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Long War Dynamic War

Black Ops: Cold War has arrived. There are several platforms to play Call of Duty on this year, but only the PlayStation 5 can literally give the game a next-gen feel with its controller. Dynamic War: Default is 50% of Long War. Replaces Marathon. A tunable version of long war with a new alien strategic AI, scaled number of alien missions and adjusted economy. Unadjusted, this generates 50% of number of alien missions that standard Long War would, but this can be adjusted in the LongWar.ini file. More info on scaling.

Long War Dynamic War

Xcom Long War Dynamic War

In a recent interview, Vice Chairman of the Joint Chiefs of Staff Gen. John Hyten defined a key pillar underpinning the Department of Defense’s joint war-fighting concept: “In the future, there will be no lines on the battlefield. .. An Army capability can have on its own platform the ability to defend itself or the ability to strike deep into an adversary area of operations. A naval force can defend itself or strike deep. An air force can defend itself or strike deep. The Marines can defend itself or strike deep. .. Everybody.”

There is no question that Gen. Hyten’s ultimate objective is valid — multiplying the nation’s long-range strike capacity while diversifying attack methods. However, this proposed thinking risks yielding less striking power because the respective options available to the services have radically different price tags.

Not all capabilities are created equal, with many costing more and delivering fewer desired effects. This is a dangerous pathway to follow in an era where dynamic threats are on the rise and dollars will likely decline.

Here’s a quick example: A GBU-32 Joint Direct Attack Munition costs about $29,000. A Joint Air-to-Surface Standoff Missile with extended range costs approximately $1.05 million. Desert Storm had over 40,000 aim points. A future conflict could have triple that or more. It does not take a math major to recognize that the GBU-32 yields more strikes for less money. There are many reasons why one munition is favorable over another given various mission requirements, but the fact remains that one costs a lot more.

Ever since the end of the Cold War, in the absence of an existential threat, approaches to DoD decision-making shifted to bureaucratic equities and notions of “fairness,” not necessarily best value. A case in point is the 2011 Budget Control Act, where cuts were issued absent an evaluation of cross-service combat effectiveness. This why the Air Force tried to divest the A-10, while the Army and Marine Corps were buying new attack helicopters. The A-10 is the superior close-air support platform. It has a larger radius of engagement, is faster, is more survivable, can deliver a greater volume and range of munitions, and can self-deploy on a global basis far faster than helicopters that must be shipped.

Yet, through the lens of fairness rather than combat effectiveness, the DoD proposed cutting the A-10, while still spending money on less-capable options. This same thinking can be seen in today’s budgets.

Long-range strike comes down to identifying nodes, upon which an adversary depends to prosecute combat operations. Whether command-and-control centers, lines of communication, production sites, or specific offensive and defensive capabilities, an enemy cannot fight effectively without these resources. Stealthy bomber aircraft that penetrate enemy airspace, aircraft standing off and firing missiles at range, and long-range, surface-based missiles are the general means by which these missions are executed. These capabilities generally do not yield equitable effects, and they certainly do not cost the same.

DoD leaders must pursue an ends-ways-means discussion regarding what options yield greatest war-fighting value, not one where every service gets to participate regardless of whether their long-range strike options are on the wrong side of the cost curve.

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Critical analysis will amortize unit cost across the number of times a system can generate combat power. For a penetrating bomber that can attack dozens of targets on a single mission and stay in the operational inventory for decades, this yields a tremendously low cost-per-effect number.

For a missile, the cost-per-effect equation is reduced to one flight, one target. If range requirements dictate that a missile begins to look like a SpaceX rocket, then chances are that it will be an exceedingly expensive shot. In 2010, a study by the think tank Rand determined that if the nation expected to execute 20 days of strikes across a span of 30 years, “penetrating stealth bombers cost less than expendable missiles for similar missions.” Multimillion-dollar missile strikes add up to a big bill fast.

Added to this conversation are questions regarding operational concepts. What sort of logistical support, defensive measures, intelligence inputs, command and control, and basing requirements do each form of long-range power projection require? How fast can magazines be replenished? Can capabilities be repositioned rapidly in the face of evolving operational requirements?

The DoD should be commended for pursuing new war-fighting concepts. The nation faces serious challenges that require sincere change. However, fundamental to these decisions are hard conversations regarding what yields the most relevant combat power per dollar. Each capability must earn its way into the operational plan. This begins with cost-per-effect analysis — measuring what it takes to get the job done. It is not a time when the nation can afford to pursue “every kid gets a trophy” approach — nor will future defense budget constraints allow it.

