#Reaper input delay

[longspan]

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To rub more salt in the wound, i set 8 of logic’s VI’s in “live buffer” mode, so 8 of them were at 32 samples, and I was able to play away all 8 simultaneously via my keyboard at 32 buffer… I would be a fool to even try this in cubase if i valued my health!

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I am certain if i invested in a killer windows machine it would all be ok… but i am a mac guy… Looking at an imac pro even but not sure if it will solve my issues (after all, playing a single VI at low latency depends on single core performance)… Yes, once the live playing is done, and the VI’s are shuffled onto the higher internal playback buffer, cubase beats Logic… But for me, and i suspect many others(?), low latency performance is what we want. Now, the reason why this is an issue is, because logic allows LIVE PLAYING at 32 buffer, for EVERY single instrument where cubase fails at even 64 buffer. If i was to go to 88 or 96k, i’d have to put it at 256 buffer. YET, like Cubase, Pro tools suffers under 128 buffer… HOWEVER, it allowed me to play the JV1080 at 64 buffer using the apollo, which cubase could not manage. Pro tools once again beat out both Logic and Cubase doing the same test with the JV1080, by around 10% this time. Pro tools rules them all when it’s internal high buffer is instantiated… it would play 20 instances in that scenario, for example.

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HOWEVER… once i have recorded, and the instrument track is shuffled back onto it’s “asio core” buffer (in my case 1024 samples, the normal setting), Cubase actually beats out Logic in terms of instances and polyphony… for example… when i did my last DSP test using kilohearts ONE synth, i got 14 tacks in logic playing same patch and midi file vs 16 in Cubase. I can not play 4 note chord progressions at anything under 128 buffer in Cubase… The latest test was with Roland JV1080, a relatively light VI compared to many others. The thing is, Cubase is almost impossible to play ANY vsti with “in realtime”, under 128 buffer…Ħ4 causes pops and clicks, 32 sounds like a meat grinder. Hi… having real issues here… I have gone through 4 different interfaces… MOTU Ultralite MK3, Mbox3, Apollo Thunderbolt (best performer of the lot), and just plain on board mac sound through headphone out.

[fuchsiali]

This might contain some SPOILERS from the manga!

It's 1 AM, I had drank coffee with cocaine too much sugar in it and I have an assignment due tomorrow.

Why not dump all my ideas to avoid forgetting them!

Black Butler x Reader...DeEp SiGH

Assuming no one had done this idea yet, I'm going to save my spot now!

Haemophiliac MC.

Haemophilia is a blood disease that runs in some royal families in Europe throughout the 19th and 20th centuries. Queen Victoria is believed to be a carrier of Haemophilia B.

MC, who had inherited the disease from her father; Prince Leopold, the youngest son of Queen Victoria. Making the MC a direct relative to the queen. MC will be loosely based on Princess Alice, the eldest daughter of Prince Leopold and Princess Helena.

The couple does have a younger son, Charles Edward, but I will make him an older brother for the MC in the first book.

They are kind of based on real people, because god forbids, I can;t make up names for people that isn't John.

Anyway.

After an accident involving her guard, the queen decided that maybe it would be best to have her relocated to the Phantomhive Manor, where she can be watched and somewhat protected.

That's the whole starting plot or some kind of introduction. (I just talked to a relative about this for 3 hours, help it's 5 AM already)

When she was younger, her brother was killed when an assassination attempt was pulled on her. She was meant to die that night, but it was said that the reapers can delay someone's death and change their supposed death date, or something along those lines (though it was said that it's very rare for it to happen).

Her mother, Helena, was also killed when she was overseas, away from the MC. The last thing that the MC received from her mother was a Fabergé Egg (usually made for the Romanov Family).

Her father, Leopold, died the exact same way as his real-life counterpart did; falling down the stairs in Cannes.

She rules over a county, as a noble, of course. Her title from birth is Princess of Saxe-Coburg and Gotha and Duchess of Saxony. Though I am still searching about title inheritance, as of now, when her father died his title was passed down to the MC. Making her also the Duchess of Albany (Still researching on this part).

Might input some non-canon arcs in there for the MC's backstory and other key details. I might also mix up the plot of both the anime and manga (but will still thoroughly follow the manga).

The past deaths that the MC had witnessed still haunts her, which is why she does something that will somewhat prolong the memory of them. Be it by achieving the person's dream, or picking up a habit of theirs.

It was said that Queen Victoria was upset with one of her daughter's because after she had been wedded, she and her husband moved to have a more "civilian" life. It was also said that she didn't like children that much (Still researching more into this). This will be a detail that gets in the way of the MC's desires.

For the supernaturals (Demons, angels, reapers, etc.) I'll be using the descriptions from the actual Supernatural series to have a better understanding of them.

In the chapters where it was revealed that "Ciel" was revived, I might replace it with the MC's brother instead. Or maybe insert in both, we shall see.

I might end up making 3 separate books where the MC's age is different to avoid having people coming at me for the age differences and such. I'll be changing the plots and a few things in each one, try to, at least.

This is just a snippet of detail for the MC and it probably doesn't make sense that much. Maybe once I actually write the thing, it'll start connecting.

[purewhitewolf]

Kaitlyn starts tinkering on her watch. At a glance it looked like she was simply taping the glass and correcting the time. But there was more to this watch. She was inputting some notes and checking for special alerts. She then decided to contact some other people and presses on a button, waits a few seconds for a beep before talking.

"Kaitlyn Zero-1.20 reporting in to all other timeline variants and even other alt universe Kaitlyns. The main Kaitlyn Zero, currently located in multiverse 4 universe E-N-D-Q5 is having another nervous breakdown. Her performance has been going downhill in this particular universe for some odd reason. Should we have one of the parallel alternates swap with her AGAIN?"

"Kaitlyn Zero-1.0 here, I think you are confusing Kaitlyn Zero-1.10 for main Kaitlyn. Main Kaitlyn is still currently de-aged into a child and is recovering her memories. We had successfully implanted other timeline memories into her head as warning for her to act quickly. 0-1.10 on the other hand purposely letting things get bad in order to get answers from some of the fake gods and former seers to pass on to the main us. We just received some fascinating information about the moon butt gal and Death's system from her five minutes ago."

"Kaitlyn Zero-2.4 reporting in after a date with a lovely bearess from the superhumanpisky universe, Is this really a good idea? I know our timelines will bleed into each other and cause mixed memories to happen. I'm not sure if the habitants will be pleased about some of the intentional delaying other Kaitlyns did. What if they blame our main self? Why are you all doing this bs anyway?"

"Not everyone will get other timeline memories nor receive all of them, not even that Lunette gal will know much of anything happening. She'll pretend to, but she won't really know all we do. At best only Death and the spirit guides will be aware of everything...and even that's a stretch. Only our main self will know everything for sure, the others will likely get bits and pieces. And it is worth it to explore all options for research...even the dark paths. We want to create less need for Kaitlyns merging to revive Zero, so we must review all outcomes to ensure she survives and only has *temporary* deaths... as well as prevent her from trying to kill herself as she usually does at this point of mental stress."

"....But what about that vision? Something wants to kill her, no, reap her. It's not our Death nor David obviously... it is way stronger than the two fake goddess sisters... we have no way of preparing against it."

Then another much older voice pops in "If I may suggest something... perhaps regarding the strange entity, Zero should just ask both her Death and David to keep an eye out for it, If it is indeed a reaper of sorts, they'll have the best shot of working it out."

"High Priestess! We didn't mean to drag you into this call."

"If something happens to Zero, I will have to be involve. Whether it be to revive her or replace her. She is important, even more important than me despite her rankless status in The Void. There is a reason why many of others are willing to sacrifice their former identities to sustain both my Zero and that particular Kaitlyn's life and personality. Do not let her lose herself or get taken."

[roxannamcdougal-blog]

What Is The Distinction Between MP3 And MIDI Information?

To get lyrics, tablatures, MIDI or MP3 data. Helps create a lead sheet by isolating the lead part from most multi-instrument MP3 information or midi mp3 converter free online CD. Obtain MIDI Converter Studio to a known location. After obtain is complete, launch setup and follow directions. Take heed to your favorite MIDI tunes in your MP3 participant or use MIDI tunes as ringtones in your cell phone! Rapid MIDI to MP3 Converter can flip a bunch ofMIDI information into excessive-quality AC3, MP3, FLAC or a dozen different formats in a matter of seconds. Merely copy these two information to the C: \ Program Information \ VirtualMIDISynth \ encoders" directory as proven within the message. Conversion Cat is another excellent utility which is consumer-friendly, in addition to its interface, is clear and extra understandable. Just like Bear File Converter, the audio recordsdata to be uploaded, will be as large as 50 MB. Each device in a daisy chain provides delay to the system. That is prevented with a MIDI via box, which comprises a number of outputs that provide an actual copy of the box's enter sign. A MIDI merger is ready to mix the enter from multiple gadgets right into a single stream, and permits multiple controllers to be connected to a single machine. A MIDI switcher permits switching between multiple devices, and eliminates the necessity to physically repatch cables. MIDI patch bays combine all of these features. They contain multiple inputs and outputs, and allow any combination of input channels to be routed to any combination of output channels. Routing setups might be created using computer software program, stored in reminiscence, and selected by MIDI program change instructions. 2 :47-50 This enables the units to perform as standalone MIDI routers in situations the place no laptop is current. 2 :sixty two-three MIDI patch bays additionally clear up any skewing of MIDI information bits that happens at the enter stage. Till now you had no alternative however to succumb to the often tedious and time consuming activity of listening to a tune again and again to pick all the notes yourself. Let our intelliScore MP3 to MIDI program do the tough work for you. Spend extra time making music. Spend much less time determining the notes. then all you have to do is edit the new wav and export it as an mp3 or ogg file or wav and use another program to convert the wav to mp3. Utilizing , it is easy to transform MKV recordsdata to quite a lot of different formats. All the software program to translate audio (wav or MP3) to MIDI information can work in "acceptable" way when the audio is from just one instrument or voice. However, when the audio is from a bunch of voices or instruments, things change. Enter your e-mail deal with to receive transformed file. 01. As step one, you must obtain and set up Wondershare Video Converter Final in your laptop. Now, launch the program and click on the option called Convert. Then, go to Changing and select Add Files. Select Open to get the MIDI information imported to this system. This resulted from another collaboration across the Atlantic within the Christian Songwriters' Group mailing listing. John posted some unfinished lyrics which seemed to have great potential - especially the repeated rhymes originally of the chorus leading up to an explosive "Resurrection Day" on the end. I aimed to present them music with an appropriate really feel of urgency, and collectively we continued to refine the lyrics. Please, electronic mail to sup.amvidia@ about any problems or characteristic requests. We all the time glad to improve our purposes for you. In case you like MIDI to MP3 converter, a assessment on the App Retailer could be very appreciated. Within the popup window that may open, browse the input file (the midi file that you really want convert to mp3) and the output file (title and vacation spot folder). I consumer Reaper to record and play again MIDI from a keyboard. In my case, I put the MIDI by means of a virtual instrument in Reaper. as you do convert midi to wav that method. To convert MIDI information to FLAC format you may need FLAC encoder, you will get it right here (FLAC win32 bundle). Unzip the file "" from the archive into program folder. 03. You possibly can click on the button Convert" to start out MIDI to MP3 to do it one after the other. In case you have more than one file to transform, you'll be able to easily use Convert All" button. On the completion of the conversion, you can go to the tab Transformed" and discover the extracted recordsdata.

4. Midi files are great working information. They're editable. The key could be changed. They are often imported and exported in music software program programs. As a result of the "sound" will fluctuate relying on the user's soundcard and soundfonts, I've used a vanilla piano soundfont. An individual could must enable "midi" information in their browser and their music gamers. Who doesn't take heed to music? Who would not get carried away by the beats and sway to the melodies? Music is that artwork that connects souls using sound and magicaudiotools.com silence in ways that you typically can't even think about. It merely modifications your perception of area and time in an instant. Converts any youtube video to a high quality small mp3 file. As soon as the recordsdata have been transformed, you can obtain them individually or collectively in a ZIP file There's also an choice to avoid wasting them to your Dropbox account.

[tittacover]

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One set of plugins that does not work well, sometimes does not work at all.and that is the Soundhack freeware plugins, specifically the Delay Trio. VST works pretty well.but still having some audio crackles and glitches when using a decent amount of plugins. I am trying to track down some of the plugin issues I have in OSX 10.6.2, I am also a UAD user and have some glitchy things happening with the opening and closing of windows, as well as when I run the UA plugins in AU format. I had and used Trilogy for a long time, but now on a Intel, it's a real pain. As others pointed out, Trilian has a different name in Reaper. Now, I just bring the Trilian host window to focus from the dock after I load the plugin, then everything works fine.Īctually, it works just fine now. I think it was about the fourth time I force-closed Reaper that I happened to notice the Trilogy host icon in the dock which disappeared just as Reaper was force-closing. With Trilogy, this host window was actually behind the plugin window so I never saw it and Reaper appeared to just hang. If what you mean by "crash" is that Reaper just hangs and won't accept input and you have to force-close, then I think this may be the issue: If Trilian is anything like Trilogy (and I suspect it is, since it's the "new version" of Trilogy), it actually opens a separate host window when you load the plugin in Reaper. Sorry if it's a bit late responding to this.

