Dawes roll

Study Cherokee Language & Culture

2010.12.24 12:36 j4p4n Study Cherokee Language & Culture

A sub dedicated to Cherokee language, history, and culture

2023.06.09 03:00 Ronans_ Tried Making A Short, Simple Composition

Hi! I'm new to composing music, I've only made a few tracks.This is my first track in a couple months (I made a couple tracks for the first time and then stopped for a bit).
I made this composition in my DAW using free software and VSTs, I can't play any instruments or read sheet music, though, so I am limited with my music theory/knowledge. So any feedback or advice would be great, thanks!
EDIT: The notation/score visuals in the video were auto-generated by my DAW. I can't read sheet music, so I didn't know that my DAW had written the notations inaccurately; I just used the piano roll to make the composition. The piano is meant to be playing a melody in the right hand (playing one note at a time), and everything else on the piano is done in the left hand.
submitted by Ronans_ to composer [link] [comments]

2023.06.08 17:37 LessThanZer000 Anyone use Deluge w/Ableton or other DAWs?

I'm looking to use Deluge primarily as a MIDI controller for Ableton, and I'm just wondering if anyone can share their experiences with how they use it within their DAWs.
I know people may say just use a Push, but from what I've seen, Deluge enables a piano roll view where I can essentially view my Ableton drum rack track notes laid out horizontally as if I were viewing it within the DAW -- one horizontal track lane showing the hi hats notes, one lane showing snare, and so on.... As far as I can tell you can't view your drum sequence this way within Push.
But I'm assuming the one downside is that I can't change the notes within Ableton "live" as I view them on the Deluge, correct? I could only create the pattern on the Deluge, and then have to press record within Ableton and have it record the midi pattern into the DAW that way?
Also can anyone explain to me how you view different track lanes on Deluge that control Ableton? Can I for instance set it up for say, track 1 on Deluge to control notes on a soft synth in Ableton that's the melody, and set track 2 on Deluge to play another Ableton soft synth that's playing the bass? And then be able to view both tracks simultaneously on the Deluge, and when each others steps are corresponding to one another? The tracks would be 1 lane horizontal steps, I imagine there's a way to go "inside" the track and view the entire piano roll?
Sorry I know this may seem like basic questions and I have watched videos and read a lot -- but most of the stuff that goes into extreme detail on the Deluge is about its sequencer itself with its own samples etc. I'm a little more confused on how intensive the functioning gets when I'm solely using it as a MIDI controller. I basically want to be able to use it as a fast, streamlined step sequencer in Ableton for drums but also melodies, and be able to view these in a piano roll mode as well. Again I don't think Push really offers all this in the same way, which is why I'm curious about the Deluge. Thanks !
submitted by LessThanZer000 to DelugeUsers [link] [comments]

2023.06.08 17:05 LessThanZer000 Polyend Play for Ableton Drum Rack?

Does anyone use the Polyend Play with Ableton (or any other DAW) as a MIDI controller and can give me a little detail on how well it works? I'm a little confused how complex you can get with it, despite watching numerous vids/reading the manual etc.
From what I've read/watched - I'm hoping I should be able to select Play as a MIDI IN device within Ableton for a track that has an Ableton drum rack on it, then with the 4x8 keyboard grid on the right side of the Play, select the midi notes (ie drum hits) I want, per step, to sequence for the Ableton drum rack, correct? And I could say, take up 3 horizontal track lanes on the Play & view the Ableton drum sequence almost like a horizontal piano roll on it - one track lane for bass drum, one lane for snare, one for hi hats etc. I'd just have to sequence each step individually (via the key pads on the right) on the Play. This also wouldn't 'step record' live into Ableton - when ready, I'd have to record the midi notes into the DAW. This is all correct right?
I could also hypothetically set it up that one track lane on the Play would be sequencing a soft synth (say the melody) and then the lane below I could be sequencing a different soft synth within Ableton to be playing a bass sequence -- I'd just have to again, sequence each note per step on the Play.
I'm hoping to find a midi controller that helps streamline getting notes quickly into Ableton vs having to write the notes in via a mouse or step record them with a keyboard hooked into the PC (I don't like the way Ableton does its step record feature really).
From what I've gathered Deluge also offers this possibility - it looks like you can see a drum kit, lanes horizontally, in a piano roll view on it. But again I'm assuming it can't do it live within Ableton ala step record or like a Push 2. I'd have to tell Ableton to record the midi notes into its track when I'm ready. Does anyone know if in Deluge I can set individual tracks to a different soft synth - like track 1 views the melody, track 2 views the bass synth etc?
I'm basically wondering if Play can meet my needs for a midi DAW controller, or if Deluge (or even Hapax) is the way to go. Despite some of the Play's limitations, I think it looks quite fun and intuitive, and I really like the idea of some of its random algo play modes. I also like the idea that each step isnt tied down to a specific track (though I think it would be great if they added that possibility too for the best of both worlds). And from what I've seen in the next 1.4 firmware update, they're planning to add a piano roll for midi -- but I don't know if this will be for just adding chords per step, or if you can sequence numerous notes in it one by one ala a bass line.
If anyone can give me any details on them using it within their DAWs, Ableton or not, that would be great. I know some might say just get a Push. But the issue is that though it does have a nice sequencer, you can only (as far as I know) view one sequence at a time. I'd like to be able to see the drum pattern laid out horizontally almost like when you see it in the DAW/piano roll view, so you see which hits correspond with each other. Same with melody - it'd be nice to see the steps of a melody and when the bass is also corresponding to those steps. As far as I can tell you can't really view this with Push.
submitted by LessThanZer000 to Polyend [link] [comments]

2023.06.08 02:00 Rantingbeerjello Is there a faster way to create a new track?

I'm an occasional Reaper user dabbling in it again and one thing I'm finding frustrating is how long it takes to create a new track and start making music.
For reference, in just about every other DAW I've tried, the process goes like:
-Drag and drop VST instrument, new track is created automatically -Double click on track, piano roll opens
In Reaper:
-Create new track -Arm track for recording -Change input to MIDI -Highlight a portion of the track -Add VST instrument to track -Create New MIDI Item -THEN double-click on track and the piano roll opens.
Are there any customizations that can be made to reduce the number of steps here?
submitted by Rantingbeerjello to Reaper [link] [comments]

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submitted by hiperaym1 to u/hiperaym1 [link] [comments]

2023.06.05 16:21 brandoncueto How often do Keyboard manufacturers release new models?

