations. Write
the resulting audio samples to the output file, converting them back to
16-bit integers.</li>
<li>For each audio sample, do a weird combination of addition, subtraction, and
multiplication by constants, using the previously-allocated arrays to store
results between iterations. Write the resulting audio samples to the output
file, converting them back to 16-bit integers.</li>
<li>Close all of the file handles and free the memory.</li>
</ul>
<p>Note that no part of the above description of the code’s function had
anything to do with echoes in a room. The purpose of the code is
therefore hidden.</p>
<p>The source code, on cursory inspection, appears to be a jumbled
series of characters arranged into three arcs, representing sound waves.
The overall layout distracts people from the fact that it is source code
rather than only ASCII art, and the random appearance of the code
discourages people from trying to decipher it.</p>
<p><code>#define</code>s are used to abbreviate the code, which has a
side effect of making it very slightly harder to read.</p>
<p>Note that no part of the above description of the code’s function had anything
to do with echoes in a room. The purpose of the code is therefore hidden.</p>
<p>The source code, on cursory inspection, appears to be a jumbled series of
characters arranged into three arcs, representing sound waves. The overall
layout distracts people from the fact that it is source code rather than only
ASCII art, and the random appearance of the code discourages people from trying
to decipher it.</p>
<p><code>#define</code>s are used to abbreviate the code, which has a side effect of making it
very slightly harder to read.</p>
<ul>
<li><code>k</code> is just a general-purpose replacement for
<code>16</code>.</li>
<li><code>i</code> is the number of delay-lines to allocate and use
(currently <code>24</code>).</li>
<li><code>q</code> is an abbreviation for multiplying two elements of
<code>w[]</code> together.</li>
<li><code>u()</code> is used to display percentages with proper
rounding.</li>
<li><code>j()</code> imposes an upper limit on a floating-point value,
and then negates it. This operation is used eight times.</li>
<li><code>D()</code> abbreviates a call to <code>setvbuf</code>, used to
speed up file I/O.</li>
<li><code>l()</code> is used to clip audio samples to the acceptable
range, and convert them to 16-bit integers for output.</li>
<li><code>k</code> is just a general-purpose replacement for <code>16</code>.</li>
<li><code>i</code> is the number of delay-lines to allocate and use (currently <code>24</code>).</li>
<li><code>q</code> is an abbreviation for multiplying two elements of <code>w[]</code> together.</li>
<li><code>u()</code> is used to display percentages with proper rounding.</li>
<li><code>j()</code> imposes an upper limit on a floating-point value, and then negates it.
This operation is used eight times.</li>
<li><code>D()</code> abbreviates a call to <code>setvbuf</code>, used to speed up file I/O.</li>
<li><code>l()</code> is used to clip audio samples to the acceptable range, and convert them
to 16-bit integers for output.</li>
<li><code>g()</code> handles errors.</li>
<li><code>C()</code> contains the bulk of the signal-processing code, as
well as a preprocessor obfuscation trick: If you were to read the body
of the macro out of context, it will appear to have multiple mismatched
square brackets, since <code>[</code> occurs more than <code>]</code>.
However, this macro is always invoked with arguments such as
<code>C(v],+10)</code> which contain an unmatched <code>]</code>
character. When the macro is used in this manner, the extra
<code>[</code>s in the macro’s body are matched with the <code>]</code>s
<li><code>C()</code> contains the bulk of the signal-processing code, as well as a
preprocessor obfuscation trick: If you were to read the body of the macro out of
context, it will appear to have multiple mismatched square brackets, since <code>[</code>
occurs more than <code>]</code>. However, this macro is always invoked with arguments such
as <code>C(v],+10)</code> which contain an unmatched <code>]</code> character. When the macro is used
in this manner, the extra <code>[</code>s in the macro’s body are matched with the <code>]</code>s
added through the first argument.</li>
</ul>
<p>Every variable name is one letter long. This allows the code to fit
into the IOCCC size limit, and it also makes the purpose of a given
variable much less clear. For example, it is not evident from the name
of the variable <code>t</code> that it contains pointers to the
delay-line arrays.</p>
<p>As many values as possible have been crammed into arrays.