Douglas Birkey is the executive director of the Mitchell Institute for Aerospace Studies, where he researches issues relating to the future of aerospace and national security. He previously served as the Air Force Association’s director of government relations.

On an early fall morning in 2028, a confrontation between Russia and Lithuania escalates. Russian air assault forces land and attack Lithuanian forces at Siauliai Air Base. Meanwhile, Russian Spetsnaz Forces assault the headquarters of the Lithuanian air force and the Airspace Surveillance and Control Command at Kaunas, effectively blinding the country’s air formations and disabling its ability to command or control. Within the hour, elements of Russia’s 1st Guards Tank Army and the 20th Guards Army, which had been exercising in next-door Belarus, roll across the border into southern Lithuania under the umbrella of Russian aircraft and heavy rocket barrages. By noon, Moscow has achieved most of its military objectives in southern Lithuania. “Popular” uprisings in favor of reunification with Russia careen out of control in the capital as Russian forces from the exclave of Kaliningrad link up with their comrades. The North Atlantic Council declares the Russian invasion illegal, invokes Article 5 of the Washington Treaty, and authorizes alliance forces to launch a military response.

Russian forces quickly consolidated their military gains in Lithuania, assimilating with existing integrated air defense systems in Kaliningrad and western Russia. Russian missiles and electronic warfare render NATO member air- and sea-ports of debarkation in northern and western Europe inaccessible. Russian cyber operators activate pre-deployed weapons in NATO networks. Russian air defense systems push NATO airborne surveillance systems, including the F-35, outside their effective ranges. The Kremlin’s plan to deny its adversary physical or virtual access to Lithuania is complete. NATO forces are presented with a challenge: Can Lithuania be saved?

***

In this worst-case vignette, Russia effectively neutralizes NATO air support, leaving the U.S. Army as the only force capable of penetrating successfully, with the task of eroding Russian air defense capabilities and defeating long-range surface fires. Russia has the means — via integrated air defenses and long-range interdictory fires — and the intent — which we may soon see in new doctrine — to defend itself and consolidate military gains on NATO’s eastern flank. Unfortunately, the U.S. Army doesn’t have the long-range weapons, formations, doctrine, or expertise to attack and penetrate Russian air defenses as part of a joint force.

This is a problem the institutional Army has been thinking about for a few years and believes it has a solution for, as evidenced by last year’s pamphlet from U.S. Army Training and Doctrine Command, “The U.S. Army in Multi-Domain Operations, 2028.” This document represents a recognition that air support will not necessarily be available, as previously assumed, in the opening days of conflict, thereby requiring the Army to attack strategically important targets at the outset of a conflict. However, Army and joint doctrine for planning, coordinating, and synchronizing targeting have not yet caught up to this reality.

Current joint doctrine relegates to the Army the mere nomination of critical targets to the joint force commander’s staff, which then develops a prioritized joint target list. This contrasts with the Air Force, which is given the task of controlling and managing the targeting cycle and processing the nominations from the Army and elsewhere for inclusion on the joint target list. In the opening days of a war, this arrangement will hinder the Army’s ability to take the lead in strategic targeting and employ its new long-range artillery. Despite the concerns raised by Maj. Gen. (ret.) Robert Scales in his recent article, the Army concept of multi-domain operations is primarily defensive in nature. It aims to force an adversary to cease its offensive before presenting the United States and its allies with a fait accompli involving the seizure of territory, thereby coercing the adversary back to competition below the threshold of war and negotiations. This vision is the latest iteration of a concept that would see the U.S. armed services challenge the enemy simultaneously from the air, land, space, cyberspace, electro-magnetic, and even maritime domains against the enemy’s center of gravity to seize the initiative.

For the Army to be prepared to penetrate Russian air defense and long-range artillery systems, it will need to experiment and develop new approaches along with the other services to address how they all work together to organize, plan, and synchronize the destruction of critical targets beyond the operational areas traditionally assigned to the Army. In the event of a war, Russian operations will leave the U.S. military few conventional options besides long-range strikes with Army artillery against targets that are deep behind the frontline — areas traditionally in the Air Force’s wheelhouse. This is simply because Russian stand-off defenses will make penetration by manned aircraft too costly while holding air- and sea-ports of debarkation at risk with long-range surface fires. Long-range strikes are a new task for the Army, which has not had to attack deep targets outside of its area of operations since the end of the Cold War.