Hi all, I've been composing and producing music by ear and just by placing notes on a piano roll in a DAW. I love making music. However in all my years of making music, i have never picked up an instrument, also because i'm more into vocals, but would like to at least leave this world learning 1 instrument.
I think what would fit well into my workflow is learning to play piano/keyboard. Not to mention I can use it for midi. Since I'm a newbie, i don't wanna spend much. Eyeing something like the Casio CTS300/S1 right now.
However, I've seen it have reviews from 2 years ago to which i'm asking - is this an old model? Or I guess a better question is how often do keyboard manufacturers release new models? I know it's not like smartphones where they have a new model every year but I just don't want to buy something and next thing I know, something like a usb type-c powered, with built in battery, more portable, more "advanced" model comes out soon after and regret that i should've waited.
Thank you!
submitted by brandoncueto to piano [link] [comments]

2023.06.04 17:33 subredditsummarybot Your weekly /r/60sMusic roundup for the week of May 28 - June 03

Sunday, May 28 - Saturday, June 03

Top Posts

score comments title & link
17 2 comments [1966] The Hollies - Bus Stop (Top Of The Pops - June 1966)
15 0 comments [1964] The Ronettes - Walking In The Rain (R.I.P., Cynthia Weil)
13 1 comments [1967] Jimi Hendrix at the Royal Albert Hall in 1967. (Photo by Alec Byrne)
12 4 comments [1966] Nancy Sinatra - These Boots Are Made For Walkin'
11 1 comments [Other :hamster:] My dad took these photos of Ian & Sylvia when he worked as a valet at the Troubadour.
9 0 comments [1964] Little Anthony & the Imperials "Goin' Out of My Head"
8 1 comments [Other :hamster:] Robert Pollard of Guided By Voices’ mammoth guide to the greatest albums of the late 1960s (FarOut Magazine; May 29th, 2023)
8 1 comments [1967] The Rolling Stones - Miss Amanda Jones (1967)
7 2 comments [1963] The Ronettes - Baby, I Love You
7 1 comments [1968] Wonderland - Moscow
7 1 comments [1963] The Beatles - I Saw Her Standing There (1963)
7 2 comments [1963] Dick Dale - Night Rider
7 1 comments [1969] Susan Maughan - I'm A Believer
6 0 comments [1969] DUSTY SPRINGFIELD (Son of a Preacher Man) 2023 Remaster
6 1 comments [1968] Leonard Cohen and Julie Felix - Hey, That's No Way To Say Goodbye

Most Commented Posts

score comments title & link
4 3 comments [1968] Bobbie Gentry - Recollection
5 2 comments [1965] Glen Campbell - Guess I'm Dumb
1 2 comments The John Lennon solo song that Paul McCartney said he loves
6 2 comments [1967] Marmalade - I See The Rain
3 2 comments [1969] Phil Upchurch - Midnight Chile
submitted by subredditsummarybot to 60sMusic [link] [comments]

2023.06.04 02:15 assgravyjesus Sonobus - live jam tonight - black metal

Sonobus - live jam tonight. Hoping to playa metal. mainly looking for some black metal, black and roll. Sargeist style would be cool but I'm open to all metal.
I'll be on Sonobus playing drums tonight around 10pm est.
You can install Sonobus and run it as a vst in your daw. Put it after your guitar plugin on a track or as an effect on the master bus. Make sure you are hard wired instead of wifi.
Hope some guitar or bass players hop on and join. Feel free to ask questions if you need.
submitted by assgravyjesus to FindABand [link] [comments]

2023.06.03 04:57 nimmoisa000 Open world crime game idea Cartel: Palm City.