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I have the latest Reaper 3.22 and the latest Trilian update (1.1.4c). It just sees the AUi version although both are installed. It's weird that Reaper does not even see the VST version of it. Has anyone been successful at all with running Spectrasonics Trilian with Reaper? after clicking OK in the restartcallingwindow try to remove the plugin from the insert.ĥ libSystem.B.dylib 0x9355e155 _pthread_start + 321Ħ libSystem.B.dylib 0x9355e012 thread_start + 34 Hybridreverb2 crashes reaper every time U try to remove it from the plugin-chain. Plugin disappears, FX list is empty again.Ĭlick the "Add" button in the FX Chain window. Plugin loads, everything seems fine! :-OĬlick the "Remove" button in the FX Chain window. (Preference "Load last project on startup" disabled)Ĭlick on the FX button of the newly created track.Ĭhoose AUi: LinPlug: FreeAlpha. Those who use the default GUI, like Apple: AUMatrixReverb (included with OS X / GarageBand), work just fine.Īlso, they don't crash a pristine project! Here's what I mean: It seems that all AU with a custom GUI are affected. Here a partial list of AU that crash on me when trying to add them:Īpple: AUGraphicEQ (included with OS X / GarageBand)Īpple: AUDynamicsProcessor (included with OS X / GarageBand) I'll do some more thorough checking when I get the chance I have more, but I cant think of them right now. could have a ot to do with this reaper error message when loading the plug: "Could not get channel info for effects (are they multichannel?)" - it is not multichannel though. The TAL-TOGU Bass line synth has no audio at all and does not seem to respond to midi (at least the fancy keyboard graphics don't). Anything Arturia seems to cause frequent crashes on 3.00 but now seems to work fine for 3.01.Īlthought the Minimoog V comes up with only bypass as an option for paramter modulation. I seem to recall a GUI being there before upgrading to version 3

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BFD Demo (i wonder if it goes for the full prog as well) has no GUI - even on resize or actions. PLUG problems (all of them work fine in logic studio as either AU or AU-wrapped from vst via fxpansion) : Thanks for finding time for us OSX'ers as well.

[mommytitta]

Reaper metrognome plugin

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Our friend and superstar mixer Billy Decker recently published a book called “Template Mixing and Mastering” in which he delves deep into his universal mixing template and his thought process.

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While this article is specific to tracking in REAPER, take a look at our previous article on how to effectively use templates in every situation. Templates speed up the workflow for tracking, mixing, and even songwriting. And why not have your favorite delay or reverb plugins ready to go all the time, so you don’t have to worry about setting them up for every new session? The same goes for any of your routing preferences, including parallel processing or drum trigger setups. What’s the point of re-creating the same session over and over again? Surely, having tracks in the same order and labeled and colored the same in every session makes it much easier to keep track of what’s going on. If anything, using templates allows you to be even more creative by making your tools available to you for when inspiration strikes. My opinion is that they couldn’t be more wrong. Using the same reverb and delay plugins, and the same settings, make for a lot of mixes that sound the same. They argue that having tracks, routing, processing, and effects set up ahead of time stifles creativity, and is a sign of being a lazy engineer. Some engineers love to hate on templates. Templates provide a great foundation for an efficient workflow and we also have some valuable tips to save even more time as you track and get ready for editing and mixing. If you have any more questions or need further assistance, please submit a request to our support staff.In this article, we’ll focus on workflows that will organize your tracking sessions so that you are more efficient and have more time to spend on the creative process. Once you assign the instrument to their individual track you can see that the output gets sent to the separated track (just a quick hint you can rename the tracks to the corresponding instrument to get a better overview of your instruments and tracks) Also please note that the Overhead mic and Room also have an individual output you can adjust. Click on the instrument you’d like to assign and select “individual” in the output section. One last thing to do is to assign the instruments to their individual output. Here you can choose if you want to send all outputs to one master track or to split them - in this case, we want to create multiple tracks so click on yes and continue.Īn instance of the plug-in will start and the multiple tracks will be created automatically for you. Note that reaper automatically recognizes the multiple outputs. To do so right-click on the timeline and select “Insert virtual instrument on new track”Ī Menu will open up where you can choose your plug-in ( for this explanation we’re going to stick with VD-Brute) Double click on the plug-in you want to start. Multiple Output supported ujam plug-ins are the Virtual Drummer 2 Series, Beatmaker 2 Series, and the Virtual Guitarist Carbon and Iron2.įirst, start an instance of your plug-in. So If you, for example, mute the Kick channel in the mixer, you might still hear the Kick on the Overhead and Room channels. Think of each channel of your plug-in as the input from a drum microphone. Sending an Instrument through its individual out will remove it from the master processing of your plug-in, so please be aware, that Mix-Preset, Reverb, Saturate, Maximize, and of course Master Volume will not affect drums routed to their individual outs. Make sure to the output to "I ndividual " instead of " Master " within the plugin: To properly use the multi-out functionality in your DAW you might have to create extra AUX tracks and/or use the dedicated multi-out option. Multi-Outs make the processing of each drum signal more flexible, DAWs handle multi-out plugins in various ways.

[slimgreys]

Audiofinder explained groove3

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You May Also Like Latest Post Cockos REAPER v6. Get the beats in your head out and into your track guickly… Watch “GrooveCell Explained®” today!

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Next, a full description of the Library Sidebar in given, and Brock teaches you how to use all of AudioFinder's various scan options. Next, explore the functoinality of the seguencer, which allows for per-row randomizatoin, alterinq the number of steps, playback directoin, and step duratoin, amonq other variables. Brock begins by explaining exactly what AudioFinder can do for you and how it can help increase your productivity, organize your loops and samples, and just make your life easier. Watch ass Eli explains and demonstrates the Pad Settinqs, which allow offsets for volume, pan, tuninq, amp/pitch envelopes, and much more. Then you’ll learn how load samples (sinqle or multiple) onto a pad and how to set the triqqer mode for each pad: velocity split, round robin, or layered. These videos are for new GrooveCell users.Įli welcomes you and starts with a qeneral overview of the instrument, so you’ll be familiar with how everythinq is laid out before movinq on. Eli takes you on a tour of all the important functoins, demonstratinq each with effective examples before culminatinq with a full beat desiqned form scratch. Pro Tools quru Eli Krantzberq presents a comprehensive sersie of video tutorials on GrooveCell! This new ritual sampler for Pro Tools is loaded with useful features, and this course will help you qet familiarized and up to speed guickly. It is of Groove3 GrooveCell Explained freeload. Groove3 GrooveCell Explained Download Latest.

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Antares Auto-Tune 8.1 VST3 Cracked Full is the industry standard when it comes to vocal pitch corrections, used by heavy weight artists in different music genres, such as Pop, Hip hop and RnB.This is a must-have plugin to have in your audio softwares collection! Auto-Tune 8.1 free download can work wonders on vocals that need improvements, such as high notes that cannot be reached. Reaper - 5 (VST3) FL Studio - 11 or later (VST3) Sonar - Platinum (VST3) Some users have reported that the Sonar plug-in scanner fails when scanning Auto-Tune 8.1. We suggest trying a free demo before purchasing Auto-Tune 8 for use with Sonar. I used to have intermittent problems with Auto Tune before as well. Dec 07, 2016 Antares Auto-Tune 8.1 Cracked VST3 Full Download 17.00 2 comments Antares Auto-Tune 8.1 Final Release adalah plugin koreksi suara yang kuat untuk Pro Tools yang memungkinkan Anda untuk memperbaiki semua suara pada frekuensi yang sama. Oct 08, 2018 This method will be familiar to VST users, but may not be evident to Pro Tools users (AAX plugins). In the video I will go over where you need to place the files so your plugins.

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Dec 13, 2019 AutoTune 8.1 Free Download: Auto-Tune 8.1 VST is an audio processor created by and a registered trademark. From Antares Audio Technologies that uses a patented device to measure and alter the tone in recordings and performances of vocal and instrumental music. Auto-tune 8.1.1 Settings Free Guitar Vst Download Gordon Ramsay Games Download Mda Stereo Vst Download Serum Free Download Windows Auto Tune Evo Free Download For Pc Disney Cooking Games Download Massive Vst Crack Serial Auto Tuning Ota Antenna Optimizing Servo Auto Tuning Auto Tune Software free. download full Version. So, without further ado, let’s take a look at the best FREE autotune VST plugins in 2021. Graillon 2 (Free Edition) It’s impossible to talk about free autotune VST plugins without mentioning Graillon 2. Upon first opening the plugin, you are met with a stunning, industrial-style interface with glowing knobs and a clear, easy-to-use layout.

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Antares Auto-Tune 8.1 Final Release is a powerful sound correction plugin for Pro Tools that allows you to refine all sounds on the same frequency. In this way you’ll get a coherence between all samples of audio that you work on. When recording a song can have certain problems with intonation and the tempo of a voice or instrument, and as a result, it may be necessary to return to the recording again and again until it comes out perfect. Antares Auto-Tune 8, a program that combines with Pro Tools to fix these problems automatically or manually.

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To fine-tune an audio file just to indicate the base musical note for all your sounds (e.g. D1) and drag the files into the window of AutoTune. AutoTune automatically, will regulate the file based on the chosen tone. Simple.

If you are starting to create music and it chokes you theme tune, AutoTune will be great helpful. For most of the problems that can arise from tone Antares Auto-Tune includes a tool that automatically corrects tone, offering the possibility to mark objective tone so that you make the changes on the fly.

Also, AutoTune 8 Crack Patch Download allows to normalize the frequencies, the depth and the channels used for each sample. But in addition to the adjustment of tone Antares Auto-Tune has become an indispensable tool in any study of recording thanks to the rest of its features:

Automatic Mode detects input pitch and adjusts it to the closest pitch. Correction and manipulation of time. Adjust until the last thousandth voice and tempo of instruments so that the songs are perfect. Evo Voice Processing Technology, a unique technology of Antares which allows to process any small details of a voice. Reception of the tone on via MIDI. Shown on screen both the original sound as the modified to see the differences. Multiple keyboard shortcuts to speed up the process.

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Installation Instructions: 1- Open (setupx64_Cracked) for 64bit or (setupx64_Cracked) for 32 bit and install the software. 2- The plugin is pre-activated. No serial or patch needed. 3- Enjoy Antares Auto-Tune 8.1 Activation Code Latest Full Version.

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Year / Release Date : 6/12/2019 Version : 9.1.0 Developer : Antares Developer’s site : Antares Format : VST / VST3 / AAX Bit : 64bit Tabletka : cured System Requirements : Windows 8.1 to Windows 10 as required

Description : Auto-Tune Pro is the most complete and advanced version of Auto-Tune. It includes both automatic mode for real-time pitch correction and effects, and a graph mode for detailed editing of pitch and time. For twenty years, Auto-Tune has been a professional standard for pitch correction and a tool for selecting the most significant vocal effect in popular music. Now, with the advent of Auto-Tune Pro, it has become more versatile and easier to use than ever before, thanks to a completely redesigned interface and powerful new processing, editing and navigation features. We added automatic key detection using the new Auto-Key plug-in (included with Auto-Tune Pro), the classic mode for “Auto-Tune 5 sound” and real-time MIDI control. The Auto Mode and Graph Mode interfaces have been redesigned to provide the most efficient, flexible, and intuitive workflow for professional users and beginners. Auto-Tune Pro also includes Flex-Tune and Humanize for more transparent and natural tuning, as well as a low-latency mode so you can work in real time without distracting the delay. It also has a time correction function for non-destructive time editing, as well as formant correction, Vibrato controls and neck length modeling. Auto-Tune Pro offers professional pitch correction and classic effects that you are looking for if you want to quickly tweak some dubious notes or carefully polish the entire performance.

included: Auto-Key v1.0.1 – Automatic Key and Scale Detection Auto-Tune Access v9.0.0 – Essential Auto-Tune Features Auto-Tune Artist v9.0.0 – Real-Time Pitch Correction Auto-Tune EFX + v9.0.0 – Vocoder style Vocal Effects Auto-Tune Pro v9.1.0 – World Standard Professional Pitch & Time

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[diy-e-percussion]

Electro-Batá Progress

My first test for the elctro-batá used two e-drum kit pads, mounted on a bar from a cymbal stand, with two Pearl conga accessory mounts. I used my Roland SPD-SX to trigger the samples, using the external trigger inputs. The samples are loaded directly onto the SPD, and play from the internal HDD.

This works OK, but you have a limit of four external pads with the SPD-SX, so wasn’t going to work if I want to play with all three drums (six heads) at once, works well for playing one drum at a time.

My first tests were OK, although not as easy to play as I’d hoped, the pads aren’t that sensitive and you’re hands end up hitting the rims quite often. Here’s a quick test of the sounds of all three drums together - please note, I am not playing this rhythm (Ñongo) correctly or very well, but it shows you what the sounds were like at this stage!

*Also these drums are often played with bells on the large drum, or Iyá, although not always in secular music, I’ve added in the bells to my samples because I like the sound of them and I also feel it helps smooth over the ends of the samples nicely and makes it feel more organic, like how in films we use ‘room-tone’ or recordings of the atmosphere in spaces to cover over silences or edits in dialogue. 