Army and joint doctrine recognize the need for a new approach to long-range interdiction of high-payoff targets during what are called “early-entry operations.” To accomplish this task, the Army needs to develop new skills, organizations, systems, and doctrine to identify, develop, nominate, plan, and execute attacks against high-payoff targets deep in the enemy’s stand-off area. As the Army does this, joint concept developers should review doctrine and conduct experiments on strategic and operational targeting to allow the Army and other services to converge capabilities in an integrated manner. Nederlands voor buitenlanders. This is the clearest path toward ensuring NATO is able to deter, and if need be face down, Russian forces in the event of a scenario like the one described above.

Multi-Domain Operations and Army Artillery

The new Army concept of multi-domain operations is a reaction to a new reality: a constant state of competition that could dangerously and quickly escalate into armed conflict to block a fait accompli by Russia or China. This is a different approach for the Army because it tries to resolve the challenge of the “gray zone”, while eliminating phased operations in joint doctrine, and gives the Army new responsibilities, such as long-range strike. The Army concept identifies five problems for the armed services to solve. Of the five, two expressly concern how the Army contributes to dismantling and rolling back an enemy’s anti-access/area denial capabilities.

The Army is on track to field numerous long-range artillery systems in the mid-2020s to provide materiel solutions to these two problems. The bigger question for the Army does not concern materiel, however. The Army not only needs to rebuild its own competence in planning and coordinating long-range strikes, a difficult undertaking, but also work to change joint doctrine currently limiting its role in planning and coordinating those strikes. In order to be prepared for a war with a great-power adversary, the Army should also relearn how to suppress and destroy enemy air defenses at extremely long ranges. Whether commanders will recognize and exploit the Army’s new competence remains an open question, as current joint doctrine does not acknowledge the outsized role that Army artillery will play in the opening days of such a conflict.

Where Army Multi-Domain Operations End and Joint Doctrine Begins

The Army faces a bevy of challenges to carrying out the long-range strike mission. As described in the multi-domain operations concept, the Army currently lacks long-range surface-to-surface artillery with sufficient range and survivability. It lacks doctrine to enable targeting beyond the traditional operating areas for land forces, so soldiers cannot take advantage of key intelligence assets for targeting. The Army does not have organizations at the combatant command and joint task force levels capable of planning and executing theater-wide interdiction. The Army does not have personnel with relevant training and experience to man those organizations, should they be established. Given these deficiencies, the Army should leverage joint and national intelligence, surveillance, and reconnaissance systems to contribute to the targeting cycle for long-range fire support. To its credit, the service has already made significant investments in the development of long-range artillery and experimented with new formations and concepts in this area. Yet the Army — and the other services — are just beginning to fully address the significant implications of this impending sea-change in joint doctrine through thorough and rigorous experimentation and concept development.

Joint doctrine prescribes theater fire support roles, processes, and responsibilities through what is called the “theater air ground system” — a system of systems for the planning and execution of all air-ground operations. The system is intended to create integrated command and control for the entire U.S. military. Individual components identify requirements, nominate targets, and conduct execution planning. After the joint force commander makes targeting and apportionment decisions, components plan and execute assigned missions through their respective operations centers in the form of air tasking orders, fire support plans, intelligence collection plans, and space plans, as well as planning requirements for cyber operations, electronic warfare, and special operations. However, joint doctrine acknowledges that many formations in the U.S. military cannot even enter an area of operations until ground forces have secured the area — the area denial problem described in the Army’s multi-domain operations concept.

Current joint doctrine designates the air component commander as the supported commander for the overall target interdiction effort, as well as the airspace control authority. As a result, the joint air operations center serves as the brain of the overall theater air ground system. The Army coordinates with the operations center through a battlefield coordination detachment, which nominates targets for the overall target list, processes land force requests for air support, and advises the air component commander on land operations. The joint force commander may also appoint the senior artillery commander as the Joint Fires Element to serve as the joint force fires support coordinator and oversee the overall fires operations and the production of the joint integrated prioritized target list. While this process places an Army fires leader in charge, the Air Force still controls the targeting process itself.

To explore how to expand its role in the conduct of long-range interdiction, the Army has conducted numerous experiments with new formations and headquarters at its highest echelons. In addition, the Army is using the 17th Field Artillery Brigade as the test bed for a wholly new organization referred to as the multi-domain task force, which will serve a unique role in effects integration planning and execution at the operational level for the joint force commander. The experiment has yielded a great deal of insights into how to employ intelligence, cyber, electronic warfare, space, and fire support, but the Army has yet to directly address the problem of long-range targeting. Part of the reason for this may stem from using the Indo-Pacific area as the primary location for this particular experiment, since the particular long-range fire support shortfall is much different in the Pacific than in Europe. Consequently, the focus of the multi-domain task force has been more on enabling maritime tactical maneuver than on joint long-range targeting and penetration.