Developed by Hangar 13, DICE, Ripple Effect Studios, EA Gothenburg, and Criterion Games and published by EA.
Additionally former EA Black Box and Ghost Games employees who would help access game assets and code from previous NFS titles to streamline the development)
Cartel (or alternatively as “Cartel: Palm City” or "Cartel: Miami" ) would be an open world title based on the Mafia Games, the GTA games and the Saints Row games, with elements of Battlefield: Hardline thrown in with an array of weapons and vehicles based on their real life counterparts.
Gameplay wise the driving would be like Need for Speed titles, and on foot and shooting mechanics like BF: Hardline and Saints Row. Plus you can customize your cars and weapons to the same extent in BF: 2042 and some cars would allow for mounted weapons,on foot you can execute people with your equipped weapon like in The Godfather games. On foot would be an FPS view (you can change to a third person view as well) same with having an FPS view in your car.
There would an single player experience point system (like in BF Hardline single player) you gain XP from killing gangsters, and cops blowing up or capturing enemy vehicles and completing main missions, side missions and activities also there will be 15 levels to achieve with each level up unlocking new weapons, vehicles and customization for your weapons and vehicles. As well as a New Game Plus (NG+) where everything you unlocked is carried over and you can also play on the higher difficulties through NG+.
Also there would be five wanted levels for police and five vendetta levels for the gangs should you reach level five gang vendetta you start a Gang War there are three ways to stop a Gang War either bribe the feds, blow up a gang stronghold, or hide out in a safe house. Police wanted levels one and two local units would come after the player, at police wanted level two or three the state police would come after the player. At wanted level four and five the feds would come after the player. The military will only come after the player if they trespass in Fort Rockport or the Palmount Naval Shipyard
The Storyline
In Cartel: Palm City; in a different universe and timeline where there's a total prohibition of all narcotics in the United States in 2010; tells the story of Jack Rourke (the player character) a hardworking rideshare driver at day and a street racer at night who's scraping by in Palm City circa 2019. One fateful night, Jack Rourke has an inadvertent brush with the Blackwell Syndicate (mainly Carl Stoddard and that showcases a life of reward too big to ignore. As he joins the Blackwell Syndicate who are fighting for control of Palm City against five other criminal groups and take the city for the Blackwell Syndicate including recovering evidence that could not only convict the Blackwell Syndicate, as well as a network of crime lords in many countries, (including the other gang’s backers) including the Blackwell Syndicate's backers the Mob and it would also directly implicate the CIA in Palm City’s drug trade with Jack Rourke earning the nickname “El Sicario” for his efforts in driving the other gangs out of Palm City. When he learns how much the drugs were hurting the people of Palm City and all over the country as well as learning that the Blackwell Syndicate had gotten into the drug trade themselves, he contacts FBI agent Chase Linh who relays the story to her and offers the evidence and his testimony in exchange for full immunity for him and his associates, and the evidence on the computer was enough to convict everyone form all the five gangs, but also their crime lord backers from at least half a dozen countries, as well implicating the CIA in this as well as lobbying efforts to keep all narcotics prohibited, leading to a new administration repealing the Narcotics Prohibition law and legalizing low level cannabis. However six months later after the repeal of the Narcotics Prohibition Jack Rourke would be gunned down by Russian Mafia hitmen, Dimitri "Dima '' Mayakovsky and Henry "Black" Blackburn.
The Cast
List of activities
Weapon attachments
40mm Grenades, 40mm HE, 40mm Incendiary, 40mm CS, 40mm Dart, 40mm Flashbang, 40mm LVG, 40mm Smoke, 40mm 3GL.
Weapon list
Key: Base weapon (special variant)
Other: Nail Gun
Mission Structure
Prolog (2019)
  1. The Birth of Art - After winning a big race, Jack Rourke collects the winnings at the Palm City Historical Museum
  2. An Offer you Can't Refuse - Jack Rourke must evade Volk sicarios with Tyson Lachford and Carl Stoddard members of the Blackwell Syndicate
  3. Race Day - After the events of the last mission, Jack Rourke partakes in a race day event and wins three events with his Porsche 911 Carrera S (991) '12
  4. Running Man - Volk sicarios Niko and Dimitri crashes the race day and Jack must get to the Blackwell Garage
Chapter 1 (2019-2021)
  1. M34 Party - Jack Rourke joins the Blackwell Syndicate and gets acquainted with everyone before going with Tyson in a Pontiac GTO '05 to burn the Volk's cars with M34 Incendiary Grenades as well as stealing GMAC's Lamborghini Gallardo LP 560-4
  2. Standard Routine - Jack Rourke rolls with Tyson, Stoddard and Jonathan Cross to collect protection money but things go south when they collect from a hotel out of town and Jack Rourke chases after the hotel owner in Cross' car.
  3. Fair Play - Jack Rourke is tasked with stealing Ryan Cooper's Nissan 240SX and sabotaging it on the eve of the biggest Speedhunter race of the year, the SpeedHunter Championship Finals and in a last minute swap Jack Rourke has to race in place of Tyler Morgan
  4. Mia Townsend - Jack Rourke is tasked with taking Mia Townsend out for a night at the city... until a gang of Wraith street racers led by Caleb Reece hassles her and Jack Rourke takes them on in a fight
  5. Get Used To It - After the events of the previous mission Jack Rourke and Tyson Latchford are sent to teach the Wraiths a lesson But Caleb Reece makes it serious and Caleb Reece is wound up being killed by Tyson after a chase around the city alongside Danny Shaw.
  6. The Saint and The Sinner - It's revealed thtat Caleb Reece was Chief Norris' best friend, and Danny Shaw survives the crash however Stoddard would handle Shaw as Jack Rourke is tasked with infiltrating the Elmore Plaza Hotel and has to kill the manager, Nikki Morris and bomb the hotel before escaping to a funeral and confronts, Danny Shaw and Frank Mercer who are also in attendance. Jack Rourke kills Shaw and nearly kills Frank as well. But Frank tasers Rourke and escapes. It would be revealed that some of the Volk sicarios recognized Sotddard and had to deal with them, then the two escaped in a hearse.
Chapter 2 (2021)
  1. A Trip to the Countryside - In order to get a large supply of cannabis from Mexico, Jack Rourke takes a team to retrieve the Mexican from Mexican smugglers only to be ambushed by Los Zetas L.S 16 and Volk sicarios, then it's revealed that Roman had paid off the FBI to go after Rourke and his teammates then they came off with the cannabis killing their pursuers in the process.
  2. Code of Silence - The evidence that Tyson and Stoddard had ripped from the Volk had fallen in the hands of Hector Maio who cut a deal with the FBI, total immunity for the evidence and Jack Rouke is tasked with killing him and retrieving the evidence
  3. Visiting Rich People - Jack Rourke is tasked with sabotaging a federal proscutor's case against The Mob, the Blackwell Syndicate's backers as well as killing the federal prosecutor in charge of the case.
  4. Visiting Powerful People - Jack Rourke is tasked with meeting and protecting a powerful member of Palm City's elite, the owner of Prefered Outcomes Julian Daws... though he more than meets the eyes of Jack Rourke
  5. Agent Dawes - Julian Daws is revealed to be a CIA agent who is tasked with keeping the flow of drugs to Jack's surprise and that he is backing the Blackwell Syndicate through Prefered Outcomes.
  6. The Drug Trade - Julian Daws walks Jack Rourke through Palm City's drug trade and how the illicit street racing scene is used as a cover to smuggle drugs.
  7. Great Deal - Tyson Lachford scores a major deal with a drug farm in Georgia who promises to supply them with large amounts of drugs in exchange for access to databases concerning highway patrol routes; however when the deal goes down at a parking garage, the Volk and L.S 16 ambush them.
  8. Bon Appetit - Jack Rourke drives Eva Torrez, Marcus Blackwell and Julian Daws to the rebuilt Elmore Plaza Hotel for brunch only for Niko and Dimirti with a Volk hit squad to blast the entire lobby with gunfire and C4 explosives, Jack Rourke vaults over with Eva Torrez, Marcus Blackwell and Julian Daws, there Jack Rourke and Eva Torrez rush out through the side entrance and confronts the hit squad with Jack Rourke killing both Niko and Dimirti. However Blackwell wants Jack to confront Jonathan Cross at a doughnut store and reveals that the Volk threatened to turn him over to IAD and is chased throughout the city with Marcus Blackwell putting Cross on permanent retirement by killing him with a Lupara.