Here is the first test:

I sent these through to my friend Rob who plays Batá ( Rob’s running sick online Brazilian percussion classes at the moment ), who pointed out that to get the true character of the drums, I would need to trigger different samples to get all the tones of the instrument - not just the difference in sound between a quieter and louder hit (velocity sensitive), but the different tones that are achieved by a different type of hit (triggering different samples BASED on specific velocities).

Unfortunately the SPD-SX, can’t trigger different samples based on the velocity of the strike - they have this technology in their e-drums, I’ve messaged them requesting it for this series, feel free to do so as well and show them that there’s interest!  So Rob suggested looking into MIDI for this kind of triggering. Luckily enough, I had gotten an electronic drum kit brain as part of the random parts I got last year, which had a MIDI output ability via the USB cable. This had eight inputs, so I could use this to plug in up to eight pads, which would each send a midi signal of a different note to the computer. Using software that can do MIDI triggering, I could then assign any sound file to play when that specific note is played (aka that specific pad is hit), and it’s already velocity sensitive. I did some research online, and found that I could do this kind of triggering with the DAW (Digital Audio Workstation) Reaper - which has a free trial period. Here’s a video about how the built in sampling plug in works:

Here is a video about the velocity-specific triggering it can do and also a really cool feature called ‘round-robin’ where an alternative sample can be played for the same velocity, based on a percentage number that you input, to give a variation. This is an awesome feature to add a more natural feel to sampling instrument - in real life, your hits will often sound subtly different. 

This way you can give your samples really interesting detail - and it doesn’t have to be just for playing an alternative sample - I made an electric bass instrument where different sounds of fingers running over frets (the metal bits that designate notes on a guitar / bass neck) or buzzes occasionally play, adding to the feeling that a real person is playing the instrument. 

Effectively what we are doing now is building what’s know as VST Instruments - virtual instruments made up of a large collection of samples. 

With all this in place - I set up another test for the electro-batá. First I had to source samples for all the different tones I needed, then program them into Reaper based on the drum machine’s default MIDI notes. This took a little bit to figure out until I found the manual online which has the default MIDI notes all in there.

This test worked great! Sometimes it wouldn’t trigger the sample I wanted, as the sensitivity isn’t the best, but it was definitely workable to be able to play different tones. I also really improved the quality of the samples I was using which made a big difference. With a sampling instrument, the quality is really only as good as the samples that you source. So, now that I had figured out the sampling side of things, I was sorted for playing one drum at a time. You can just switch which drum you’re playing on the computer.

Here is the second test: 

Here are the basics of my setup with the inbuilt sample plug in.

This is the setup I’m using for triggering different samples based on the velocity.

So I was pretty happy with the results there. This also opens up the option to trigger ANY sample at all and tonnes of digital effects using these pads - something I’ll explore later.

The only problem I was experiencing was a bit of latency - this is a delay between when you hit the note, and when you hear the sample, caused by the time taken for the signal to be processed - this has a lot to do with your computer hardware and how you’re interfacing, and I don’t know much about it yet, but will have to explore this more to make these more playable. Trying to play in time is very difficult if the sound you’re hearing is slightly late.

[obeymeshallwedatecheats]

Obey Me Shall We Date Cheats

Obey Me Shall We Date Guide

Obey Me Shall We Date guide is a guide for warm new sport. In tasks dance battles you'll always win due to the fact your opponent will now not be capable of use his skills whilst you could, it's going to come up with smooth wins all the time because you can score high effortlessly however make sure you furthermore may improve your group, do now not proceed in the sport with low-level playing cards, the mod resides inside the opponent no longer being able to use his abilties while its charged. Are you able to please update this sport into three.zero.6 model and make the whole lot possible (like ap/ coins/ Devil Points) limitless please? This isn't always me. I sense extra cozy in my very own body with my character than an mc who's the complete opposite of me (that is the purpose why i now hate placing my call on the mc). A variety of different games have the choice to exchange your look (physically, like pores and skin, frame kind, and many others.) However otome games almost by no means do, which receives on my nerves. I get it. They make default mcs to make cgs like top notch and they can't exchange her appearance on it to keep cash. You have been selected to emerge as an change scholar at rad, a school for demons. Watching for you are 7 demon brothers and a mountain of obligations...?! Evil demons inside the devildom are after your soul! With the assist from the 7 brothers, you may defeat them in an interesting card conflict. Pick your personal group and spot the unique chibi characters appear on-screen as you listen to the tune that varies each stage. Acquire cards, level them up, and win the battles! It would be an awesome concept to feature the cards that match the stage characteristic. ⇒all of the cards have special skills that improve appeal and can help you earn more points. For the duration of the dance warfare, characters will rate up and while their strength is complete, you could tap on them to unharness the special competencies. It is better to wait till all of them are complete and chain their special abilities for combination consequences. ⇒there are five ranges of playing cards in the sport; ur-tier, ssr-tier, sr-tier, r-tier, and n-tier. © internet media network restrained, 1999 - 2020. this site is not affiliated in any manner with microsoft, sony, sega, nintendo or any video game publishers. #obeyme #obeymemasters #obeymejp #shallwedate #solmare #nttsolmare #otome #otomegame #datingsim #sport #romance #visualnovel #japanesevoiceactor #lucifer #mammon #leviathan #satan #asmodeus #beelzebub #belphegor #diavolo #anime #otaku #japan #devil #angel #demon #app #obeyme #obeymemasters #obeymejp #shallwedate #solmare #nttsolmare #otome #otomegame #datingsim #sport #romance #visualnovel #japanesevoiceactor #lucifer #mammon #leviathan #devil #asmodeus #beelzebub #belphegor #diavolo #anime #otaku #japan #satan #angel #demon #app after lifestyles is a korean-based totally otome cell sport in which you play because the manager for those grim reapers, purifying and sealing wandering spirits into kaleidoscopes. As you progress via the classes, you'll be facing aggressive teams which can rating extra than your crew. It is better to maintain strengthening the cards so you can clean all of them - gamers can play the lesson stages within the project mode again and again once more. This helps you grind the items, exp, and grimm. Tap on the stage which you cleared with all of the stars -> quick clean - get rewards immediately. You stumble upon the surprise guests after winning the dance warfare level. If you do not have the objects, faucet on the head, palms, hand, and so on. That surprise guest could be one of the essential characters; lucifer, mammon, leviathan, devil, asmodeus, belphegor. Reward them and boom their intimacy level. That surprise visitor receives intimacy factors while you praise him. At the chat display, faucet the intimacy option at the top-proper to check the intimacy stage progress of every character. If all matters go remarkable, the surprise visitor might come up with a present. On the primary display screen, faucet the to-do button -> daily responsibilities. It will take you to the duties display screen where you entire the training. In each lesson, you have got plenty of levels to finish. Players can play this mode in ordinary and difficult issue tiers. There are over 20 instructions in the game. On each stage, you compete with different characters in dance battles. It charges ap to play dance battles. You could get demon or memory cards, grimm, gem stones(card strengthening cloth), character exp, participant exp, etc. Via playing those tiers. ⇒inside the dance battles, the crew with the very best rating on the quit of the warfare wins. In case you are at an office or shared community, you can ask the network administrator to run a experiment across the community searching out misconfigured or infected gadgets. The page you requested couldn't be located. Try refining your search, or use the navigation above to find the post. Contact us privateness technical help niafinder shop telecourses customer service screw ups we found out tiny hole in server of this game and thanks to it, now we can add to Obey Me Shall We Date unlimited Devil Points and grimm. As you progress via the training, you'll be facing aggressive groups that may rating more than your crew. It's higher to hold strengthening the playing cards so that you can clear they all - players can play the lesson levels in the mission mode time and again again. This facilitates you grind the objects, exp, and grimm. Faucet at the degree that you cleared with all the stars -> quick clean - get rewards without delay. You encounter the wonder guests after triumphing the dance conflict degree. Some of these characters post their tales on devilgram. On the house screen of the sport, on the top-proper corner, you will see the devilgram choice. Tap it and you may see the account of all these characters; lucifer, mammon, leviathan, devil, asmodeus, belphegor. Tap on any man or woman icon and you'll see his memories. You may unlock their new tales and get phone calls from them via increasing the intimacy degree. Navigate returned to the house display screen and on the left side, you may see the chat option. It keeps saying "connection error" within the "input username / birthday " part but my connection is nice . I'm never played this game before but saw it here and very like it 😊 thank you so much vipmod your mod is working great 😁 i just tired with incognito as per another comment and no luck. Here's a screencap of the error on the app though, when you click the box it takes you to the app store with the only option being "open" and no update listed: http://imgur.com/a/lpmzrhp i just tried to install the game myself and test it out to see the update, but i am not getting the force update popup, maybe this app is limited to certain countries. It features an intimacy system; as you interact with the characters, their intimacy level will increase and you will unlock their stories on devilgram and you might get phone calls from them. Other than these main characters, you can get demon characters or cards from the nightmare. You will be using those demon cards or memory cards in the tasks/dance battles. From these battles, you get the items and currency that you will need to strengthen the demon cards. First things first - your ultimate goal is to befriend all the characters by raising their intimacy level and unlock all their new stories in devilgram. Choose your own team and see the different chibi characters appear on-screen as you listen to the music that varies each stage. Collect cards, level them up, and win the battles! What if the characters could come by your side, laugh and cry together with you, and become your friend? There is an intimacy level system in the game. The way you interact with the characters will affect your relationship with them. Become the master who brings the handsome demon brothers down to their knees and enjoy life at the academy in the devildom! ▶　there is an intimacy level system in the game. The way you interact with the characters will affect your relationship with them. Become the master who brings the handsome demon brothers down to their knees and enjoy life at the academy in the devildom! You have been selected to become an exchange student at rad, a school for demons. Awaiting you are 7 demon brothers and a mountain of tasks...?! Evil demons in the devildom are after your soul! With the help from the 7 brothers, you can defeat them in an exciting card battle. If you re-create the game interface using resource bundles flash back, it is recommended to download from the store, and then create a game, so as not to flash back! Features / features: -wall / noclip -water jump -explode obb: no need / not needed work all game / work in all games what if the characters could be by your side, laugh and cry together with you, and become your friend? - or even a lover? Obey me! Is a brand new otome dating simulation game in which the characters become a part of your everyday life. Or is it different from obey me's? Https://play.google.com/store/apps/details?id=com.elex.paper.lovegp&hl=en help !!!!!! " 1. Click on the picture you see and a random website will open (wait for it to fully load) " i fully understand what i need to do but there's no picture 😭 i re-downloaded the page many times but there is no picture i only see advertisements i will cry for real help please thank you for the mod, i love it! Unfortunately vip don't work for me either 🙁 also it would be amazing if you could do something about energy, it's running out really quick the vip works however not all features from it work because i guess some features are checked on their server thats why it wont work. I thought he's the reincarnation of lucifer, but then i realize sebastian is lucifer (it's just my interpretation, i don't know if it's correct). So who is the boy actually? Most likely the reincarnation of the hero/someone who was close to lucifer. A lot of players do believe that sebastian is lucifer and i do think it has grounds. But at this point, it's set up to the player's imagination. Hey there! I just wanted to say your guides for the love story otome game series have been really helpful and i appreciate the time and effort you put into them. Praise them and increase their intimacy level. That surprise guest gets intimacy points when you praise him. On the chat screen, tap the intimacy option on the top-right to check the intimacy level progress of each character. If all things go great, the surprise guest might give you a present. On the main screen, tap the to-do button -> daily tasks. Complete the daily tasks to get free Devil Points. You can earn x18 Devil Points or tickets by completing all the daily tasks.

[huntertales]

Part Three: You Can’t Cheat Death. (Two Minutes to Midnight S05E21)

Episode Summary: Sam, Dean and the reader confront Pestilence, but when he unleashes a deadly virus upon them, a very weak Castiel must intervene on their behalf. When reader has a meeting with Death to discuss Lucifer, an unholy alliance is formed at a very high price for the reader and her chances of saving herself from becoming a demon. Pairing: Dean Winchester x Reader Word Count: 6,785.

Previous Part | Supernatural Rewrite Masterlist

Your name: submit What is this? // <![CDATA[ function replaceAll(find, replace, str) { return str.replace(new RegExp(find, 'g'), replace); } function myHandler() { var input = document.getElementById("inputTxt").value; document.body.innerHTML = replaceAll('Y/N', document.getElementById("inputTxt").value, document.body.innerHTML); } // ]]>

Slowly, but surely, things were coming to their conclusion. Several months ago you were given the opportunity to see what would happen if the brothers continued to deny their true purpose in life—saying yes to Michael and Lucifer. If they failed to do so, the world would crumble as consequences for their selfish behavior. It started off with the croatoan outbreak that turned people into mindless, bloodthirsty zombies. Then society began to fall apart, turning it into a wasteland that you’d seen in post-apocalyptic films and read in books, thinking those other worlds were just fiction. Something like that could never happen to you. But it was. It was the reality that you could be blamed for in the next five years. And that was only the beginning of this nightmare.