In light of this early exploration of the problem, the Army has created some initial design concepts to add new fire support commands to its existing structure. In some cases, these initial designs represent truly disruptive approaches to joint operations. For instance, the Theater Fires Command concept document states, “the role of the Theater Fires Command is planning and synchronizing theater fires,” but it does not address how this new concept may affect the other services and joint processes that already exist to synchronize theater fires. Many of the Army’s new organizational designs may seem to ignore existing joint doctrine on targeting, particularly on joint procedures for attacking high pay-off targets and time-sensitive targets, the two types of targets that comprise adversary air defense and long-range artillery systems. However, much of this “ignoring” of existing targeting processes is not a lack of acknowledgement but an indication of the Army’s ongoing collaboration with the Air Force, joint staff, and other services on new concepts and technologies. For example the employment of artificial intelligence in attacking dynamic targets or the development of a new joint all-domain command and control system.

Too often, in its effort to develop concepts for long-range artillery, the Army has thought of the problem in traditional “kill chain” terms associated with how it conducts fire support for its own ground units. For example, the Army might describe a typical tactical fire-support vignette in which a high payoff target is unexpectedly observed in the enemy’s deep support areas. The target may be fleeting — meaning it might soon move — and therefore should be engaged rapidly. Further, the target may not have been planned as part of the current air tasking order or fire support plan. What’s the problem? This scenario and others like it are barren of planning considerations for convergence across domains and the broader implications of hitting targets haphazardly. Hitting high pay-off targets across the broader area of operations will require persistent coordination and synchronization of the entire U.S. military. The danger in omitting processes and associated capabilities, such as the joint targeting cycle and satellite surveillance, in its thinking may reveal an oversimplification of solutions. This could lead to costly misunderstandings such as the belief that the Army needs to field its own strategic intelligence, surveillance, and reconnaissance systems. Rather than creating its own targeting capabilities from scratch, the Army would do better to learn to leverage and manage systems and processes that already exist. Let’s start with the most critical: the joint targeting cycle.

The joint targeting cycle is the process of selecting and prioritizing component critical targets and matching the appropriate military response, taking into account command objectives, operational requirements, and capabilities. There are two targeting categories: deliberate and dynamic. Each component nominates individual targets, categories of targets, or desired effects. The deliberately planned targets are prioritized and approved in the joint targeting list. In some cases, the commander may also make available specific assets for operational area-wide employment including nonlethal assets designed to enable or disable materiel, personnel, and networks. Dynamic targeting has often been called “find, fix, track, target, engage, assess” -— or the “kill chain” — and has also been used for engaging high-payoff targets, such as mobile air-defense systems, radars, and command and control nodes. Its applicability, however, extends to all targets whether developed during deliberate targeting or dynamic targeting. Targets of opportunity have been the traditional focus of dynamic targeting because decisions on whether and how to engage must be made quickly. While planned targets can also be dynamic targets, the steps simply confirm, verify, and validate previous decisions (in some cases requiring changes or cancellation). The steps of dynamic targeting may be accomplished iteratively and in parallel. The find-fix-track-assess steps tend to be surveillance-intensive, while the target-engage steps are typically labor-, force-, and decision-intensive.

To solve the problems of penetration and dis-integration, the Army’s kill-chain for targets at long-range shouldn’t be thought of in the same terms as in the tactical and operational areas. In the tactical and operational areas, an observer using precision targeting sensors quickly determines a very accurate target location and then uses tactical communication equipment to quickly send a digital call for fire to the fire direction center, which quickly calculates and transmits firing data to a firing platform. The observer is able to see the effects of the munition on the target and can then provide feedback about damage to the target, whether it has been destroyed, neutralized, or suppressed, or whether the target needs to be engaged again. This type of tactical surface-to-surface fires engagement is expertly practiced by the Army in the tactical and operational areas. However, the execution of the Army “kill chain” for targets at strategic range require the Army to plan fire support in much the same way as the Air Force does in the air tasking order. That is, in the framework of the theater air ground system, joint targeting coordination board, and joint targeting cycle.