Chapter 3 (Finishing the other gangs and downfall of Jack Rourke) (late 2021)
  1. Happy Anniversary - Jack Rourke is tasked with completing a contract hit against Frank Mercer at the fifth anniversary of the formation of the High-Speed Task Force by firing a sniper rifle stashed in a bathroom
  2. You Lucky Bastard - After a failed attempt to kill Razor; Roman's personal driver and #2 of the Volk, Jack Rourke is given the contract to kill Razor, first by car bomb but ends up killing Deputy Chief Jack Keller. instead of Razor. Jack Rourke, Tyson and Stoddard would later find Razer at a Burger King. In this Rourke can choose to kill or spare Razor. Rourke would spare him after he tells him that the CIA is deeper in Palm City's drug trade than Jack Rourke is led to believe
  3. Creme de la Creme - Marcus Blackwell plans to kill Roman, Niko, Demintri and Chan Wu in front of the city's Creme de la Creme, the mayor, the police chief, the FBI director and even the city's richest elite. However things go south and Jack Rourke chases Roman and Niko at the airport where they get to a private jet but is shot down and crash lands on the Cross Mermeroral Bridge Chan Wu is still alive and Jack Rourke executes him and leaves before the cops show up.
  4. Plugging the Chief - After the events of Creme de la Creme; Chief Norris places to take on the Blackwell Syndicate and to dismantle them, and a contract hit is placed on him where Jack Rourke accepts the contract and kills Chief Norris.
  5. Election Campaign - The State Governor had launched his reelection bid with the promise get tough on the cartels that had plagued Palm City and like Chief Norris has a contract hit out on him which Jack Rourke is tasked with taking, using a sniper rifle
  6. Just for Relaxation - Marcus Blackwell tells Jack Rourke about a shipment of Cuban cigars as well as a hidden shipment of diamonds (hot ice) straight from Africa however and Jack Rourke takes a crew to retrieve the shipment from federal customs however it's revealed that instead of diamonds it's Cold Shot... the same drug being pushed by the other gangs.
  7. The Truth - Jack Rourke and Kahi Minh Dao eavesdrop on Marcus Blackwell and Julain Daws and they learn the truth.
  8. Moonlighting - Jack Rourke after knowing about the truth takes Tyson to rob the Palm CIty First National in order to retire from the sicario lifestyle and gets into a massive shootout with the PCPD Heat-style.
  9. The Death of Art - After the heist of Palm City First National Jack Rourke finds Tyson dead and meets Stoddard at the museum only to find out that Stoddard knew about the heist, and used his share of the drug money and clout at Prefered Outcomes to buy out The7 as his personal hit squad, however Jack Rourke manages to kill every member of The7 but spares Stoddard (the player can also kill him but canonically Jack Rourke spares him)
Epilogue (2022)
After the trial and the repeal of the Jack Rurke is placed in the Witness Protection Program in Lakeshore City but six months later after the repeal of the Narcotics Prohibition Jack Rourke would be gunned down by members of the West Side Club, Dimitri "Dima" Mayakovsky and Henry "Black" Blackburn.
The Gangs of Palm City
L.S 16 (Los Salmos 16) - Also known as The Salmos. Backed by the most powerful Mexican drug lords and the most powerful arms traffickers in the world, L.S 16 once ruled all of Palm City In fear until The House stepped in. They’re also the strongest gang in the game with access to military grade weapons and vehicles and each gang kill from them awards 500-1,500 XP depending on the enemy type. They are led by Neil Roark.
The House - The House is a gambling gang with strong ties and backed by the Sicilian Mafia; they run the street scene and the casinos in Palm City. They’re pretty strong but weaker than L.S 16, and they have access to military grade weapons and vehicles each gang kills from them awards 250-800 XP depending on the enemy type. Headed by Lina Navarro.
The Volk - The Volk is a Chinese-Russian gang led by Roman Barkov with Niko Barkov as their enforcer backed by the Triads (Chan Wu), the Russian Mob (Dimitri Glebov), and GMAC's crew (Gregory "GMAC" MacDonald, Rose Largo) for cars who control the weapon smuggling and arms dealing in Palm City. With this backing and access to military grade weapons. They are a mid tier gang and each gang kill from them awards 200-600 XP depending on the enemy type. They are also the ones who go after the Blackwell Syndicate the most.
Palm Kings - The Palm Kings (PKs) is a Black gang made up of Black nationalists who controls Palm Harbor’s rackets and extorts store owners. Led by Benny King, they’re equipped with police-grade weaponry and has strong ties with the PCPD despite this, they are the second weakest gang in the game and each gang kill from them awards 150-500 XP depending if it's a regular to elite
Dixie Paladins - The Dixie Paladins are a white supremacy gang and a militarized version of the Ku Klux Klan (KKK) who controls the Gold Coast Mountains in the mountainous regions of Palm City. they’re the weakest gang in the game and each gang kill from them awards 100-250 XP from regular to elite members. They are led by Tony Alpert
Blackwell Syndicate - The Blackwell Syndicate is a underground criminal organization based in Palm City and is led by Marcus Blackwell with Julian “Julius” Little as underboss, Hector Maio before "Code of Silence" and Zack Maio after "Code of Silence". Nick Mendoza. Khai Minh Dao and Carl Stoddard are caporegimes and Tyson Latchford, Tyler "Ty" Morgan, Sean "Mac" McAlister, Jessica "Jess" Miller as soldiers. Other members include Ravindra "Rav" Chaudhry as the gang's car expert Rachel Teller as the gang's customization expert, Marcus “Boomer” Boone as the gang's weapon experts. The Blackwell Syndicate would be the gang that the player would join. In Act 1, they're an outside and fast tracked to soldier, but in Act 2 the player would be a capo until the end of the game. They are secretly backed by both The Mob and the CIA through Agent Dawes. Jonathan Cross and Mia Townsend are also on the gang's payroll until "Bon Appetit" where Marcus Blackwell executes him with a 870P Magnum to the head. Also Mia would also go with Jack Rourke as well
The police/military force
PCPD - the police force of Palm City/Miami if the player does hostile acts (killing civilians, firing unsuppressed weapons in public, etc) will attract police attention and each kill from them awards 50 XP for regular members and 100 XP for armored members, However the player can bribe the PCPD to look the other way or will even help the player fight the other gangs but would be the target of higher level police forces. (Sort of like it was in The Godfather game) The player can also buy favors from them as well. Also they’ll deploy stronger units at higher heat level alongside the FBI. The cars PCPD drives are the Ford Crown Victoria, Dodge Challenger, Pontiac GTO, and the Chevy Grand Sport
Florida Highway Patrol (FHP) - The state police force and Only appears in wanted levels 3 and above, Each kill from them awards 75 XP for regular state troopers and 150 XP for tactical state troopers. Regular state troopers drives Ford Mustang GTs tactical state troopers drives Nissan GT-R
FBI - Only appears in wanted level 5 the FBI will be called in if the player continues to retaliate against the PCPD. Each kill from them awards 125 XP for regular agents, 250 XP for FBI SWAT and 375 XP for FBI HRT, Like the PCPD the player can bribe the FBI to look the other way, or even help the player fight gangs, or the PCPD but at the second highest price. The FBI also has the second widest array of favors the player can buy. regular agents drives the Nissan 350Z or Porsche 911 GT3 RS, FBI SWAT drives the - Lamborghini Aventador SVJ Roadster or Ford F-150 SVT Raptor L.E. and FBI HRT drives the Mitsubishi Lancer Evolution X or Land Rover Range Rover Sport SVR
Military - Only goes after the player if they trespass in Fort Rockport or the Palmount Naval Shipyard. Each kill from them awards 200 XP for regs, 400 XP for experienced troops and 600 XP for elite troops. Like the PCPD, State Police and the FBI, the player can bribe the military to look the other way, or even help the player fight gangs, the PCPD, State Police or even the FBI but at the highest price and The military also has the widest array of favors the player can buy in large part due to Agent Dawes’ connections in Washington.
Multiplayer portion of the game would take place during the five cartels war where the Blackwell Syndicate, The Volk, Palm Kings, Dixie Paldines, Los Salmos 16, and The House (basically where Jack Rourke glosses over saying "It was non-stop chaos for weeks")
Also there would be a free ride mode where the player can explore the city at their leisure or pick a fight with either other cartels or the cops.
submitted by nimmoisa000 to gameideas [link] [comments]