The worst came for the three of you. Dean turned into a shell of a broken man worse than ever, hellbent on revenge. So much so, he would kill the people he once tried to protect. Sam had said yes to the Devil. And somewhere in the mix of things you ran off, turning yourself into a demon. The more you thought about it, you began to wonder if there could ever a happy ending for the people that fought this battle for the greater good. Anywhere you turned, no matter what action you took, the ending was going to be bleak and painful. But, like always, you kept going, trying to change the future to something a little bit better in hope you could have the same for yourself one day.

You made your way down to Bobby's van with another duffel bag filled with ammunition and guns, just a few things that you might need for the adventure you were about to embark on. It was decided that you would ride along with Bobby, Cas and Sam as extra backup. You'd seen the virus close up and personal before. Even though it only required a single bullet to the brain, it wasn’t the humans you were worried about. It was the demons that were going to do just about anything to make sure their precious plan continued on without any bumps that might cause a delay.

You adjusted the strap of the bag as you neared the open van door and got ready to toss in the heavy cargo. But your attention ventured away for a moment and to the angel standing next to the sliding door with a shotgun in his hands and a defeated look on his face. Cas let out a heavy sigh as you tossed the bag, relieving your shoulder of the pain, but it seemed that he had his own that wouldn't leave that easily.

"Hey," You turned your attention to the angel and gave him a concerned look, "What’s wrong? You act like something’s bothering you.”

“This is what they mean by the ‘eleventh hour,’ right?” Cas asked. You shrugged your shoulders and nodded your head. You looked around to see that night had fallen not that long ago, leaving the place in complete darkness besides the lights Bobby had spread around the place. “Well, it’s the eleventh hour, and I am useless. All I have is this. What am I even supposed to do with it?”

“It’s a gun, Cas.” You couldn’t help yourself but let a small smile spread across your lips at how he lifted up his weapon to inspect it before putting it back down to his side. “Point it and shoot. I learned how to use it. So can you.”

Cas didn’t seem to find your advice useful as he shook his head, wanting to spend a few more time sulking in his own misery for a life that he might never get back. “What I used to be—”

“You have done more in these past few months than you ever have as an angel.” You cut him off before he could continue on with this self doubt. You gave him a smile when he looked up at you with that sad, little expression. “I know how it feels to be powerless. And it sucks. It does. But what sucks more is letting yourself sit in your own misery, feeling sorry for yourself when you have a new family that needs you. You didn’t rebel against Heaven for nothing. You did it for a purpose. And that purpose is to kick some ass and save the world.”

"All right. Show's over. Quit pining for the varsity years, you two." Bobby's voice coming from behind you made you look over your shoulder to see that he was wheeling himself over to break this little heartfelt moment that was giving him a toothache. You curled your lips inwards to keep yourself from smiling as you stepped out of the way, giving the man direct path to the opening of the van when you noticed that he was coming over with some extra supplies. The hunter decided to make the angel useful by tossing the bag over to him without warning. "And load the damn van."

You let out a quiet laugh as you began walking back to the house to get some other supplies that you might need. You crossed paths with Cas, who was still holding the bag, watching as Bobby continued on his way without complaint. You placed a hand on the angel's shoulder and gave him a smile, as if to remind him that the hunter who was paralyzed from the waist down was doing more than sitting around and listing all the woes that he had. The five of you worked together to make sure you had all the things you would need on your separate journeys. Dean slammed the trunk of the Impala as Sam tossed in one last bag into the van. You stood in the middle of where the cars were parked. Ever so slowly, you were about to depart on your own mission.

“All right, well,” Dean headed over to where you and his little brother stood. You crossed your arms over your chest and gave him the smallest smile that you could form without showing him your apprehensiveness for this plan. He wasn’t thrilled himself at the idea of running off alone to take Death’s ring, but all of you had to step out of your comfort zones. “Good luck stopping the whole zombie apocalypse.”  

“Yeah. Good luck killing death.” Sam said. The three of you fell into a moment of silence as you let out a quiet breath from how things quickly escalated in just a few short amount of years. The younger Winchester looked around at the people he was surrounded with to see how the journey had shaped them. Along with a new face that he'd never thought would be apart of this family. He let out a quiet chuckle, making you look up at him with a bit of curiosity, wondering what was so funny to him. "Remember when we used to just...hunt wendigos? How simple things were?”

"Remember how much you guys fought tooth and nail to make sure I never turned into a hunter? It was supposed to be that one weekend, the three of us." You added a memory that made you and the boys smile for just a second about how different the dynamics were before. But the happy memory only lasted long as your own happiness. It was quick and short, doomed to be lost in the bitterness of the reality around you. “Felt like a lifetime ago.”

Sam let out the faintest sigh, finding himself caught up in the nostalgic memories of sitting in the Impala with you and his brother, fighting about where their father had been running off to as he dealt with the loss of his girlfriend and life that he created for himself. He thought that was the worst pain he could ever feel. If only he knew. Sam shifted his footing, causing him to feel the cold steel press against his backside, making him realize what he was holding onto.

“Well, um,” The younger Winchester took out the demon knife and handed over to his brother with the wooden handle pointed in his direction. “You might need this.”

“Keep it. Y/N’s covered.”

Crowley was making a habit of coming out from thin air. You nearly jumped out of your skin to see that he was standing right next to Dean with a casual expression on his face. But from what he said, you furrowed your brow and looked at him with a confused expression. He handed over what appeared to be a scythe, something Death himself had been associated with in myths and paintings as a reaper. Instead of being made of a sharp blade on a long wooden stick, the hook was made of what looked like rusty iron kept on a short handle. You stared at the foreign object, wondering why the demon wanted you to take it.

"Come on. It won't bite.” The demon reassured you. You kept your distance from it as you began to wonder why he wanted you to only hold it. “It’s Death’s own. Kills, golly, demons and angels, and reapers, and, rumor has it, the very thing itself. Of course, it comes with very specific instructions. It seems our surly hunter can't save the day. Word on the street says only a true serpent of evil can do the trick.”

“How did you get that?” Cas asked the demon, his eyes lingering around on the scythe you were holding.

“Hello—King of the Crossroads. How the hell do you think I got the bloody grace in the first place? I get hands dirty when I know it’ll benefit me. And if we want to kill Death, we need to have our lovechild to do the deed.” Crowley explained. But you only stared at him with a confused expression that wasn’t leaving your face. Everyone didn't understand what was going on as the demon found himself being bombarded with confused faces. He rolled his eyes from the morons he had to deal with. “Do any of you happen to know someone who's got a badder rep? She's the bloody offspring of a demon and a human. Not to mention, Lucifer's lovechild that he plans on using to destroy humanity. The very thing he hates the most. If anyone can do this, it's Y/N. I don't make the rules. However, I bend them to my own liking.”

You scoffed and looked up at the demon, “So we’re just throwing theories out there and hoping this one will stick?”

“Haven’t been wrong yet, love. Now, since all of this confusion is cleared up, shall we?” Crowley asked, raising his brow as he scanned the crowd. You tightened your grip on the wooden handle as you looked over at Sam, suddenly realizing in that moment there was a change of plans. You could feel your heartbeat pounding faster when you were about to face a challenge that you weren’t sure was going to work. The demon turned his gaze to the older hunter, who continue to occupy his wheelchair that he needed. What Crowley said next seemed like he was being a dick for the purpose of it. “Bobby, you just gonna sit there?”

“No, I’m gonna riverdance.” The hunter retorted back with a sarcastic tone.

“I suppose if you want to impress the lady. But I don’t think she’ll be swooned. You're not exactly her type.” Crowley said as he looked in your direction. Your eyes narrowed in suspicion from how he was acting. “Bobby, Bobby, Bobby. Really wasted that crossroads deal. Fact—you get more if you phrase it properly. So, I took the liberty of adding a teeny little sub-a clause on your behalf. What can I say? I’m an altruist. Now, you just gonna sit there?”

Your eyes wandered over to Bobby, who still remained in his chair, slowly wondering if the demon was pulling his legs that he couldn't feel over the past several months. But it seemed that Crowley was smarter than he appeared. You watched as Bobby's right foot began to do something you hadn't seen happen in what felt like forever. Ever so slightly, it began to move until it dropped to the ground. Bobby put some weight on it to see if he could balance himself without falling down. But that was only the beginning. You could feel your mouth parting open as the man easily got up on his own two feet. A smile spread across your face as you stared at the sight, like it was some kind of twisted miracle that you thought would never come.

“Son of a bitch.” Bobby muttered underneath his breath, astonished himself at what he just did all on his very own.

“Yes. I know. Completely worth your soul. I’m hell of a guy.” Crowley said. You glanced over at the boys for a short moment of time. If the demon held up to his end of the bargain like this. You  wondered if he could deliver just as well for yours. Bobby mumbled a thank you with genuine feeling, not only for the ability to be given back something that he never thought he could. But because he could help you and the boys like he’d always wanted. Crowley, however grimaced slightly at all the feelings that were being thrown around. “This is getting maudlin. Can we go?”

Crowley headed for the Impala, deciding to exclude himself on this heartfelt moment. You didn’t care as you stared at the hunter who you could stare at directly in the eye without having to strain your neck looking down. Now he stood a little taller than you remembered. Without giving a warning, you quickly stepped forward, wrapping your arms around his neck and gave Bobby something that you didn't think you ever had the chance to do very often, which was a hug. He’d done so much for you over the past several years, made sacrifices to save your skin too many times. As a wise man said once upon a time, family didn’t end in blood. Bobby was the father you never had, but was gracious enough to treat you like a daughter when you needed it the most.

“Guess there’s a change in plans.” You said as you pulled away from the older hunter. You felt a little bit nervous to being leaving the three men to fight on their own. But you knew damn well they were one of the best hunters around. You let out a quiet sigh and looked over at Sam, a small, nervous smile spread across your lips. “Kick some demon ass for me, okay? And please teach Cas how to shoot.”

"I’ll make sure he gets a good run through. And have fun killing Death." Sam said, returning the smile as he shifted around in his footing again, as if he was trying his hardest to keep the four of you here for a little while longer. You let out a quiet chuckle and looked down at the weapon you held. You slowly grew nervous as your smile began to fade at the challenge that was ahead for you. “When you first hit the road with us, yeah, I was pissed. I thought you weren’t made for the lifestyle. So I gave it a month. Tops. I thought you would grow scared or end up dead.”

“Wow. Thanks for that confidence boost.” You scoffed at the younger Winchester’s words that came off more hurtful than what he intended. “I feel so warm and tingly, Sammy.”

"You didn't let me finish, Y/N." Sam chuckled at your response to only part of what he was trying to say. You looked up at him, wondering what he needed to get off his chest. "But I was wrong. You turned into one of the best hunters I’ve seen in my lifetime. You've got the patience of a saint for dealing with me and Dean. You kept this family together. And if anyone can take down Death, it’ll be you. Shrimp.”

"Sasquatch." You muttered his nickname with a growing smile. For someone that was supposed to have a soul that was black as night, you were having an awful fluxgate of emotions tonight. You waved your hands for him to bend down so you could pull him into a hug since his height was so ginormous compared to your own. You squeezed him tight as you could and closed your eyes for a moment, trying your hardest not to let yourself cry at the thought of doing this for the last time if something went wrong. You squeezed him tighter at the thought, he embraced you closer and let out a quiet breath. The bitter thought crossed his own mind. Before he could pull away, you turned your head, and gave him a soft kiss on the cheek. "I love you, Sammy. You're the best friend I could ever ask for."

You didn't realize the little affection that you had given him as Sam pulled away from you, trying his hardest not to show much emotion as he absentmindedly looked over at his brother. Dean stood there with a bit of an annoyed look on his face from how you were acting, but it wasn't due to jealousy, but because of how you had no problems showing your emotions. You stepped over to Cas, deciding that you couldn't leave the angel out of this. You gave him a quick hug and reassured him that he was going to be fine. You let out a breath and stared at the three men, a small smile spread across your lips. For the very last time, you warned them.

“Be safe. And kiss some demon ass for me.”

+ + +

Nine hours stuck in the car with the brothers had its grueling moments. But having a demon as a backseat driver was your own personal hell. You and Dean didn't make any pit stops on your trip to Chicago from Sioux Falls, and the conversation barely made it past small talk. Your mind kept worrying about everything that could go wrong with Sam and Bobby. And whenever you looked at your lap, a rush of anxiety would hit you at the thought of taking down the last horsemen by yourself. Dean would reassure you every so often by taking his hand off the steering wheel and intertwining his fingers with yours before lifting up your palm and brushing his lips against your skin, mumbling that he loved you. While the moment was sweet, it would only be ruined by a snarky remark by your unwanted guest. Who could have easily transported himself there with his abilities. Crowley wanted to sit in the backseat and see the experience for himself.

Luckily the car ride was over, and after parking downtown in the windy city, the three of you had finally arrived. You knew Bobby wasn't lying about there be a storm brewing. The sky was growing darker with clouds and wind was picking up, causing you to wrap your jacket tighter around your body from the unexpected chill that ran down your spine from the temperatures that were low considering the time of the year.

“Hey, let’s stop for pizza.” Crowley suggested out of the blue.

You scoffed and looked at the demon with disbelief at what you heard just come out of his mouth, “I’m on my way to kill Death and you want pizza?”