Let the Army Lead the Targeting Cycle

Current doctrine and the theater air ground system assign target and strike coordination to the Air Force, with the other services playing a supporting role. When adversary air defenses deny air support, the U.S. military might find that a converse relationship is desirable in which the Army has specific assets made available to it in order to solve the penetration and dis-integration problems. In this conception, the Army would possess primary access to joint and national intelligence collection assets to identify high-payoff targets and prioritize the suppression and destruction of enemy air defenses and long-range artillery. The Army should be given authority to fully develop high-payoff and time-sensitive targets in the early days of conflict in order to allocate national and defense assets to find and deliver desired effects. A more aggressive approach would see the Army made the supported command during early-entry operations. This change would allow the joint force commander to adjust the targeting cycle process to operational conditions, depending on the access of air, land, or sea forces at any given point in time.

The multi-domain operations concept acknowledges the challenges of adversary anti-access and area denial in the near future. Current joint doctrine was written in an operational environment that assumed U.S. dominance in the air and traditional phased operations. Once it develops long-range artillery, the Army will be able to better plan, synchronize, and manage long-range interdiction in enemy rear areas to mitigate the inability of the Air Force to penetrate that far. However, for the entire U.S. military to take advantage of future Army capabilities, it will have to work closely with the Army and the Air Force to develop new concepts, technologies, and adjust current doctrine. Designating the Army as the main effort in delivering interdictory effects throughout the joint operational area, at least for some initial period of time, is an approach worthy of further study and experimentation.

Long War Dynamic War

Michael Jacobson is the chief of the field artillery branch in the Fires Division of Futures and Concepts Center, Army Futures Command. He serves as a field artillery colonel in the U.S. Army Reserves. In that capacity, he serves on the Joint Staff (J-3), supporting force management in globally integrated exercises. The views expressed here do not represent those of Army Futures Command, the U.S. Army, the Joint Staff, or any part of the U.S. government.

Xcom Long War Dynamic War

Image: U.S. Army (Photo by Staff Sgt. Sharon Matthias)

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Knight Rider The Fan Game Demo

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From Sep 1982 to Aug 1986, Universal Television aired Knight Rider, an action-based adventure starring David Hasselhoff as a field operative for the Foundation for Law and Government (FLAG), intent on helping the 'innocent, helpless, and powerless' against the criminal element. The real star of the show, however, was a futuristic-styled Pontiac Trans Am, the Knight Industries Two Thousand (KITT), featuring a talking computer. Netherlands-based developer Davilex Games resurrects the characters, cars, and action of the 1980s series, putting the player behind the wheel of KITT in Knight Rider: The Game.

Knight Rider Demo. Play through a portion of the game inspired by the 1980's TV sitcom, Knight Rider, from behind the wheel of the high-tech super car known as KITT. De delftse methode netherlands voor buitenlanders pdf. Fight against crime using the most technologically advanced car ever made, featuring: -Turbo Boost.Super Pursuit Mode. Knight Rider The Fan Game. 2,963 likes 60 talking about this. Jump behind the wheel of everyone's favorite 80's talking super car KITT! The Fan Game follows a fictional Season 5 of Knight Rider.

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Three difficulty options (easy, normal, and hard) determine the damage tolerance, duration of parts, and level of opponent aggression in the 15-mission campaign covering ten unique tracks. The KITT super car comes equipped with various capabilities including turbo boost, ski mode, night vision, microwave jammers, scanning ability, and targeting functions. https://hypeblog580.tumblr.com/post/661529985240186880/vlinn-20-linn-lm-1-drum-machine. Fans of the television show will recognize featured characters and enemies, such as KITT's evil double KARR (Knight Automated Roving Robot), Devon Miles (head of FLAG), and Goliath, a high-tech truck built by nemesis Garth used for mayhem and destruction.

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Grammar

Verb Conjugation Site in English to look up conjugation of Dutch verbs.

De Delftse Methode Grammar Dutch grammar often seems confusing, but the rules are relatively simple. The grammar rules are explained by means of examples from the course book texts.

Basiscursus 1 is de Delftse methode voor laagopgeleide anderstaligen die Nederlands willen leren. De methode is zeer geschikt voor zelfstudie, maar leent zich ook perfect voor klassikale lessen. In korte, aansprekende teksten de cursist de circa 1000 belangrijkste woorden en woordvormen van het Nederlands. De methode bevat 16 lessen en elke les heeft 3 teksten. Nederlands Voor Buitenlanders book. Read reviews from world’s largest community for readers. Start your review of Nederlands Voor Buitenlanders (Delftse Methode) Write a review. Dec 18, 2013 lyloster rated it did not like it. I didn't like it. There were no explanations of the grammar and it was really hard to figure out what the 'lesson. BASISCURSUS 1 NEDERLANDS VOOR BUITENLANDERS OEFENBOEK basiscursus-1-b-nederlands-b-voor-buitenlanders-oefenboek.pdf. De Delftse Methode Nederlands Voor Buitenlanders Pdf. Download or Read Online nederlands voor. Cs no recoil cfg. Delftse methode Nederlands voor buitenlanders.