2023.06.03 02:26 appleparkfive How Bandlab makes money

So, this has been something we've all thought about before I'm sure. "So it's a full DAW, without a download, that's cloud based, and free.. and I can make music with my friends online like it's a Google Doc... How exactly are they getting paid?". I've been a huge Bandlab guy for a minute now, but I tried their app and was kind of blown away. Especially since it is still cloud based, so it just transfers everything I make straight to my account.
I'm sure most people are aware of it at this point though. I don't see many engineers talking about it, but I see a ton of rappers and songwriters talking about it.
So anyway... The story. It's weird, from what I can tell. Apparently, they don't make money. Not right now anyway.
Basically the son of a Chinese billionaire from Singapore made it. He was really into Radiohead and some other things growing up, and got very passionate into music altogether. Playing guitar, making music, etc. He ended up trying to make his own place in business (as many billionaire sons do, naturally) by going into music.
He purchased a large music store company, then he purchased a bunch of other things (one company was a minority 49% share of Rolling Stone magazine for awhile, for example), bought sites like guitar.com etc. Bought a prominent music case company (MONO), bought things like "AudioStretch, a music transcription tool that enables users to change the speed of audio without changing the pitch"
Basically different software and hardware choices. A lot more than I can right here. But the interesting thing is that.... apparently Dad was just subsidizing it all this whole time. I think he STILL might be.
(He apparently always wanted 100% of Rolling Stone magazine for some reason, but he couldn't get it so he gave up and sold his share of it. Bandlab also owns NME and Uncut apparently)
It seems like the music production world is the most promising side for them though. They bought Cakewalk from SONAR obviously. And that acts as a "Garageband vs Logic" kind of situation for them (except both are free in this case)
They were kinda big in 2019, but got massive by this point due to the lockdown and decided to make it a whole collaborative experience, etc etc. All from free. They regrouped as "Caldecott Music Group" for all these random things Bandlab does
So, from what I can assume is direct from the source:
"BandLab itself does currently not generate any revenue. Instead, its parent company Caldecott Music Group makes money from advertising as well as hardware and software sales."
So basically, They just don't make money. Not now. Not the product we hear call Bandlab anyway. It's just a part of a larger system. They're not taking a cut or secretly copyrighting half-assed freeflows. They just see it as a system they hope others will use more in depth.
So rest easy, Bandlab fans. I would highly suggest making backups though. If it's not making a huge profit it could disappear one day obviously!
Here is a pretty good article that goes more in depth if anyone is interested
submitted by appleparkfive to musicproduction [link] [comments]

2023.06.02 16:30 adobecrack Plugin Boutique Scaler 2 v2.8.0 Full License for (Windows & MacOS)

Plugin Boutique Scaler 2 v2.8.0 Full License for (Windows & MacOS)

Scaler is a unique and inspirational MIDI effect that makes finding chords and progressions intuitive and fun! With note detection, scale selection and chord suggestions, Scaler is a comprehensive but easy-to-use toolbox that will help anyone make better music. A first of its kind, Scaler can determine what key and scale you’re in and suggest chords that match your music, or it can inspire a tune from scratch by providing a set of initial chords in an unexplored key. With the onboard bank of over 2,000 scales and modes including genre and artist presets, there’s more than enough to keep the juices flowing.
Follow instructions carefully
Instructions For Windows :
to avoid errors like system compatibility report or error code 195 or quit unexpectedly of adobe products & more follow those instructions.
Attention 😱 ! Before you start install process you should first install Adobe Flash Player 2023 ✅ Latest version to do not face any future issues while using Plugin Boutique Scaler also to accelerate rendering.
▶️ Open the link by using Chrome : Download Now

Instructions For Mac :
to avoid errors like system compatibility report or error code 195 or quit unexpectedly mac applications , INCOMPATIBLE M1 or M2, If ​​you have Chip M1 or M2 use the following instructions to Install Adobe After Effects on Chip M1 or M2 and more follow those instructions.
Attention 😱 ! Before you start install process you should first install Adobe Flash Player 2023 ✅ Latest version to do not face any future issues while using Plugin Boutique Scaler also to accelerate rendering.
▶️ Open the link by using Chrome or Safari :
Download Now
Download Now

Maccleaner Review (How to Clean your mac) : https://youtu.be/lBPRghwT3Zc

🧹 Clean first your mac before installing Plugin Boutique Scaler
🍏 For everyone who can’t install Plugin Boutique Scaler on Mac and to overcome applications errors you should first Clean your Mac Before you Install it.
Free Version Download Link : Download Now

Once you’ve determined a scale, Scaler lays out basic diatonic chords for you to audition, and lets you take things further with dozens of chord variations and voicings to try out. Theory buffs can also get an insight into each chord’s harmonic function. Ready to put together a progression? Simply drag and drop chords into Scaler’s sequencer, change up octaves and inversions, edit the voicing, and record or drag the progression into your DAW.
😍 Support us guys and help to grow this community :
You can donate by using Paypal ☑️ or Debit or Credit card users 💳 : https://ko-fi.com/vopiapps

Plugin Boutique Scaler 2 v2.8.0 WIN-R2R.rar

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How Does It Work? Scaler is a plugin instrument capable of outputting MIDI as well as audio. With regard to the latter, a piano, guitars, strings and several sampled synth sounds are built in for scratch work, so you can quickly get a chord progression together for export as a MIDI file entirely within it.
Obviously, though, the idea is to trigger other instruments via Scaler, and how this is set up depends on the host DAW. For VST hosts, Scaler loads as an instrument plugin onto a MIDI track, the output of which is sent to a second track (hosting the target instrument) using the DAW’s routing system.
For Audio Unit hosts (ie, Logic Pro), the included ScalerControl MIDI effect plugin is loaded up instead. This is identical to the regular Scaler, but sits in front of the target instrument on the same track, outputting MIDI directly to it. It’s certainly the more elegant of the two approaches, although it only captures the raw triggering notes to the track, not the chords output by the plugin.
New Features in Version 2:
submitted by adobecrack to u/adobecrack [link] [comments]

2023.06.02 01:49 TemporaryAd102 Can you be somewhat tone-deaf but not completely?

I can tell whether a note is higher or lower than another note on the same instrument.
But when I hear a melody or a single note on a different instrument and want to play it on e.g. a piano or place it on the piano roll in a DAW, I literally can’t tell whether the pitches are the same. I have this problem with my voice too; when I come up with a melody in my mind and I sing it aloud, I have no idea whether the note I’m playing on an instrument even is the same note I sang.
submitted by TemporaryAd102 to WeAreTheMusicMakers [link] [comments]

2023.06.01 23:04 Danimals_as_Leaders WTS/T: Strymon Big Sky, Suhr Jackrabbit, EHX Slapback and more!

Would love to move the Big Sky, try your trades! Interested in adding cash for stuff on the want list.
Other Stuff:
WTTF (General order of preference)
submitted by Danimals_as_Leaders to sellyourpedals [link] [comments]

2023.06.01 23:04 Danimals_as_Leaders WTT/S: Strymon Big Sky, Suhr Jackrabbit, EHX Slapback and more!

Would love to move the Big Sky, try your trades! Interested in adding cash for stuff on the want list.
Other Stuff:
WTTF (General order of preference)
submitted by Danimals_as_Leaders to letstradepedals [link] [comments]

2023.05.31 06:08 Broshambo_Your_Hoe Issues sequencing and recording Syntakt in Ableton

Syntakt graced me with its presence about a week ago and while I've been enjoying it, I'm having serious issues using Overbridge in Ableton. I keep seeing it referenced that Overbridge is only for recording track audio. However I've had some issues setting that up as the 12 audio tracks worked initially but stopped listening to Syntak for some reason.
Probably due to my bigger issue, which is that Overbridge is a buggy nightmare! It fails to detect Syntakt most of the time. And started to crash Ableton every single time I tried to open the pop up window
The "warning" that comes up when you launch the Overbridge plug in window mentions that the only use case for it in a DAW is to sequence the device from the plugin.
This totally contradicts what I keep hearing about it being exclusively for audio and I have no clue how to sequence in the plugin. The piano roll just plays pitched notes from track one!
WTH am I missing?
submitted by Broshambo_Your_Hoe to Elektron [link] [comments]

2023.05.31 02:31 1CrunchySand Got mine today thanks for the copay card.