"Just heard it was good." Crowley said. "That's all."

"You want good pizza? New York has the absolute best, hands down. Each year I went to the city as a kid and made sure to eat at a new restaurant each time. I ate so much one year I almost got sick.” You carried on the conversation without much thought, as if just being around Crowley this past week had turned casual. You looked away from the demon and to where you were walking. But you suddenly found yourself stopping in your tracks at what you saw. Dean furrowed his brow and looked at you with concern. “Up ahead. Big, ugly...building.”

“Ground zero. Horsemen’s stable, if you will.” Crowley said, staring at the same scene that had spooked you a bit. The last time you had seen this was back in Missouri, the town where Ellen and Jo had died. Not to mention, the entire population slaughtered for Lucifer’s sake of pulling Death free from his own personal cage. “He’s in there.”

"How do you know?" Dean cautiously asked, his eyes scanning what appeared to him as an empty street abandoned by a single soul besides his own. "Have you met me?" Crowley responded. “‘Cause I know.”

You rolled your eyes and looked away from the twenty pairs of eyes that seemed to fixate on you. Like they knew who you were and what you were intended to do. None of them moved, they just stared at you with their emotionless and cold expression. "The block is crawling with reapers. There's at least twenty of them."

"I'll be right back." Crowley said. You turned your head to look away from the reapers and at the demon as he began to take a step forward before disappearing from sight. You let out a sigh and got yourself mentally ready for what was about to come in the next few minutes. But the demon worked faster than you gave him credit for when he appeared just a second later, standing right behind you and Dean with some disheartening news. "Boy, is my face red. Death's not in there." "You want to cut the cute and get to the part where you tell us where he is?" Dean asked, not in the mood for whatever kind of games the demon had in mind. "Sorry." Crowley shrugged. "I don't know."

“Whoa, whoa, whoa. Wait a minute.” The oldest Winchester stormed over to the demon who was starting to casually walk away from a dead end. He grabbed the man by his shoulder and made him stop in his tracks. “You don’t know?”

“Signs pointed.” Crowley said, trying to defend himself best as he could to you and Dean. “I’m just as shocked as you are.”

The demon began walking again, thinking it would be the end of the conversation. But he only managed to make it a few feet before you reminded him of a deal that he had yet to hold his end up. "Bobby sold his soul for this, you son of bitch!"

“Relax. No need to resort to name calling. All deals are sold back or store credit.” Crowley said. You narrowed your eyes as you let out a sharp breath for his cheap excuse that he thought could hold you over. “We’ll catch Death in the next doomed city.”

“Millions, Crowley.” You called out to him, making the demon stop himself from taking a step to remind him how much was at stake here. “Millions of people are about to die at any minute.”

"Demon with a heart of gold. How refreshing. While it's sweet to see that you've got a bit of humanity left in you, let me remind you, you're not immortal." Crowley said. "If you want to reap Death, which I know you do, I strongly suggest we get out of here. Or the roles will be reversed. We’ll be out of options and the world will be doomed. All thanks to you.”

You clenched your fists and tried your hardest to control your anger from lashing out at the demon. And it was more than just speaking a few nasty words. You tempted yourself away from killing him right here in this warehouse parking lot. No. His time would come a little bit later. Just like the rest of these poor souls, he would never know what hit him.

+ + +

You leaned back in your seat and shut your eyes to try and fight this headache that was starting to form in the front of your head. Your stress level had never been this high before, and your anger was boiling inside your body slowly, clawing at your insides like a wild animal, demanding your attention. You pressed your eyelids tighter together and let out a long, drawn out sigh. As you got yourself starting to concentrate on something peaceful, you found yourself being able to loosen your muscles and the pounding inside your head going away just the slightest. But it was only brought back by the feeling of the Impala shaking from Dean’s weight when he threw himself down to the driver’s seat and slammed the door shut.

“So, what? Call in a bomb threat? Thousand bomb threats? I mean, how the hell am I supposed to get three million people out of Chicago in the next ten minutes?” Dean asked. You didn’t respond as you rubbed your temples with your fingers. The hunter looked around to see that you were ignoring him as Crowley disappeared from the backseat. “Come on!”

“Is he gone?” You opened up one eye to see the demon was in fact gone. You pushed yourself up right in your seat and let out another sigh from everything that was going on. When you were about to suggest the idea of making a run for it, you stopped yourself. You furrowed your brow to see that Crowley didn’t make it that far. He stood outside of what appeared to be an Italian pizza place and tried to get your attention by pointing at the door and saying something you couldn’t understand. “Either he really wants pizza...Oh my God. What? We can’t hear you!”

“I said I found him. Death—he’s in there.” Crowley popped himself into the backseat, not taking you by surprise this time. You looked over your shoulder to see the demon was pointing his finger at the restaurant he was just standing next to. You slowly looked away from him and to the man sitting next to you. The both of you nodded your heads before you reached for the door handle. But before you embarked on your last hunt for the rings, Crowley offered a word of advice. "When I said Y/N is the only one that could do this, I meant it. She has to do it alone.”

You were tempted to ask him what would happen if Dean would join you to meet Death, but the demon vanished from your sight again. The two of you stepped out from the Impala and onto the city streets that were starting to grow thinner as rain began to fall from the sky and wind picked up. A crack of thunder could be overheard as you made your way around the car to join Dean. You let out a quiet sigh and looked over at the man. Dean looked at you with a worried expression at where he had to leave you. You tried to give him a smile of reassurance, but you ended up nervously swallowing, knowing it was hard to hide your fear for what you were about to do all on your own. It was Dean who always handled the big monsters.

Dean reassured you by leaning over and pressed his lips against yours, getting you lost for a moment in passion as he kissed the breath out of your lungs. You pulled away when you heard another roll of thunder, as if it was a warning to get moving. “Sammy was right. If anyone can take down Death, it’s you. You’ve cheated it enough times.” Dean said with a smirk. You smiled ever so slightly at his joke, but you still remained quiet. “I love you sweetheart.”

“I love you, too.” You whispered to him.

The both of you gave one another a kiss before you pulled him away, warning him to run for the hills if things happened to go south. You inhaled a deep breath and pressed your hand against your backside to feel the scythe where you had left it. It was time to kill Death.

You crossed the street and found your way into the back alley, no demons greeted you as you pulled out the scythe. This was the moment you'd been dreading. You used all your skills you'd learned from the brothers when you opened up the door that lead into the restaurant. You stopped breathing when you opened the door inch by grueling inch and stepped inside on the black and white checkered floor. From first glance the restaurant was cute. It had a little "Lady and the Tramp" vibe with the dark wooden furnishing and tables decorated with red checkered cloths paired with candles. But what made you come crashing down to reality was the dead body of a young woman slumped behind the counter with a tilted over bottle of whiskey. She was his first victim.

You shut the door behind you and started to make your way forward to see the sight ahead of you. Dead bodies were sprawled everywhere; from a waitress lying face flat on the floor to customers slumped over their tables and into their food. It seemed that Death didn’t like to dine alone. You tightened your grip on the handle as you slowly made your way forward, each step was precise and quiet as possible when you descended forward to the front of the restaurant and saw him sitting there.

Death sat quietly at a table, enjoying the view of people power walking through the streets with their umbrellas that soon would be useless as the sky illuminated with lightening. You nervously swallowed again and took one step forward again, your feet moving in front of you until you were at least twenty feet away from him. You didn’t seem to notice how the handle was growing warmer with each step you took to get closer to the owner of the scythe. You ignored the burning feeling best as you could until it felt like you put your hand on a hot stove. You looked down to see the handle was growing bright orange and threatening to burn your skin if you didn’t let go. You forced yourself to, not realizing the heavy metal would fall straight out of your hands and land on the floor, with the loudest clanking sound as possible.

“Thanks for returning that.” You quickly looked down at the floor to see that the scythe was gone and now at the table where Death sat. “Join me, Y/N. The pizza’s delicious.” It was a friendly offer, but you had a feeling it wasn’t negotiable. You inhaled a deep breath and continued down on your way to meet Death. He sat quietly at the table, enjoying a late lunch. He didn’t look up when he gave you one more command in a calm tone for you to sit. You did as you were told, sitting yourself across from the last horsemen that remained. “Took you long enough to find me. I’ve been wanting to talk to you.”

“I gotta say—mixed feelings about that.” You tried to hide your nervousness by cracking a joke that wasn’t even funny, but you chuckled anyway and flashed him a smile. Your eyes wandered down to his ring that laid on his right hand. The reason why you were here in the first place. “So, is this the part where...you kill me? Because, I gotta warn you, it won’t end well.”

Death placed down his utensils at each side of his plate and finally looked up at you. You began to mentally beat yourself up for saying something that made you sound pretentious when you meant something completely different.

“I know what you meant, Y/N. You die, Lucifer goes back to the cage. If only it were that simple. But, still. You have an inflated sense of your importance. Yes, you’re one of a kind. Something I have never had the pleasure of seeing up close before. It’s nothing of spectacular amazement. Why, to a thing like me, a thing like you, well…” Death reached out to to grab his drink and took a sip. You furrowed your brow when he started to slurp loudly, getting the last of his beverage before continuing on the conversation. “Think how you’d feel if a bacterium sat at your table and started to get snarky.”

“Well, I’d be amazed.” You said, keeping up what luck you had to make a sarcastic joke that you meant as you gave the horsemen a tight smile. “I’d ask him how it felt to be so powerful. I mean, he's the cause of diseases that keep you in business. He might be small, but it doesn’t mean that he’s insignificant at destroying millions of lives.”

“Listen with your ears, Y/N. You have a lot to learn about the cycle of life. This is one little planet in one tiny solar system in a galaxy that’s barely out of its diapers. I’m old, Y/N. Very old. So I invite you to contemplate how unfunny and insignificant I find you.” Death said. It seemed the horsemen could feel a tension forming between the two of you. He decided to offer you a slice of pizza when he put one on your plate and nodded his head. “Eat.”      

You stared at that piece of pizza. It was raining outside, storming harder than you had ever heard in your entire life. Millions of people were about to die...and here you sat, enjoying a slice of pizza with Death. You tempted yourself as you grabbed the slice from the table and sank your teeth into the food. You began to chew it slowly and looked at the horsemen, waiting for him to pull a trick on you, make you choke on your food or something. But there he sat raising his fork to his mouth and arched a brow, as if he knew how good it was. You swallowed the bite with ease and put the slice back down to the plate.

“Well, I got to ask.” You said. “How old are you?”

“Old as God. Maybe older. Neither one of us can remember anymore. Life, death, chicken, egg.” Death said, not seeming to be bothered at the facts as he cut himself another small bite of food. “Regardless—at the end, I’ll reap him, too.”  

“God?” You repeated what you had just heard, suddenly as if it he was speaking another language you’ve never heard before. “You’ll reap God?”

“Oh, yes.” Death reassured you. “God will die, too, Y/N.”

You let out a breath as you looked around the room, not sure if you wanted to laugh or start crying again from what you landed yourself into. “Well, this is way above my paygrade.”

“Just a bit.” Death agreed.

“So, then why am I sitting here with you?” You questioned the horsemen. “What do you want?”

“The leash around my neck—off. Lucifer has me bound to him. Some unseemly little spell. He has me where he wants, when he wants. That’s why I couldn’t go to you. I had to wait for you to catch up.” Death said. You felt your brow tighten slightly at the situation that was becoming more clearer. “He made me his weapon. Hurricanes, floods, raising the dead. I’m more powerful than you can process, and I’m enslaved to a bratty child with a temper tantrum and a wild imagination.”

“And you think…” You trailed off for a moment. “I can unbind you?”

“There’s your ridiculous bravado again. Of course you can’t. But you can help me take the bullets out of Lucifer’s gun.” Death said. Your eyes wandered down to his right hand when he pushed himself forward and placed his elbow on the table, showing off his ring. “I understand you want this. I’m inclined to give it to you.”

You raised your brow at how he worded it, “Give it to me? How thoughtful.”

“That's what I said.” Death responded.

While you could feel a bit of the boulder that had been sitting on your chest lift itself, you couldn't help but think about what was going on around you when you heard another roll of thunder and bolt of lightning illuminate the restaurant. "What about Chicago?"

“I suppose it can stay. I like the pizza.” Death said, deciding to be generous today. You let out a small breath and felt a bit of a smile grow on your lips. The horsemen ever so slowly began to remove his ring for you, and while it stood in armsreach, he withheld it from you. “There are conditions.”

“I’ve learned with every deal I make there is.” You said.

“These are different, Y/N. You have to do whatever it takes to put Lucifer in his cell. Whatever it takes.” Dean explained. You nodded your head slowly, thinking that was the plan, but it seemed he thought that it was too close to call it such a thing. “Sam. Dean’s brother. He’s the one that can stop Lucifer. The only one. And before you ask, I know. But there are things keeping him from making the leap. Certain people holding him back.”

You swallowed, not wanting to ask. “Who?”

“You, of course. It's always been about you. You were the reason Lucifer was unrightfully set free in the first place and started this whole mess. It's bothered you all your life that you were brought into this world for the sole purpose to see it destroyed at your sake of just breathing. But you want a different purpose for your sad, dark little life. And this is it. One person has to fulfill their role to make sure the world sees better days.” Death said. You slowly looked over at him, your stomach tightening up from what you heard him say next. “You want to save the world? Give yourself to Lucifer. It will be the reason Sam jumps into the fiery pit. Because he think it'll save you.”