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Letter Bank Concepts and examples of all kinds of correspondence, including job applications, invitations etc.

Language Shop Site, jointly developed by the University of Amsterdam and the Hogeschool Amsterdam, especially for university level NT2 students, with information about writing academic texts, but also about presenting etc. Level C1

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Van Dale Dictionary Free online dictionary.

Pocket Dictionary Dutch as a Second Language Contains 14,000 words which are explained in Dutch without use of difficult words. Includes CD-rom with pronunciation of the words.

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School TV Educational videos at different levels. First, choose schooltv gemist. Then choose PO for CEF level A2/B1, VO for level B1/B2 and VO for CEF level B2/C1.

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Published on Jun 23, 2015 Aly James

The Linn LM-1 drum module, invented by Roger Linn in the early 1980s Linn LM-1 was a Drum machine in the early 80’s. If you already own VProm version 1.0 (was VLinn) and have not updated yet, the full version 2 will only cost a 30 Euros minimum donation:) drop me an Email with your registered information and I will tell you how to proceed. The Linn LM-1 Drum Computer, invented by Roger Linn in the early 80s The Linn was the killer drum machine in town back in the early 80s. 100% FREE Drum loops, samples, wavs downloads stock music. 2 and SF2 28 Drum Kits A Must Have 80's Style.

http://www.alyjameslab.com 'vLinn 2.0 VST is actually 99% done and is now compatible with x86 x64 VST2 VST3 AU for Windows and OSX. If you do not know about the vLinn VST (Legendary Linn LM-1 drum machine accurate emulation) check out the website :) V2.0 also earned some new features and improvements like: - Individual Panning - Global tuning offset via MIDI PitchBend - MIDI OUT (through) - Exponential Velocity Curve (full mode only) - ALL voices (12+1) are now replaceable by compatible imported EPROM images (original .bin files) no more need to set the size of the EPROM memory manually ( vLinn does it for you) -The Additional Custom Voice can now be triggered from the GUI - Overall GUI improvement' via the Oli Larkin blog: 'Recently I helped Aly James to bring his great VLinn Linn LM-1 emulation to Mac OSX (and Win x64). I rewrote the plug-in in C++, and in the process we added some cool new features.'

In this review we will cover:

What is the history of the LM-1 and why would we want to emulate it in 2014?

Why we need more than samples to accurately emulate the LM-1

The vLinn plug-in GUI and features

Directly comparing the vintage vLinn detuning algorithm to different types of sample-rate conversion

Directly comparing samples from the original LM-1 to the vLinn

Conclusion

https://www.youtube.com/watch?v=z-YlCb0V7A4Video can’t be loaded: Aly James Lab’s vLinn VST Review | LM-1 LinnDrum Samples vs Emulation (https://www.youtube.com/watch?v=z-YlCb0V7A4)

What is the history of the LM-1 and why would we want to emulate it in 2014?

The LM-1 was the world’s first programmable drum machine to use digital samples instead of analog synthesis. It was produced between 1980-1983 by Linn Electronics and caused a revolution in the music industry at the time.

Never before had such realistic drum sounds been available without hiring a drummer and a studio. It changed the face of 80’s music and featured in countless hits. You will be familiar with songs using the LM-1 by artists like Prince, ABC and The Human League.

A couple of years later the creator Roger Linn made the sequel, the LM-2. This is commonly referred to as the LinnDrum. After that he made the Linn 9000, and eventually under the Akai name the original MPC-60 back in 1988.

The LM-1’s characteristic sound is crunchy, fat and lo-fi. This is largely due to the original drum samples being recorded at 28 kHz using only 8 bits. They are played back from the machine’s programmable EPROM at various rates to create different pitches. Here is a video of it in action:

https://www.youtube.com/watch?v=NXRw7WlwHJsVideo can’t be loaded: Linn LM-1 Drum machine freestyling (https://www.youtube.com/watch?v=NXRw7WlwHJs)

LM-1 LinnDrum Samples vs Emulation

There are some samples online that claim to be from the LM-1, but most of them actually turn out to be from the machines successor, the LinnDrum.

Using samples alone can’t fully emulate the machine. You will be unable to accurately emulate two main features of the original:

You can’t change the sample’s pitch and retain the correct sound.