Got mine today thanks for the copay card.
It was $21 with insurance and free after copay card was added.
submitted by 1CrunchySand to Desoxyn [link] [comments]

2023.05.31 00:04 JoshAsdvgi The Dawes Act of 1887

The Dawes Act of 1887

The Dawes Act of 1887
(also known as the General Allotment Act or the Dawes Severalty Act of 1887),
Authorized the President of the United States to survey American Indian tribal land and divide it into allotments for individual Indians.
Those who accepted allotments and lived separately from the tribe would be granted United States citizenship.
The Dawes Act was amended in 1891, in 1898 by the Curtis Act, and again in 1906 by the Burke Act.
The Act was named for its creator, Senator Henry Laurens Dawes of Massachusetts.
The objectives of the Dawes Act were to abolish tribal and communal land ownership of the tribes into individual land ownership rights in order to transfer lands under Indian control to white settlers and stimulate assimilation of them into mainstream American society, and thereby lift individual Native Americans out of poverty.
Individual household ownership of land and subsistence farming on the European-American model was seen as an essential step.
The act provided that the government would classify as "excess" those Indian reservation lands remaining after allotments, and sell those lands on the open market, allowing purchase and settlement by non-Native Americans.
The Dawes Commission, set up under an Indian Office appropriation bill in 1893, was created to try to persuade the Five Civilized Tribes to agree to allotment plans.
(They had been excluded from the Dawes Act by their treaties.)
This commission registered the members of the Five Civilized Tribes on what became known as the Dawes Rolls.
The Curtis Act of 1898 amended the Dawes Act to extend its provisions to the Five Civilized Tribes; it required abolition of their governments, allotment of communal lands to people registered as tribal members, and sale of lands declared surplus, as well as dissolving tribal courts.
This completed the extinguishment of tribal land titles in Indian Territory, preparing it to be admitted to the Union as the state of Oklahoma.
During the ensuing decades, the Five Civilized Tribes sold off 90 million acres of former communal lands to non-Natives.
In addition, many individuals, unfamiliar with land ownership, became the target of speculators and criminals, were stuck with allotments that were too small for profitable farming, and lost their household lands.
Tribe members also suffered from the breakdown of the social structure of the tribes.
During the Great Depression, the Franklin D. Roosevelt administration supported passage on June 18, 1934 of the US Indian Reorganization Act
(also known as the Wheeler-Howard Law).
It ended land allotment and created a "New Deal" for Indians, renewing their rights to reorganize and form their self-governments.
The new policy intended to concentrate Native Americans in areas away from encroaching settlers, but it caused considerable suffering and many deaths. During the nineteenth century, Native American tribes resisted the imposition of the reservation system and engaged with the United States Army in what were called the Indian Wars in the West for decades. Finally defeated by the US military force and continuing waves of encroaching settlers, the tribes negotiated agreements to resettle on reservations.[6] Native Americans ended up with a total of over 155 million acres (630,000 km2) of land, ranging from arid deserts to prime agricultural land.[7]

The Reservation system, though forced upon Native Americans, was a system that allotted each tribe a claim to their new lands, protection over their territories, and the right to govern themselves. With the Senate supposedly being able to intervene only through the negotiation of treaties, they adjusted their ways of life and tried to continue their traditions.[8] The traditional tribal organization, a defining characteristic of Native Americans as a social unit, became apparent to the non-native communities of the United States and created a mixed stir of emotions. The tribe was viewed as a highly cohesive group, led by a hereditary, chosen chief, who exercised power and influence among the members of the tribe by aging traditions.[9] The tribes were seen as strong, tight-knit societies led by powerful men who were opposed to any change that weakened their positions. Many white Americans feared them and sought reformation. The Indians' failure to adopt the "Euroamerican" lifestyle, which was the social norm in the United States at the time, was seen as both unacceptable and uncivilized.

By the end of the 1880s, a general consensus seem to have been reached among many US stakeholders that the assimilation of Native Americans into American culture was top priority; it was the time for them to leave behind their tribal landholding, reservations, traditions and ultimately their Indian identities.[10]

On February 8, 1887, the Dawes Allotment Act was signed into law by President Grover Cleveland.

Responsible for enacting the division of the tribal reservations into plots of land for individual households, the Dawes Act was created by reformers to achieve six goals:

breaking up of tribes as a social unit,
encouraging individual initiatives,
furthering the progress of native farmers,
reducing the cost of native administration,
securing parts of the reservations as Indian land, and
opening the remainder of the land to white settlers for profit.[11]
The Act facilitated assimilation; they would become more "Euro-Americanized" as the government allotted the reservations. Native Americans held specific ideologies pertaining to tribal land, to them the land and earth were things to be valued and cared for, it represented things that produced and sustained life, it embodied their existence and identity, and created an environment of belonging.[12] In opposition to their white counterparts, they did not see it from an economic standpoint.

But, many natives began to believe they had to adapt to the majority culture in order to survive. They would have to embrace these beliefs and surrender to the forces of progress. They were to adopt the values of the dominant society and see land as real estate to be bought and developed; they learned how to use their land effectively in order to become prosperous farmers.[13] As they were inducted as citizens of the country, they would shed their uncivilized discourses and ideologies, and exchange them for ones that allowed them to become industrious self-supporting citizens, and finally rid themselves of their "need" for government supervision.[14]

The important provisions of the Dawes Act[2] were:

A head of family would receive a grant of 160 acres (65 ha), a single person or orphan over 18 years of age would receive a grant of 80 acres (32 ha), and persons under the age of 18 would receive 40 acres (16 ha) each;
the allotments would be held in trust by the U.S. Government for 25 years;
Eligible Indians had four years to select their land; afterward the selection would be made for them by the Secretary of the Interior.[15]
Every member of the bands or tribes receiving a land allotment is subject to laws of the state or territory in which they reside. Every Indian who receives a land allotment "and has adopted the habits of civilized life" (lived separate and apart from the tribe) is bestowed with United States citizenship "without in any manner impairing or otherwise affecting the right of any such Indian to tribal or other property".[16]

The Secretary of Interior could issue rules to assure equal distribution of water for irrigation among the tribes, and provided that "no other appropriation or grant of water by any riparian proprietor shall be authorized or permitted to the damage of any other riparian proprietor."[17]

The Dawes Act did not apply to the territory of the:[18]