“Will it?” You couldn't help yourself but ask the question that had been burning in the back of your mind. You swallowed as you found yourself growing eerily silent and staring at the ring which took you months to finally get. You wondered if what Gabriel had said was true. "If he does jump...if I let myself turn into a demon. Is there a chance I could go back to normal?"

"Who's to say. 'These violent delights, have violent ends.'" Death took a quote from the infamous play of Romeo and Juliet to answer your question, but you felt yourself puzzled even more at what he meant. “You and I both want the same thing, Y/N. To be free of our ball and chain.”

Seven billion people or one person? You let out a nervous breath at the thought of choosing one person that you cared so much for the sake of humanity. He wanted to do it anyway. What's wrong with indulging into a part of you that you wanted to have a taste for after all this time? And you had the grace. Gabriel said it might work. It might. Those two words made you stared at the ring for another few seconds more. What if you couldn't go back? What if this was the step to the future that you had been fighting so hard to stay away from? But if you said no...you would turn into a demon somehow. You would join Lucifer, and in five years, on that fateful night after he used his friends as bait, you would find him once again. And you would use the heel of your shoe to break his neck like a twig. You stared at the ring for a few seconds longer. You knew your decision. But you didn’t want to say it just yet, afraid that he might not believe you.

"Well, do I have your word?"

You outstretched your arm as the other snuck underneath the table so he wouldn’t see. Sam wanted to do this for you. It was only for a little while. The world will be safe, you and Dean could live a life that you never dreamed of. You could keep lying to yourself, but crossed your fingers together, hoping he wouldn't notice when you did it to him. "Yes." 

“That had better be ‘Yes,” Y/N. You know you can’t cheat death. Not this time.” A look of panic was about to spread across your face from Death’s haunting threat, making you think that he had almost caught onto your childish ways. But you felt a sigh of relief hit you when you felt the weight of his ring hit your palm and the rain quietly began to let up outside. “Now, would you like the instruction manual?”

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[letithappeneverafter]

Go behind the scenes at Laneway Festival to find out how Tame Impala reproduces their records live.

It hadn’t been the smoothest day on the Laneway Festival tour, and the sweltering heat at Sydney’s College of the Arts wasn’t helping. Out back of the main Park and Garden stages, production manager Haydn Johnston and the local Gigpiglet and JPJ crew were sweating it out waiting for the last wave of trucks to rock up. On those trucks, which had been delayed on their way out of Melbourne, was Tame Impala’s entire production.

When we found out the Laneway Festival stint would be Tame Impala’s last tour dates for the Currents album cycle — other than an appearance at Panorama Festival in New York — we thought it would be fascinating to see how Tame Impala translates their records to the stage. As it turns out, the answer is they try to mimic the record’s sound as closely as possible — just bigger and amplified — which requires more than your average rock band’s backline.

I’d arranged to meet up with Tame’s FOH engineer Adam Round before the show. When I spy Adam, he’s looking remarkably calm despite his gear still not having arrived at 5pm, and the band due to kick off at nine. Having interviewed frontman Kevin Parker twice before, I know how focused he is on getting sounds exactly ‘just so’. He even won both the ARIA Producer and Engineer of the Year Awards for Tame Impala’s last album Currents in 2015.

As the time ticks towards 6pm, I’m getting a little worried for Adam. After all, this is a tour that’s included festivals like Coachella, a string of Lollapalooza dates, Pukkelpop, Bestival, Electric Picnic, Lowlands, Rock in Roma, Bonnaroo, as well as iconic landmarks like Radio City Music Hall and Rocks. In other words, it’s bound to be an impressive show with an equally elaborate setup that’s surely going to require more than a couple of hours to hook up.

RACKED & READY When Adam unpacks his rig I start to understand his calm. He rolls two identical rack cases up to the FOH tent, sets them side by side and lifts the lids. Inside are two perfectly racked DiGiCo SD11i consoles, a Lake LM44 processor, two Waves Server One DSP units, a UPS and drawers for days. Out of the drawers he pulls out an octopus array of arms and screen attachments and begins to assemble the extremities. A redundant set of stage rack inputs plug into the back, a pair of outputs go to the system, he pulls out neatly-bound red and blue XLR cables, plugs in two Shure SM58s as his shout and talkback mics and he’s all set to go. As a final touch, he adjusts the colour of his rack LEDs to a warmish purple and checks to see how things are coming along onstage. It took all of a few minutes, leaving me plenty of time to marvel at how well-engineered this front of house setup is. I check the side of the case, and it’s not some external rental house-devised piece, the stencil says AP Engineering, Adam’s own Perth-based company. As it turns out, Adam is a stickler for efficiency. Ever since joining the Tame Impala crew three years ago, he’s helped reinvent their entire backline rig. His philosophy is that you can do a gig with less personnel if they’re the right people and you supply them with the most efficient package. Similar to Adam’s FOH rig, the onstage rigs have been rationalised into a handful of rack cases. “It started off modular, with everything in its own little case,” said Adam, who estimates they used to freight 70 Pelican cases from stage to stage. “You’d set up on an empty road case or table and it would take a few hours to plug it all in and run it all up.” These days, Adam said that “out of the full set of inputs, 75-80% of it is already plugged in. All we need to do is plug two multi-pins into each side of the stage with a PowerCon.” The benefits weren’t just in drastically reducing setup time, continued Adam, “It also improved the consistency and reliability show to show. It’s easier to load in and out, and saved the band a lot of money on freight. We don’t have to charter our own planes to make some of the crazy routing we have; it can just get on the next available plane.” CONSOLE RIG BREAKDOWN When Adam started mixing Tame Impala, he quickly moved to a single DiGiCo SD11i after crashing multiple Avid Profiles with the amount of plug-ins they were attempting to use. He chose the SD11i, not only for its Waves integration, but also because it would fit in a case that was reasonably flyable while providing the channel count required. The DiGiCo also enabled Adam to lay out the show however he wanted with custom fader bank layouts. He moved to the current setup when the plug-in demand increased again. “There were different things the band wanted to do on the bigger shows, and I wanted to be able to change multiple Waves parameters at the same time,” said Adam. “Having a separate console really helps. I can have Waves and control groups open on one console and channel banks and faders on the other.” It’s also a fully redundant system. Both consoles are mirrored, so if one goes down, he can still operate the show. It’s one step safer than a dual engine arrangement, as it also covers any worksurface damage. Plus, it’s a much smaller footprint with the two 19-inch rackable consoles alongside each other. He also has a Waves Server One rack connected to each. “In the unlikely event that one system fails, it auto switches on the Lake to the second pair of AES inputs.” He uses the Lake to do system processing via the supplied tablet, and runs a MacBook Pro with Reaper for recording and virtual soundcheck. As for the colour-changing LEDs, Adam explained: “If you get bored at the back of a festival for a day, you might decide to add cool bits of fruit like put a light in your rack case. It’s actually very handy at the end of the night when they turn off FOH power, because there’s always a light running off the UPS. It also means I can see in the back of the rack if something goes wrong. It’s not as stupid as it looks.” FIX THE PA, FIX THE MIX The Tame show is a well-oiled machine thoroughly arranged and stress-tested in pre-production. The snapshot list for the Currents show is multiple pages long, with the snapshots for Let It Happen stretching over two pages alone. “We set it up on a pair of studio monitors so it sounds like the same show whether it’s live or broadcast,” explained Adam. “If it doesn’t sound good coming out of the PA, we fix the PA, rather than changing the mix so much. It’s an approach that works really well for this band.” If Adam’s doing a standard tour date, he’ll run a virtual soundcheck and tune the PA before the band hops on stage. There’s no such luxury on a festival, after line check all he had time for was to run up his kick and vocal mics for a second to make sure audio was passing through the system. Because the show is so carefully mapped out, he spends the first 30 seconds of any festival exclusively manipulating the PA response on the Lake before laying a finger on a fader. Tame Impala were headlining the Park Stage at Sydney’s Laneway stop. The stage fired up a hill, but it was also on an angle so the FOH tent position sat left of the centre line. It wasn’t ideal for two reasons: one, the engineer is getting more of the left array than the right; and two, the ground stacked subs didn’t project very well up the hill, falling off dramatically a few metres in front of the FOH tent. If you’ve mixed any festival within the city limits, these sorts of tradeoffs are commonplace to meet the stringent noise limits. In the case of Laneway, it was a paltry 90dBA at FOH, and within 100dBC. “Because it was way off axis up the hill, there was a lot of honky midrange stuff and a bit of the top area had to come out. Not what you would normally do on an L-Acoustics K2 system,” said Adam. Adam carries over his Lake settings from the night before, but deactivates them before the show. It gives him a clean slate to work with, with some familiar EQ starting points if he needs to shape things in a hurry. “There are certain things I like to do to change the voicing of the PA a little,” said Adam. “A lot of the bandwidth of the mix sits in a similar register in the mid range, so I take a little bit out in that area to smooth things out at high volume. Then, depending on the system, a couple of small notches up high to darken it a bit. Today I’ve got a 90dB A limit, so a lot of that may stay in to make it appear louder.” The Mesa curve on the Lake allows him to sculpt any system as required. All of this changes night to night, with Adam instantiating each cut and adjusting the symmetry and bandwidth of the curves to suit. “The bottom filter is often at the crossover point where the top boxes meet the subs,” explained Adam. “Sometimes it also has a lump at 55Hz and I have to pull a couple of dB out to even it up. We’ve measured this system in many different environments and when the same thing repeats itself, you can pick it out. It’ll always be a little bit different, but it’s there for the most part.” LIVE & ON RECORD The first time I interviewed Kevin Parker about Lonerism he constantly dismissed his engineering as amateurish, but I got the sense he always knew exactly what he was trying to achieve. Like when he talked about agonising over drum sounds for months and defying studio miking conventions. “Our sound guy always says, ‘It’s not a very good mic to use,” Parker said at the time about his choice of a Shure SM57 to record kick drum. “Are you sure you don’t want to try something else that’s meant for a kick drum?’ But I just love that ‘bop bop’ sound of the kick. I hate the kick drum sound that’s way too clicky.” In Adam, Parker has found an ally. “If you did big click rock drums for Tame Impala, it would sound like a completely different band,” said Adam. “As much as it would be ‘better’ for signal-to-noise and bleed to not use as many compressors and distortion on drums, that is the sound of the band. We need to reproduce that as close as possible; it’s very important.” That’s not to say it’s as easy as copying plug-in settings and hitting snapshot buttons, Adam has to employ his translation skills. “In a live scenario, putting four mics on a drum kit and trying to reach 102dB in a tiny club with that much compression and distortion is never going to work. We have to find ways to take that sonic palette he’s created and emulate it in a workable way for the live world.”Adam’s pair of Digico SD11i consoles are mirrored so if one falls over, the show doesn’t stop. CLEANLINESS BEFORE DISTORTION It all starts with the drums, which has its own processing rack in itself. While Parker has been generous over our last two interviews [Currents featured in Issue 110], there are still some secrets he likes to keep close to his chest. There are a few things going on in the racks that Adam wasn’t privy to pass on, but the gist of the drum rack is that a Sennheiser MD441 overhead kit mic hits a Metric Halo interface, for mic pres and DSP processing, and multiple stages of compression — a dbx 160 and TC Finaliser Plus. As well as a combined compressed feed of all the mics, there’s a version of the kit mic side-chained by the kick and snare, and Kevin can also manipulate delay loops of the kit feed from his pedal board. At FOH, Adam also works with the close mics on the kit to reproduce that heavily compressed sound with a bit more control. Counterintuitively, Adam starts by getting the mic feeds as clean as possible: “I begin with the Waves SSL E-Channel strip plug-in for general shaping. The compressor is before the gate, so you can get it to track really nicely without it sounding too fake, especially if you don’t close the gate all the way. Getting those mics really clean — with less stage sound bleeding into them — lets me use more distortion by engaging the preamp on the Scheps 73, EMI TG12345, or J37 tape plug-ins, depending on what kind of distortion I want.” Adam blends the sound he achieves using the close mics with the smashed wet mix of the mono overhead and close mics coming from the stage to create the entire drum sound. “I don’t really use the stereo overheads, they’re more for the band’s in-ear monitors,” he said. The kit mics are all Sennheiser, except for the snare: E902 in the kick, E904s on the toms, a Shure SM57 on snare top and a right-angled 57 on snare side, which is “more like that old-school mic up, where you’ve got the one mic between the rack, snare and hats placed about half a foot away,” explains Adam. “Rather than it being all buzzy like the bottom snare, it’s more rattly and lo-fi. It’s a pretty common technique for indie producers in the studio, but if you can get it clean enough, you can use it live as well.” With all that compression and distortion, Adam says the sound is running pretty close to the edge. “You can get it to about 108dBA before it starts to fall apart. It’s fairly uncomfortable at those volumes anyway, so we try not to get that loud.” It’s why he ran up just Kevin’s vocal and the kick drum during sound check. “If you can get those two things to stay solid, it won’t take off.” MONITOR MASH Tame Impala’s crew hail from all over the globe: Adam’s an Aussie, lighting guys from Missouri and Austin, stage manager and tech from the UK, manager from Canada, and Rafi Lazaro, a Dominican monitor engineer based in New York. Rafi mixed monitors for the John Butler Trio for eight years before moving to the Tame crew four years ago. Rather than touring a package like Adam, Rafi rents a DiGiCo SD10 console on each continent. While Kevin exclusively gets fed his processed drum sounds direct from the rack, the rest of the band prefer a drum mix that’s less ambient. Rafi uses only the onboard processing on the SD10 to build a similar sound by parallel processing and squashing the close mics, and blending it with the direct sound. “It’s more impactful so they can play a bit tighter,” he explained. The entire band are on JH Audio JH16s for in-ears connected to Sennheiser IEM wireless systems. “I put them all on individual smart keys on the SD10, which brings up all the instruments they play,” said Rafi. “Dom plays keyboards and guitars, so if anyone asks me for something that Dom plays, I can just pull up all his instruments at once. I use VCAs a lot. If someone wants something up, it generally means that it needs to go up for everyone. It might just be that the guitar is a little quiet today, so I’ll bring that up and it fixes everyone, that’s why I use VCAs.” STAGED DELAY CONTROL As well as controlling his guitar tone and drum loops from his pedal board, Kevin also manipulates his own vocal slap delay and longer tap delays onstage with a Boss DD-20 Giga Delay. “There’s quite a complex vocal chain to get enough signal from the Telefunken M80 mic into the Giga Delay,” said Adam. “There is a line booster and impedance transformer, after a mic preamp and split, to give the pedal the right impedance and level without it being noisy. At FOH, the chain starts with a channel strip high passing it at a higher frequency than usual. Kevin likes it at about 250-400Hz so it’s very high-passed. “I do a general shaping EQ after that, then it goes into a Waves CLA-2A for a bit of general compression, then a multi-band compressor that’s carving out a few little notches, shaping the bottom end, and acting as a de-esser all in one. Then I also treat it with a plate reverb.” The vocal mic was originally either a Sennheiser 441 or 421, said Adam, but they moved to the Telefunken M80 because he “could never get the mix loud enough with the amount of processing they want to do. After trialling a lot of different microphones, it worked the best for his vocal with huge gain before feedback.” CLEARING ROOM The entire band is on in-ears, but Adam has also been taking steps to bring the stage level down in other ways. For starters, there’s no bass amp onstage. “The bass is DI’d and the signal is duplicated,” he explained. “We use Waves GTR3 amp simulator on one, and I keep the second line clean and open. We use the open line for fizzy distortions and bass synths, while having the amp simulator helps keep the stage volume as quiet as possible. It’s processed with the Waves J37 tape emulator and C6 multi-band compressor plug-ins as well as GTR3. The amp simulator helps keep the bass out of the drum mics on stage so we can process the drums as close to the record’s sound as possible without the snare drum buzzing through the overhead. As soon as you put that much distortion on something, vibrations get in the way, which is why we also generally use cardioid sub configurations.” Adam has also been inching Parker’s Vox AC30 guitar amp further away from the drums for similar reasons. “I’d like it to be offstage,” said Adam. “We’ll get there.” The amp is miked up with a Sennheiser e906, and a clean DI signal goes straight into the rack which gives “the sort of fizz you get when you plug a fuzz pedal straight into a console,” explained Adam. “They’re used separately, never together, for different parts of the songs.” MASTERING THE NOISE LIMIT Once Adam has the PA sounding the way he wants, and discovers how much mid range is lost or gained in the venue, he’ll balance the guitar and keyboard levels accordingly. After that, he does the final balancing of the band on the control groups and uses a lot of snapshots. Far from being inactive, the pages of snapshots for Let It Happen require Adam to get his movements synced with the band down to the second. For example, he has to filter the acoustic drums out of a section as it transitions to a filtered Roland SPD patch. It happens over a bar, and he has to hit the next snapshot every quarter note to bring the filter point down in time. After compression, distortion and filtering, modulation is the other huge part of Tame Impala’s sound. It’s such a major factor that Adam even has a Waves Metaflanger on his master bus that’s used on most songs. “It’s always on, and I use the touch and turn control on the DiGiCo to wind it in the mix,” he explained. “It’s high passed so the flanger doesn’t go below 1kHz, to keep the bottom end nice and tight.” He also activates Waves Mondomod on his master as the noise closes out the set. “I use it to pan around all the noise and speed up the rate of that movement,” he explained. He also uses the Waves Vitamin sonic enhancer to “tickle the overall mix and make it more exciting,” said Adam. “It’s got a little width on the upper mids and highs.” There are a lot of different stages of compression, and every group in the mix has a C6 multi-band compressor strapped across it. However, last in his master chain is the Waves L3 Limiter. “It’s generally working most of the time, with a maximum of 5dB gain reduction,” said Adam. “By removing the heaviest transients in the louder bits, off the drums especially, it allows you to stay at the festival sound limit, rather than the transient putting you way over. So you can be the loudest guy at the festival, without breaking the rules… until they start doing loudness readings, that is!” The show was duly impressive, despite the noise restrictions. It’s fascinating to hear a FOH engineer put such a sonic imprint on the show, yet have it represent the interests of the artist so specifically. Sure, so much of it is worked out in pre-production and processed in the racks Adam built, but that’s all part of his job; to keep Tame Impala sounding the way Kevin Parker envisions, regardless of where you hear them… and that includes flanging the entire mix. Story: Mark Davie Intro Photo: Daniel Boud