<code>float w[]</code> contains:</p>
<p>Every variable name is one letter long. This allows the code to fit into the
IOCCC size limit, and it also makes the purpose of a given variable much less
clear. For example, it is not evident from the name of the variable <code>t</code> that it
contains pointers to the delay-line arrays.</p>
<p>As many values as possible have been crammed into arrays. <code>float w[]</code> contains:</p>
<ul>
<li>the input parameters (<code>w[0]</code> to <code>w[3]</code>)</li>
<li>various constants needed for the reverb algorithm (<code>w[4]</code>
to <code>w[9]</code>)</li>
<li>temporary storage of floating-point audio samples
(<code>w[10]</code> to <code>w[20]</code>)</li>
<li>various constants needed for the reverb algorithm (<code>w[4]</code> to <code>w[9]</code>)</li>
<li>temporary storage of floating-point audio samples (<code>w[10]</code> to <code>w[20]</code>)</li>
</ul>
<p><code>int32_t f[]</code> is even more multi-purpose. It contains:</p>
<ul>
<li>the header of the input file (<code>f[0]</code> to
<code>f[11]</code>)</li>
<li>the header of the input file (<code>f[0]</code> to <code>f[11]</code>)</li>
<li>the number of channels in the input file (<code>f[12]</code>)</li>
<li>the number of samples of output to generate
(<code>f[13]</code>)</li>
<li>the number of samples of output to generate (<code>f[13]</code>)</li>
<li>an end-of-file flag (<code>f[14]</code>)</li>
<li>a variable that I forgot the exact purpose of
(<code>f[15]</code>)</li>
<li>indices into the circular buffers where audio samples should be
inserted (<code>f[16]</code> to <code>f[39]</code>)</li>
<li>indices where audio samples should be read out (<code>f[40]</code>
to <code>f[63]</code>)</li>
<li>lengths of the buffers (<code>f[64]</code> to
<code>f[87]</code>)</li>
<li>a variable that I forgot the exact purpose of (<code>f[15]</code>)</li>
<li>indices into the circular buffers where audio samples should be inserted
(<code>f[16]</code> to <code>f[39]</code>)</li>
<li>indices where audio samples should be read out (<code>f[40]</code> to <code>f[63]</code>)</li>
<li>lengths of the buffers (<code>f[64]</code> to <code>f[87]</code>)</li>
</ul>
<p>All of the strings are concatenated together and “encrypted” by
breaking the string into 4-byte chunks (by casting it to an
<code>int32_t*</code>), and then XORing the sequence of
<code>int</code>s with a known numeric sequence. The “decryption” is not
done in-place, to avoid writing over the string constant.</p>
<p><code>int32_t *c</code> is a pointer that points into
<code>f[]</code>, except that it is often incremented or decremented
when it is accessed. In order to determine which indices of
<code>f[]</code> are being accessed through <code>c</code> at any given
point in the code, you would have to locate the places where
<code>c</code> is modified.</p>
<p>In order for this program to read and write WAV files, it needs to
parse the header. The necessary information, such as the sample rate and
channel count, is defined by the standard to be in somewhat arbitrary
locations within the file. Therefore, even if you know which indices of
<code>f[]</code> are being accessed, it takes extra effort to look up
the WAV file format and determine which field that corresponds to.</p>
<p>Some array accesses (which make up most of the program) have been
replaced with harder-to-interpret equivalents, for example:</p>
<p>All of the strings are concatenated together and “encrypted” by breaking the
string into 4-byte chunks (by casting it to an <code>int32_t*</code>), and then XORing the
sequence of <code>int</code>s with a known numeric sequence. The “decryption” is not done
in-place, to avoid writing over the string constant.</p>
<p><code>int32_t *c</code> is a pointer that points into <code>f[]</code>, except that it is often
incremented or decremented when it is accessed. In order to determine which
indices of <code>f[]</code> are being accessed through <code>c</code> at any given point in the code,
you would have to locate the places where <code>c</code> is modified.</p>
<p>In order for this program to read and write WAV files, it needs to parse the
header. The necessary information, such as the sample rate and channel count, is
defined by the standard to be in somewhat arbitrary locations within the file.