Cherokee, Creek, Choctaw, Chickasaw, Seminole, Miami, and Peoria in Indian Territory
Osage, Sac, and Fox, in the Oklahoma Territory
any of the reservations of the Seneca Nation of New York, or
a strip of territory in the State of Nebraska adjoining the Sioux Nation
Provisions were later extended to the Wea, Peoria, Kaskaskia, Piankeshaw, and Western Miami tribes by act of 1889.[19] Allotment of the lands of these tribes was mandated by the Act of 1891, which amplified the provisions of the Dawes Act.[20]

Dawes Act 1891 Amendments
In 1891 the Dawes Act was amended:[21]

Allowed for pro-rata distribution when the reservation did not have enough land for each individual to receive allotments in original quantities, and provided that when land is only suitable for grazing purposes, such land be allotted in double quantities[22]
Established criteria for inheritance[23]
Does not apply to Cherokee Outlet[24]
Provisions of the Curtis Act
The Curtis Act of 1898 extended the provisions of the Dawes Act to the Five Civilized Tribes in Indian Territory. It did away with their self-government, including tribal courts. In addition to providing for allotment of lands to tribal members, it authorized the Dawes Commission to make determination of members when registering tribal members.

Provisions of the Burke Act
The Burke Act of 1906[25] amended the sections of the Dawes Act dealing with US Citizenship (Section 6) and the mechanism for issuing allotments. The Secretary of Interior could force the Indian Allottee to accept title for land. US Citizenship was granted unconditionally upon receipt of land allotment (the individual did not need to move off the reservation to receive citizenship). Land allotted to Indians was taken out of Trust and subject to taxation. The Burke Act did not apply to any Indians in Indian Territory.

In 1922, the General Accounting Office (GAO) conducted an audit of 12 reservations to determine the severity of fractionation on those reservations. The GAO found that on the 12 reservations for which it compiled data, there were approximately 80,000 discrete owners but, because of fractionation, there were over a million ownership records associated with those owners. The GAO also found that if the land were physically divided by the fractional interests, many of these interests would represent less than one square foot of ground. In early 2002, the Department of the Interior attempted to replicate the audit methodology used by the GAO and to update the GAO report data to assess the continued growth of fractionation; it found that it increased by more than 40% between 1992 and 2002.

As an example of continuing fractionation, consider a real tract identified in 1987 in Hodel v. Irving, 481 U.S. 704 (1987):

Tract 1305 is 40 acres (160,000 m2) and produces $1,080 in income annually. It is valued at $8,000. It has 439 owners, one-third of whom receive less than $.05 in annual rent and two-thirds of whom receive less than $1. The largest interest holder receives $82.85 annually. The common denominator used to compute fractional interests in the property is 3,394,923,840,000. The smallest heir receives $.01 every 177 years. If the tract were sold (assuming the 439 owners could agree) for its estimated $8,000 value, he would be entitled to $.000418. The administrative costs of handling this tract are estimated by the Bureau of Indian Affairs at $17,560 annually.

Today, this tract produces $2,000 in income annually and is valued at $22,000. It now has 505 owners but the common denominator used to compute fractional interests has grown to 220,670,049,600,000. If the tract were sold (assuming the 505 owners could agree) for its estimated $22,000 value, the smallest heir would now be entitled to $.00001824. The administrative costs of handling this tract in 2003 are estimated by the BIA at $42,800.

Fractionation has become significantly worse. As noted above, in some cases the land is so highly fractionated that it can never be made productive. With such small ownership interests, it is nearly impossible to obtain the level of consent necessary to lease the land. In addition, to manage highly fractionated parcels of land, the government spends more money probating estates, maintaining title records, leasing the land, and attempting to manage and distribute tiny amounts of income to individual owners than is received in income from the land. In many cases, the costs associated with managing these lands can be significantly more than the value of the underlying asset.
submitted by JoshAsdvgi to Native_Stories [link] [comments]

2023.05.30 21:27 SDSomeGuy Orchestral composing question 2

I think it is very helpful to compose and edit the midi for all instrument tracks in one piano roll. My DAW doesn’t allow this, so my workaround is to copy paste the midi for different instruments into one piano roll with a basic piano sound, which is fine, but now it’s confusing which instrument is playing what part. I’m a beginner into orchestration, so is my workaround practical for basic orchestration? How about more advanced orchestration like John Williams?
submitted by SDSomeGuy to composer [link] [comments]

2023.05.30 06:01 SDSomeGuy MIDI Composing Question

Is it very helpful to compose and edit the midi for all instrument tracks in one piano roll? My DAW doesn’t allow this, but I really like my DAW and don’t want to change it. Also I’m into writing orchestral music where stuff can get quite complex, so that’s why I’m asking.
submitted by SDSomeGuy to composer [link] [comments]

2023.05.25 18:41 throwaway10849839 Anyone here enrolled in Cherokee Nation who can help me with this?

Osiyo! I am hoping someone here can help me understand the application process to Cherokee Nation a bit more.
My great-grandfather is on the Dawes Rolls, and I know I have to provide documents proving him as my great-grandfather. Do they ALL have to be birth certificates? Also, on the website it says only original documents are accepted, but I was told by someone enrolled that only MY birth certificate has to be original and everything else can be photocopied. Is this true?
Another thing, I would be applying as a Freedmen descendant, so would I still need to fill out the CDIB form? I’m at-large (east coast) so I’m wondering if it’s even worth enrolling at this point lol. Sorry for all the questions!
submitted by throwaway10849839 to NativeAmerican [link] [comments]

2023.05.25 00:43 arbryant920 Questions In Regards to Sound Differences when Mixing and Bouncing Down (Metal)

Hey everyone, I'm hoping someone can give me some input or advice. I do a lot of home recording and mixing/mastering (I try to do everything on my own). For the most part, I work within the realm of folk, experimental, and metal music. For the first two, oddball artifacts or lo-fi recording with certain things works totally fine, but when I want a more pristine sound for something in the more aggressive territory, I tend to have some difficulty managing bass and treble. I didn't notice a huge difference before we moved, but that's because I cared less and as I'm now trying to learn the craft a bit, I'd like to be able to create as solid of a sound as I can.
Here's some background of the equipment I'm using:
-I have two different monitors:
-a pair of Samson Media One 3As that I only really use for referencing or for casual listening.
-a pair of Presonus Eris E5's for mixing/mastering (these are newer and I got them right before we moved, where up until then, I mostly mixed using the Samsons and headphones)

For headphones, I'm using AKG K271 MKII (I've had them forever and it's really the first "studio" headphones I've had).
For a DAW, I'm using Logic X on a Mac M1 Mini with a Focusrite Scarlett 18i8.