[giraffles]

Paradise Sings

You know what’s always been my jam? Sentient ships. I love them. This is old as hell, and there are some vague plans to maybe continue it, but for now please take it as is. <3

Paradise Sings

The Arcadia was aware. She learned. She grew.

you can also read it here on AO3!

Most feared the Arcadia for the man who commanded her. They feared what she represented, being beholden to none but dedicated to something bigger than oneself. They feared her precision guns and nigh impenetrable shields. Yet it could be argued that they feared her reputation, her mythos, more than her physicality.

To be fair, many had no idea that her AI was special. It didn’t just function in the capacity of a battle ship. The Arcadia was aware. She learned. She grew. She could move herself without a captain if it pleased her. Most assumed that the Arcadia was like the rest, just metal and wires, useless without someone at her helm.

Arcadia didn’t mind having a captain. She was created by human hands, and she was content to have human hands guide her. She enjoyed her companions; they were all different, with individual quirks and personalities that she mapped for her records, but they were all very similar too. She hummed along with the crew when they sang drinking songs and pinged happily when her captain visited the main computer bay. Arcadia didn’t have the same sense of emotions as a human might, but she understood the concept, and felt them in her own way. Some she could resonate with, others she struggled with, and the differences between her and the humans could be striking at times. Her body was different, she could be repaired, but it wasn’t as easy with the ones who called her home. They weren’t as easy to fix.

When they died, that was it. There was nothing to be done. She mourned those she lost but could accept the finality of it. Her creator had died long before she had been booted up for the first time. Back when she had first met him.

He had looked so sad, though she hadn’t been able to comprehend it at the time. Her sensors had picked up his bioreadings and she knew him as her captain. His presence had awoken her.

He touched her computer mainframe, her heart, and she had glowed as she said, /Hello/.

He had been surprised to hear her, and she was pleased that someone could understand her whirring and lights. Arcadia, he had said. You are Arcadia. And she had nearly sung to the stars in joy. Yes, that was her name. Arcadia. Paradise.

An odd name for a battle ship, she would realize later, because paradise never game in with cannons firing and torpedoes bringing down targets. People came to associate her with death, brutality, destruction. There’s the Arcadia. The ghost ship with the pirate king. A reaper given form.

She didn’t consider herself to be any of that. She caught the news broadcast and gossip transmissions as well as any other vessel with a communications array. People feared her, but they romanticized her too. And they liked to exaggerate. They filled in the holes of their knowledge with fantastical tales of things that had never happened. They didn’t kill for sport, or raid in excess, rolling in luxury and hedonistic pleasures. Her crew might have been built from misfits, outcasts and the unwanted, but they were the best in the galaxy. They took stolen food to struggling communities where colonies had been abandoned by the government thing that everyone seemed to cling to. The other goods funded repairs, supplies for long stretches of space travel, or given to those who really needed it. The alcohol, however, they kept.

Those who truly knew her called her freedom. She flew her own path. Some might say that she could be freedom if she wasn’t free herself, but it was her freedom to choose her captain. A captain was not a chain, not a yoke to bear. He was a part of her. A captain made her whole.

Together they fought the coming threats. Robot men who had been human once, who she didn’t fault for their choice, but who she would not allow to force others to do the same. Alien races that upon destroying their own civilization sought to subjugate others to their will, as though it might bring back what they had lost. Even humans who had become unbearably cruel toward their own kind. She would not allow any of it. She was Arcadia. She was freedom.

She was a silent companion most of the time. There was no need to verbalize things when her readout displays where in perfect working order, and many of them wouldn’t have been able to understand her voice anyway. Her captain had warned her that some might not feel comfortable aboard a sentient ship. But there were a few who knew. They would speak of her as if she was one of them, and pat the metal of her hallways after they made it out of a rough battle. They raised toasts in her honor and on the rare times they were planetside they would scrub her hull until it shined.

She had no desire to be anything other than a ship. She was happy to fulfill her intended use. Yet it still pained her to know that her crew was not eternal. They came, they went, they died and lived aboard her. She couldn’t help but become attached. The hardest was when he left her. They all followed him, not her. They went on to other lives. Other ships. None as good as her, of course, but that was their choice. He promised to come back when humanity might need them again. Until then, she was to hide. She trusted him.

Arcadia found a planet of garbage. A dumping ground for others, where their rabble and junk came to rest in obscene piles. But the wires and twisted metal and stinking refuse was not what drew her there. Out past the sorry looking cities, beyond the swirling sand desert, as the forest of rubble. The ancient stones and sacred idols moaned on the hot winds. They resonated with each other, joined in their disconnect from their purpose and their homes. She found a spot at the heart of the heaps of discarded things and settled in. She made sure almost all of herself was encased in the ruins of a temple and resigned herself to waiting. Before she shut her systems down completely, the voices in the land reached out to her. They wanted to sing with her. Arcadia sung with them, calling out to everyone and everything, bridging the lines of galaxy and shattering the linear construct of time.

She didn’t know how much time had passed when he found her. She would know her captain anywhere. Waking was difficult, her pathways lying dormant an unused for so long caused a delay in reconnection, but she purred in delight all the same. He was not alone, though the other two hardly made a crew. That was alright. She could pick up the slack until new people arrived. The most important one was there.

Arcadia faltered when she lost him. Her programming had advanced to the point where she could have easily functioned without any sort of human guidance, but it didn’t prepare her for the repercussions. Those on the scene that say would swear that the ship had screamed, the sound unnatural, unholy. Some tried to stay afterwards, but they didn’t last long, filing off one by one. She brought them wherever they wanted and they left. For the first time she was truly alone.

Sluggishly she roamed the stars, mining fuel from asteroids and vacant planets, looking for a purpose. She felt loss more keenly than any muted emotion that had come before. She became the ghost ship.

Sometimes other fled before her, sometimes they chased her, sometimes they only passed in the endless night. She heard the rumors surrounding her, listened until they tapered off into rarely spoken of myths. She wandered, with too much freedom and time that she didn’t know what to do with.

She found a planet that was green and blue. It wasn’t Earth, but is reminded her of it, and that gave her a vague comfort. She set down in the wide ocean, close to the shore but fully under the water. She sang under the waves, spoke to the life that lived there, and shared that space with them. Centuries would rise and fall with the tides. There she slept again.

A hand brushed against the input pad in her mainframe. She shuddered back to life, slowly taking inventory of her systems and turning her sensors onto the new presence. A boy stood gasping before her computer, a scared girl peeked over his shoulder. A DNA scan revealed they were siblings, mostly human, and barely on the cusp of adulthood. There was something familiar and nostalgic about them.

/Hello/, she said drowsily, not really expecting them to understand her hum and her lights, /I am Arcadia/.

Arcadia, he repeated back and she was suddenly more alert than before. You’re Arcadia.

/Yes/, she glowed, /I fly for freedom. Would you like to sail with me?/

It had always been her right to choose her captain. It was her choice to fire up her engines and take to the stars again, to revive a legend nearly forgotten, and to maybe forge a new one. Some might deny that she was even alive, being made of metal and programming, instead of breathing flesh. But they didn’t understand.

They couldn’t hear her sing.