Therefore, even if you know which indices of <code>f[]</code> are being accessed, it takes
extra effort to look up the WAV file format and determine which field that
corresponds to.</p>
<p>Some array accesses (which make up most of the program) have been replaced with
harder-to-interpret equivalents, for example:</p>
<ul>
<li><code>X[1]</code> -&gt; <code>1[X]</code></li>
<li><code>f[14]</code> -&gt; <code>10[f+4]</code></li>
<li><code>X[0]</code> -&gt; <code>*X</code></li>
</ul>
<p>Assignments return the assigned value, allowing them to be included
into later expressions:
<code>10[f]=f[13]&lt;&lt;2; f[1]=20+10[f]+k;</code> is replaced with
<p>Assignments return the assigned value, allowing them to be included into later
expressions: <code>10[f]=f[13]&lt;&lt;2; f[1]=20+10[f]+k;</code> is replaced with
<code>f[1]=20+(10[f]=f[13]&lt;&lt;2)+k;</code>.</p>
<p>This technique is used in conjunction with the comma operator to
further obscure where the data ends up. For example:</p>
<p>This technique is used in conjunction with the comma operator to further obscure
where the data ends up. For example:</p>
<ul>
<li><code>12[f]=4[++c]&gt;&gt;k;</code> was incorporated into
<code>w[0]*=6[f];</code> to yield
<li><code>12[f]=4[++c]&gt;&gt;k;</code> was incorporated into <code>w[0]*=6[f];</code> to yield
<code>w[0]*=(12[f]=4[++c]&gt;&gt;k,6[f]);</code></li>
<li><code>w[15]=w[k]=e[12[f]]; w[11]=w[10]=e[1];</code> becomes
<code>w[11]=(w[15]=w[k]=e[12[f]],w[10]=e[1]);</code></li>
</ul>
<p>A few other miscellaneous obfuscations have also been done:</p>
<ul>
<li><code>while(++f[15]&lt;12);</code> is used instead of
<code>f[15]=12;</code></li>
<li><code>for(s=14[f]=0;s&lt;f[13];s++)</code> is used instead of
<code>f[14]=0; for(s=0;s&lt;f[13];s++)</code></li>
<li>The line that contains <code>printf("Hello, world!");</code> is
mostly commented out.</li>
<li><code>while(++f[15]&lt;12);</code> is used instead of <code>f[15]=12;</code></li>
<li><code>for(s=14[f]=0;s&lt;f[13];s++)</code> is used instead of <code>f[14]=0; for(s=0;s&lt;f[13];s++)</code></li>
<li>The line that contains <code>printf("Hello, world!");</code> is mostly commented out.</li>
</ul>
<h2 id="copyright-and-cc-by-sa-4.0-license">Copyright and CC BY-SA 4.0
License:</h2>
<p>This file is Copyright (c) 2023 by Landon Curt Noll. All Rights
Reserved. You are free to share and adapt this file under the terms of
this license:</p>
<h2 id="copyright-and-cc-by-sa-4.0-license">Copyright and CC BY-SA 4.0 License:</h2>
<p>This file is Copyright (c) 2023 by Landon Curt Noll. All Rights Reserved.
You are free to share and adapt this file under the terms of this license:</p>
<pre><code>Creative Commons Attribution-ShareAlike 4.0 International (CC BY-SA 4.0)</code></pre>
<p>For more information, see:
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<h1 id="inventory-for-2019giles"><a name="inventory"></a>Inventory for
2019/giles</h1>
<h1 id="inventory-for-2019giles"><a name="inventory"></a>Inventory for 2019/giles</h1>
<p><a href="#top">Jump to top</a></p>
<h2 id="primary-files">Primary files</h2>
<ul>
<li><a
href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/prog.c">prog.c</a>
- entry source</li>
<li><a
href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/Makefile">Makefile</a>
- entry Makefile</li>
<li><a
href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/prog.orig.c">prog.orig.c</a>
- original source</li>
<li><a href="BlockDiagram.png">BlockDiagram.png</a> - reverb algorithm
block-diagram of internal structure</li>
<li><a
href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/try.sh">try.sh</a>
- how to run</li>
<li><a href="MonodyVocals.wav">MonodyVocals.wav</a> - Monody by
TheFatRat featuring Laura Brehm</li>
<li><a href="2019_giles.tar.bz2">2019_giles.tar.bz2</a> - download entry
source</li>
<li><a href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/prog.c">prog.c</a> - entry source</li>
<li><a href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/Makefile">Makefile</a> - entry Makefile</li>
<li><a href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/prog.orig.c">prog.orig.c</a> - original source</li>
<li><a href="BlockDiagram.png">BlockDiagram.png</a> - reverb algorithm block-diagram of internal structure</li>
<li><a href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/try.sh">try.sh</a> - how to run</li>
<li><a href="MonodyVocals.wav">MonodyVocals.wav</a> - Monody by TheFatRat featuring Laura Brehm</li>
<li><a href="2019_giles.tar.bz2">2019_giles.tar.bz2</a> - download entry source</li>
</ul>
<h2 id="secondary-files">Secondary files</h2>
<ul>
<li><a href="index.html">index.html</a> - entry home page</li>
<li><a
href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/.entry.json">.entry.json</a>
- description of entry in JSON</li>
<li><a
href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/.gitignore">.gitignore</a>
- list of files that should not be committed under git</li>
<li><a href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/.entry.json">.entry.json</a> - description of entry in JSON</li>
<li><a href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/.gitignore">.gitignore</a> - list of files that should not be committed under git</li>
<li><a href=".path">.path</a> - directory path from top directory</li>
<li><a
href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/README.md">README.md</a>
- markdown source for index.html</li>
<li><a href="https://github.com/ioccc-src/temp-test-ioccc/blob/master/2019/giles/README.md">README.md</a> - markdown source for index.html</li>
</ul>
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