The original hardware does not work like a modern software or hardware sampler. Unless you are using a special SRC (sample-rate conversion) algorithm or DAC emulation, sounds that are pitched down will loose their high frequencies compared to how they would sound on the original. They will also loose the special crunchy character the original is famous for.

Regardless of the DAC or SRC used, they will not have the same envelope or specialised high pass filtering of the bass sounds either.

The Hi-hat of the original is played back from a constantly looping sample. It is slightly different each time, this can’t be emulated properly in a sampler.

So it’s 2014 and we are still in need of an accurate LM-1 emulation, so here is Aly James Lab’s vLinn 1.0, the world’s first virtual LM-1!

The vLinn plug-in GUI and features

The vLinn is available in 32bit VST format for the PC. It is created using SynthEdit as its main framework with custom coding for everything else. This is a similar set-up to that used by the well known freeware author Bootsy from the Variety Of Sound website. There are plans to make the vLinn 64bit and Mac compatible in the future.

If you are running a 64bit DAW you can use it’s built in 32bit > 64bit bridging or a 3rd party solution like jBridge. It has been working perfectly on my 64 bit copy of Reaper using Reaper’s own built in bridging.

The vLinn works like a virtual drum machine containing all the sounds with all the associated controls of the original. It does not have its own sequencer. You are expected to use your host DAW to do the drum programming. This is the best solution, Aly explains on his website about the myth of the LM-1 sequencer groove, you are much better off using your own midi sequencer inside your DAW. You can emulate the original sequencer by setting your MIDI sequencer resolution to 48 PPQN, this is most likely labeled as Ticks Per Quarter Note in your sequencer. In Reaper you can find this setting in Preferences/Midi:

It has some fantastic extra features, the best one being it can load compatible external EPROM files. If you visit Electrongate Drum Machine Resources you can download EPROMS for the following machines:

The Oberheim DMX (Classic Hip-Hop machine)

The LinnDrum (The not so different sequel to the LM-1, AKA the LM-2)

The Sequential Circuits Drumtracks

You can even create your own EPROM images using the free Promenade software!

The vLinn can store it’s built in LM-1 sounds and your custom EPROMs at the same time. You can flick between the two with the press of a button. The interface is very well designed and easy to use. This is the main menu selection where you control which screen to view. Let’s look at each:

MAIN

This brings up the volume sliders for the different instruments.

CEMS

This brings up the Low Pass filter controls. These are only relevant for the Bass, Conga and Tom sounds.

The purpose of these filters are to cut out the high frequency aliasing and background noise for the bass instruments. The clever thing about them is that you can delay the onset of the filtering to allow the high frequency transients of the drum sound to cut through.

If you pitch down a downloaded sampled Bass, Conga or Tom sample that has the delayed onset filter recorded onto the sample you will make the length of the onset longer the further you go down. This is a vital element of the emulation and is one area that can’t be emulated using a normal sampler.

The delay is controlled by the pulse offset control.

DEMO

PROM

This screen enables you to load external EPROMs into the sampler.

DEMO

SETS

Here we can set how the vLinn responds to velocity, like the original with two velocities, or fully responsive like a modern sampler.

INFO

A bit of useful information about the software

Other than the menus there are other elements of the GUI that are always on screen.

Drum Trigger Pads

Drum Trigger LED’s and Pitch Tune dials

Here we can type in the playback frequency of each individual drum sound if we wish, or adjust it using the dial.

Hi-hat Decay Slider

Here we can adjust the decay of the hi-hat sound and see the drums in a scope.

Now we have seen the plug-in interface lets get down to hearing how good it is at emulating the original.

Directly comparing LM-1 LinnDrum samples from the original to the vLinn

NOTE: The video review has a lot more examples than this written section!

One of the plug-in’s main features is to emulate the LM-1’s trademark crunchy sound. This sound is largely due to the way it plays back the digital samples stored in the EPROMS. We are going to look at alternative ways we could try to achieve this same effect, and then see if the vLinn is the best solution to get crunchy lo-fi LM-1 sounds.

In the DAC emulation of this plug-in there are many technical elements that may have been included, but I would argue the main thing is the SRC. The original EPROMs are samples at 24 kHz. To just play them back at the rate they were recorded at requires conversion from 24 kHz to 44.1 kHz (assuming your DAW is running at 44.1 kHz).

The vLinn DAC emulates the AM6070 DAC. Aly’s website says:

Following the exact datasheet decode table for 8bit companded incoming DATA. The real LM-1 nasty griddy sound at every pitch, like the real thing, forget resampling or tuning crappy samples packs which will always sound dull at lower pitches!