Now, I'm used to (at this point) bouncing a mix down to make sure it sounds good in my car stereo because I've always had a difficult time figuring out whether or not I'm adding too much bass or things are too scratchy. I recently started a new project where I'm being a bit more nit-picky about the quality of tones (guitar tones, bass low-end, etc.) I have probably bounced down every mix I make about 5 or 6 times with different variations labeling them as (Mix 1 with X EQ, Mix 2 with Y EQ plus Compressor, Mix 4 with Z with Bass Boost, etc.). Almost every time, my mixes sound different in the car than they do coming out of the monitors and my headphones sound different from my monitors as well. I've tried it in two different vehicles and it's they sound different in them as well.
I know that different sound sources/speakers make a difference, but I would ideally like my stuff to sound just as good regardless of the speaker source or at least sound consistent. I'm trying to find out why there's such an inconsistency with what I'm hearing. I've read things that have said that the AKGs have the treble rolled off and a lot of times, I mix with the headphones because I can't always have my speakers on with people in the house.
The room my stuff is currently in is a large open room with very few things on the walls and I realize that could be part of the problem, but I often try to mix with my headphones more than anything and I feel like I have a more difficult time determining the bass response when using the monitors (I have them set up so they are in-line with my ears about 6" from the wall and often it sounds like there isn't enough bass with them).
The Presonus are also set up totally flat with no EQ adjustments currently.
If anyone has any ideas or suggestions, that would be awesome. Or if any further information is needed to better tell, I can provide whatever needed. Thank you so much!
submitted by arbryant920 to homerecordingstudio [link] [comments]

2023.05.24 20:01 Putrid_Cockroach_434 (Review/First Impressions) Logic Pro on iPad is an absolute must

I know a lot of people here have been skeptical of the release of Logic Pro for iPad, and after using it for a bit, I’d like to assuage those skepticisms because I think this represents the ultimate turning point for the history iOS music production.
I’ve been making music for almost a year now (you can check my past posts, I shared a lot of it here) and I’ve been using Cubasis 3 exclusively to the point where I could draw every page of the interface and every stock plugin from memory. In just about 3-4 hours of meandering about Logic Pro, I’ve gotten used to the UI and almost all the basic features that Cubasis offers, and I can confidently say Logic Pro instantly makes Cubasis 3 obsolete in every way. This is the experience of someone who has never used a desktop DAW, but has always been envious of their capability.
Let’s start with the interface, which is beautifully managed and feels right at home with a resident Cubasis user. Tracks are organized on a timeline, tracks can be grouped, subgrouped, foldered, and collapsed to make organization instant. Audio effects and what not for each individual track are presented in a module strip across the bottom, ala Ableton, and each AuV3 can be summoned in a panel just like in Cubasis. The mixer can also be summoned from anywhere at any time, as can the piano roll for any given track.
Midi events can be looped and dragged, there are about 100x more features and functions with regards to Midi and quantiziation, midi notes can be quantized to any key or scale very easily. The audio processing is much higher quality than in Cubasis, and the collapsible, almost modular UI is incredibly intuitive and far more pleasant to use. Writing Midi notes will take a few minutes of getting used to, but once you get the hang of it it feels far easier and more efficient than in Cubasis.
The sample library and browser is located on the left hand side, and features a SEARCH BAR, a tagging system, and colour coding for instruments, effects, and samples, and can be summoned and collapsed at any time. Audio and Midi samples can be dragged and dropped, and the audio editor is insanely capable. One shots and samples can be loaded into a sampler and played via Midi within a few clicks. These are features we have been asking for for years in Cubasis 3.
The stock plugins and synths are some of the best and most complex I’ve ever seen in any DAW period. Not to mention the over 50GB of free sample libraries and packs immediately available for download, with more to come.
Automation in Cubasis has easily been its weakest aspect. The automation system in Logic is vastly superior, points can be curved and drawn overtop the midi events in the timeline, and automation lines for different parameters are colour coded and stacked on top of each other for fool proof visualization. The automation can be edited directly on the track, or on its own dedicated editor in the midi roll for more precision. All the parameters for instruments and effects are well organized and easily selectable from a menu, and drawing parameters in general is much more intuitive.
A few downsides that I’ve noticed so far is that there doesn’t seem to be comprehensive mouse and keyboard support. I haven’t found any options regarding dedicated bindings for hot keys or shortcuts, and the system settings in general leave a lot to be desired at this time, especially compared to the vast array of settings in Cubasis 3. Little things like the option for the playhead resetting position on stop/start are lacking. Generally, mouse and keyboard work just fine, and most of the basic shortcuts like copy and paste are intact, but it certainly takes getting used to, and there’s no way to zoom in/out vertically or horizontally in the timeline or midi editor via keyboard like there is in Cubasis 3, which has been the biggest pain so far coming from mouse-keyboard habits with Cubasis. On the flip side, comprehensive Apple Pencil integration should open the doors to a more creative workflow for those who use it. I don’t, so I can’t really comment on it. The redo button is also for some reason hidden in a long press of the undo button, not sure why they aren’t just put side by side on the top. One thing Cubasis 3 does better is the velocity controls for Midi notes, it’s interface resembles FL Studio’s velocity controls, and you can sweep across notes to edit their velocity. Cubasis 3 in general has always been strong with editing Midi parameters. Another issue I’ve encountered is routing input/output tracks. For example, in Cubasis, any instrument that produces its own Midi notes, (like Riffler), can have its output set to a different instrument track, say a synth, so the notes from Riffler will be played by that instrument. I haven’t been able to figure out how to achieve this in Logic Pro. But aside from that, I don’t think I’ll be returning to Cubasis 3 any time soon.
This is all just scratching the surface, it will take months and months to even come close to acquainting myself with all the features.
Finally, I want to comment on cost and pricing: some people dislike the subscription model, which I understand. However I will note a few things: there’s a 1 month free trial, and it’s $4.99/mo US (or $50 annually) so you can still try it out for free. Second, Logic Pro should be considered a live service, which means we should expect to receive constant updates, new sound libraries, features, and fixes frequently, unlike with Steinberg, who made us wait almost a year between Cubasis 3 updates that added almost nothing to the experience or feature list. And $50 for a year is not going to break the bank (music production is an expensive hobby no matter how you cut it). Thats $500 for 10 years of Logic Pro. That’s as much as an intermediate version of FL Studio, or a basic version of Ableton, or a handful of desktop VSTs. A lot will change in 10 years.
You should also consider this: now that there is a full desktop DAW available on iOS, developed by Apple themselves, this opens the door for VST developers to rethink their relationship with iOS development. Expect to see more and more popular desktop VSTs ported over to AuV3. FabFilter has been doing this for years, porting all of their popular plug-ins 1:1, and for a fraction of the price. A bundle of all 9 FabFilter plugins on iOS cost $150. The equivalent on desktop is $800. FabFilter Twin 3 being ported a few months ago pretty much refutes the idea that iPads can’t handle desktop synths like Serum and Diva.
For those who have invested in iOS music production and AuV3 software: this is what this community has been longing for for years. A full desktop class DAW with no compromises fully optimized for the iPad. It’s here. It’s great. There’s no excuse, if you have a capable device, download Logic Pro for iPad.
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