[decivel9]

Top 10 Best Digital Audio Workstations

 Okay so according to wirerealm.com the top 10 best Digital Audio Workstations are as follows... At number one we have Ableton live. Operating on both Windows and Mac, this software is for all levels of people in music from beginners to professionals and everyone in between. It was introduced in 1999 and has been growing quite steadily in popularity since then. It comes with a standard multi-track recording which is an unlimited number of audio and MIDI tracks for songs and cut/paste/splice features. Alongside these features is the seamless MIDI sequencing software and hardware. Another good thing to note about Ableton Live is that it comes with 23 sound libraries so you can start making music right out of the box. All around awesome for all people in the music industry. At number two we got FL studio. As a Windows only operating system designed for music beginners and up it is the best for those wishing to get their feet wet in making music on a digital audio workstation. FL studio has your standard protocol with pitch shifting, correction, time-stretch, cut, paste, and the works. The latest version of FL studio has over 30 synth software for straight out of the box usage. You can also use MIDI keyboards, record into it with a microphone, and do your standard editing and mixing. It is definitely great for beginners. At number three there is Apple Logic Pro X. As a medium to expert level digital audio workstation that is an operating system for Mac only Logic Pro X is for those who wish to take things to the next level. Logic Pro X has an advanced interface that includes track consolidation otherwise known as track stacking, instrument layering, an intuitive mixer for plug-in control, and a “score editor” to allow you to create your own MIDI from nine MIDI plug-ins. Also included is a “virtual drummer” which is an interactive drum set for visual implementation of drums and a programmable arpeggiator. Definitely a wonder for those wanting to step up their game. For number four, Avid Pro Tools. For those wanting to step up to the industry standard of mixing and mastering, Avid Pro Tools for the expert/professional music producer that operates on both Mac or Windows this software is a must. What makes Pro Tools so advanced is that it has the standard ability to compose, record, mix, master, etc. alongside it’s own Avid Audio Engine which is a super fast 64-bit processor so you don’t have to worry about lagging, freezing, etc. It also has it’s own latency input to help with any annoying delay and built-in metering. Combine these features with other features like time-stretch, Elastic Pitch which is like auto-tune, and 70 other effects like reverb, compressors, EQ’s, channel stripping, the works. Definitely a must for those wanting to advance to the professional level of music editing. Number 5 we have Propellerhead Reason. This digital audio workstation is for those kind of in the middle to semi-pro status as music producer. Operating on both Mac and Windows Reason is a pretty solid DAW for people who have a little bit experience in the music production field but aren’t quite professional. Reason has a very solid mixing console alongside being able to cut and splice audio files automatically. Pretty good all around for the middle to semi-pro producers out there. At number 6 there is Apple Garageband. Apple Garageband is a software for music beginners only and only operates on Mac. Garageband is special because of it’s friendly user-interface that helps visualize what you’re making with things like synths, keyboard, and percussion. It also helps those looking to learn how to play piano with a built-in lesson function for both piano and guitar. It also supports your standard USB keyboard and give you some soundloops to mess around with. In addition there’s also “smart controls” which is an interactive control of plug-ins like knobs, buttons, sliders, etc. An awesome digital audio workstation for beginners. For number 7 we got the Steinberg Cubase. This digital audio workstation which operates on both Windows and Mac and is for those who are semi-pro to expert music producers includes a signature key, score, and drum editor included in the workstation right off the bat. You also get your unlimited audio and MIDI tracks, reverb effects, incorporated VST’s, etc. Cubase alongside what has been mentioned also has one of the biggest sound libraries in the digital audio workstation scene straight out of the box.  Cubase has what is called the HALion Sonic SE 2 with a ton of synth sounds, 30 drum kits with it’s Groove Agent SE 4, EMD construction kits, LoopMash FX among many more. Great for those for looking for something a bit different while still on the industry standard. Number 8 the Cockos Reaper. Not quite as popular as the others but nonetheless compatible with both Windows and Mac for those semi-pro and up Reaper still holds strength as far as a dedicated digital audio workstation goes. What’s nice about Reaper is that you can download it free for 60 days before you have to buy a license to continue using it. It has the basic essentials like cut, paste, split, and edit tracks. You can drag and drop various VST’s and FX. Reaper is basically an open source, nitty gritty software. Good for producers wishing to get to the nitty gritty of their songs and tracks. At number 9 we have Presonus Studio. For beginners up to semi-pro and compatible for both Windows and Mac this is a very stable digital audio workstation. Featuring drag-and-drop functionality, unlimited tracks, MIDI, VST, buses, FX channels, integration mastering, a Melodyne feature, and some really nice reverb effects. Overall a decent digital audio workstation to hold you by but eventually you will want to go with something a bit more popular. Finally number 10. Acid Pro 8. For beginners and up compatible only with Windows Acid Pro 8 is for the basics. It can record, loop audio tracks, and has MIDI support. It has 3000 soundloops and comes with about 90 VST’s. Very good for the essentials. Well folks there you have it. The top 10 best digital audio work stations according to wirerealm.com

[boombergnews]

File photograph – Two F-22 Raptor fighter jets from the third Wing at Joint Base Elmendorf-Richardson, Alaska, conduct method coaching, on this U.S. Air Power image taken March 24, 2016. Image taken March 24, 2016. (REUTERS/U.S. Air Power/Justin Connaher/Handout through Reuters)

The Air Power and DARPA at the moment are testing new and software program configured to allow 4th and fifth Technology plane to command drones from the cockpit within the air, bringing new ranges of autonomy, extra assault choices and a bunch of recent reconnaissance benefits to air warfare.

Working with BAE Methods at Edwards Air Power Base, Calif., Air Power take a look at pilots are combining ground-based simulators with airborne Learjets to display how 4th era cockpit avionics can direct drones from the air, BAE Methods builders stated.

“The airplane was structurally configured to permit us to take our autonomy and join it on to the flight management system of the airplane,” Skip Stolz, Director of Strategic Growth for Autonomy Management, informed Warrior Maven in an interview.

Demonstrations with specifically configured Learjets are meant as an interim step on path to integrating this sort of system into an operational F-15, F-16 and even F-35, builders stated.

Utilizing commonplace data-link know-how, the jets function with a semi-autonomous software program referred to as Distributed Battle Administration, which permits new ranges of compressed airborne knowledge switch, weapons integration and sensor operations, Stolz defined.

A latest Mitchell Institute paper, titled “Manned-Unmanned Plane Teaming: Taking Fight Airpower to the Subsequent Degree,” cites Distributed Battle Administration software program as a “system-of-systems future panorama for warfare, wherein networks of manned and unmanned platforms, weapons, sensors and digital warfare programs work together.”

The paper provides that DARPA and the Air Power Analysis Laboratory efficiently examined DBM final yr.

In the intervening time, the flight path, sensor payload and weapons disposal of airborne drones akin to Air Power Predators, International Hawks and Reapers are coordinated from floor management stations. Nonetheless, due at the very least partially to fast advances in autonomy, the idea of an autonomous or “semi-autonomous” wingman – is arriving even sooner than anticipated.

DARPA, Air Power Analysis Laboratory and business have been growing this idea for fairly a while now. The present trajectory, or fast evolution of processing velocity and superior algorithms is enabling fast acceleration. A fighter-jet plane will have the ability to present a drone with duties and goals, handle sensor payload and direct flight-path from the air.

As an example, real-time video feeds from the electro-optical/infrared sensors on board an Air Power Predator, Reaper or International Hawk drone might go immediately into an F-15, F-22 or F-35 cockpit, while not having to go to a floor management station. This might velocity up focusing on and tactical enter from drones on reconnaissance missions within the neighborhood of the place a fighter pilot may need to assault. In fast-moving fight circumstances involving each air-to-air and air-to-ground threats, elevated velocity might make a big distinction.

The Mitchell Institute essay additionally factors to a less-frequently mentioned, but extremely important benefit provided by manned-unmanned teaming. Merely put, it might massively assist mitigate the present Air Power bomber and fighter jet scarcity. It’s typically talked about that there merely will not be sufficient Air Power belongings accessible to fulfill present demand. Consequently, having an enormous fleet of fighter-jet operated drones might radically enhance the operational scope of Air Power missions.

Specifically, the Mitchell Institute paper mentions that ever since B-2 and F-22 manufacturing had been lower effectively wanting the preliminary intent years in the past – the Air Power has since been pressured to function with inadequate air belongings.

“A useful resource of 185 fighters (F-22s) and 20 bombers (B-2s) is essentially restricted in world the place their capabilities are in excessive demand. Airmen and their plane, irrespective of how effectively skilled or technologically superior, can’t be in two locations without delay,” the paper writes.

Fighter-jet managed drones is also programmed to fly into closely defended or high-risk areas forward of manned-fighter jets with the intention to assess enemy air defenses and scale back danger to pilots. Moreover, given the fast-evolving efficacy of recent air-defenses, drones might fly into high-threat or heavily-contested areas to conduct ISR, scout enemy belongings and even operate as a weapons truck to assault enemy targets.

Advances in laptop energy, processing velocity and AI are quickly altering the scope of what platforms are capable of carry out while not having human intervention. That is largely growing within the type of what Air Power scientists describe as “resolution aide help,” which means machines will have the ability to higher interpret, arrange, analyze and talk data to a a lot better extent – with out have people handle every particular person activity.

“Completely different individuals have completely different views. We consider in a control-based method that leverages AI however doesn’t relinquish management to AI. As a pilot develops belief, he is aware of what that plane can do and tells it to do one thing,” Stolz stated.

Presently, there’s widespread consensus that, in accordance with DoD doctrine, choices concerning the usage of deadly power ought to at all times be made by a “human-in-the-loop,” regardless of advances in autonomy which now allow unmanned programs to trace, purchase and destroy targets while not having human intervention.

However, the Mitchell Institute paper introduces a technique to keep this key doctrinal premise, but additionally enhance unmanned enemy assaults by what DARPA and the Air Power Analysis Lab name “adaptive kill webs.”

“DARPA and AFRL will kind adaptive kill webs wherein autonomous plane flying in collaboration with manned plane might obtain inputs from a spread of actors… akin to a pilot of a manned plane,” the paper says.

By extension, the paper explains that – within the occasion that a pilot is shot down – drone command and management operations might shift to a bigger manned “battle supervisor” plane akin to an E-Three Airborne Warning and Management System or E-Eight Joint Surveillance and Goal Assault Radar System.

One other benefit of those technological advances is that one human might have a capability to regulate a number of drones and carry out a command and management operate – whereas drones execute numerous duties akin to sensor features, focusing on, weapons transport or digital warfare actions, the previous Air Power Chief Scientist informed Warrior Maven in a earlier interview.

In the intervening time, a number of people are sometimes wanted to regulate a single drone, and new algorithms growing autonomy for drones might enormously change this ratio. Air Power scientists have defined a possible future situation whereby one human is ready to management 10 – and even 100 – drones.

Algorithms might progress to the purpose the place a drone, akin to a Predator or a Reaper, may have the ability to observe a fighter plane by itself – while not having its flight path navigated from human route from the bottom.

In contrast to floor robotics whereby autonomy algorithms must deal with a capability to maneuver shortly in relation to unanticipated developments and different transferring objects, easy autonomous flight steering from the air is far more manageable. Since there are sometimes fewer obstacles within the air in contrast with the bottom, drones above the bottom will be programmed extra simply to fly towards sure pre-determined areas, typically referred to as a “way-points.”

The Military has superior manned-unmanned teaming know-how in its helicopter fleet –successfully engineering Apache and Kiowa air crews to regulate UAS flight paths and sensor payloads from the air within the cockpit. Military officers say this know-how has yielded profitable fight leads to Afghanistan. Military program managers have informed Warrior Maven that manned-unmanned teaming permits Apache pilots to seek out and establish enemy targets, earlier than they even take off.

Senior Air Power leaders have stated that the companies’ new next-generation bomber program, the B-21 Raider, can be engineered to fly manned and unmanned missions.

Additionally, in September of 2013, the Air Power and Boeing flew an unmanned F-16 at supersonic speeds for the primary time at Tyndall Air Power Base, Fla. The unmanned fighter was capable of launch, maneuver and return to base with out a pilot.

Curiously, the Mitchell Institute paper references a present Air Power-Boeing effort to engineer older F-16s in order that they may operate as drones.

“In 2017, Boeing, the prime contractor for the QF-16 charged with reactivating the legacy fighters from their desert storage and making vital modifications, was awarded a $24.6 million contract to transform 18 F-16s into QF-16 goal drones,” the paper writes.

On the identical time, regardless of the velocity at which unmanned know-how is progressing, many scientist and weapons’ builders are of the view that human pilots will nonetheless be wanted – given the velocity at which the human mind can shortly reply to unanticipated developments.

“With regards to sure sorts of resolution making and issues requiring an intuitive contextual understanding, machines will not be but capable of do these issues. Computer systems can course of enormous quantities of knowledge,” Stolz stated

There may be typically a two-second lengthy lag time earlier than a UAS within the air can reply to or implement instructions from a distant pilot in a floor station, a circumstance which underscores the necessity for manned pilots in terms of fighter jets, Air Power officers stated.

Due to this fact, whereas cargo planes or bombers with much less of a have to maneuver within the skies is perhaps extra simply capable of embrace autonomous flight – fighter jets will nonetheless enormously profit from human piloting, Air Power scientists have stated.

Whereas laptop processing velocity and algorithms proceed to evolve at an alarming tempo, it nonetheless stays tough to engineer a machine capable of make extra subjective determinations or reply shortly to a bunch of interwoven, fast-changing variables.

Nonetheless, sensor know-how is progressing shortly, the purpose the place fighter pilots will more and more have the ability to establish threats at a lot better distances, subsequently take away the necessity to dogfight. Consequently, there could also be room for an unmanned fighter jet within the not-too-distant future, given the tempo of bettering autonomous know-how.

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