The only other emulation of the AM6070 I know of is Plogue’s Chipcrusher. I have not heard it myself, the website says the following about it’s emulation of the AM6070:

A-Law and µ-Law: Examples: Early US samplers and drum machines which used AM6070/AM6072 ICs like the LINN Drum machines, and the E-MU Emulator I/II/Drumulator.

Inside Reaper we have real-time access to many different SRC algorithms. If you were playing back the WAV file in your sampler you would probably have some thing like the 64pt Sinc algorithm.

The vLinn has a little extra high-end, this suggests that the vLinn does not attempt to totally model the original hardware’s output circuits. I think this is a good thing as we can do it our-self with some of the most amazing quality freeware tools available.

I have created this preset for TDR VOS’s free SlickEQ, regardless of your DAW you can paste this in to load my preset:

<TDRVOSSlickEQ lowBandGainParam=”3.0″ lowBandFreqParam=”30″ lowBandShapeParam=”Off” midBandGainParam=”0.0″ midBandFreqParam=”1000″ highBandGainParam=”-18.0″ highBandFreqParam=”29986″ highBandShapeParam=”Off” eqModelParam=”German” eqSatParam=”Off” hpFreqParam=”Off” outSatModelParam=”Linear” outSatDriveParam=”6.0″ outGainParam=”0.0″ bypassParam=”Off” modeParam=”Stereo” lowBandBypassParam=”On” midBandBypassParam=”On” highBandBypassParam=”Off” autoGainParam=”Off”/>

Linn Lm-1 Drum Computer

Here are a few drum patterns made using the vLinn, and also some recorded from the original machine and kindly supplied for this review by Aly James. You can also download them all as FLAC lossless files for your listening pleasure.

LM-1 LinnDrum Samples_Hardware_Drum Patterns 1

LM-1 LinnDrum Samples_Hardware_Drum Patterns 2

LM-1 LinnDrum Samples_Hardware_Individual Hits_BurrBrown_Preamp_Converters

LM-1 Kick1_direct

LM-1 Snare1_direct

Vlinn Drum Pattern (From Review Video)

LM-1 Original Snare

LM-1 Vlinn Original

Vlinn Snare Matched With SlickEQ

Conclusion

The vLinn is a very close emulation of the original hardware. If you are after a 100% perfect copy of the original you will need to add a little extra processing, but this is only for total perfectionists. If you want to copy the original 80’s sounds you will want some kind of console and tape emulation anyway.

Linn Lm-1 Drum Machine

It is an amazing bargain for the suggested minimum donation of 15 Euro. I understand it took Aly over a year to make and is obviously a labour of love. If you can afford to I suggest you donate more, I understand he is considering emulating another popular old digital drum machine that should make a lot of people very happy.

The vLinn is available from: http://www.alyjameslab.com/alyjameslabvlinn.html

If you want to learn more about the LM-1’s creator Roger Linn, check out his web site: http://www.rogerlinndesign.com

What do you think about the vLinn VST, the original LM-1, or this review? Please discuss in the comments below.

If you enjoyed this review, please don’t forget to click the relevant social media buttons below, hit the Facebook ‘like’ button on the top right of this page, and join the mailing list to stay up-to-date!

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Echo Dot Spotify

Echo Dot Spotify Not Working

Echo Dot Spotify

Alexa Echo Dot Spotify

Echo Dot Spotify Connect Not Working

Today my Echo Auto stopped recognizing my Spotify app on my phone. When I ask to play music on Spotify, I'm told that the app isn't installed on my phone. I have a Galaxy S9. I've tried reinstalling Spotify, reenabling the Spotify skill, restarting my phone and have ensured that all music setting are set to Spotify. Usually you have to always have to end your music requests with '-on Spotify'.With this configuration you can get your Amazon Echo Alexa to automatically pla. I have an Echo Dot and it has had several temporary issues with Spotify in the past. Usually these pass after leaving it alone for a while. These issues include the usual things I've seen people post about in this subreddit before, such as the echo dot not showing up in my devices menu on Spotify or playing one song and then mysteriously stopping.

So you just unwrapped an AmazonAlexa, Echo, or EchoDot—maybe someone who really gets you gifted one, or perhaps the holidays inspired you to treat yo’ self. Don’t start the new year with the smart speaker still sitting in its box. Setting it up to play classic, pop, and everything else is a done deal in three steps.

What you’ll need: your new device, the Amazon Alexa app on your smartphone or tablet, and your Spotify login info. Here’s how to connect Amazon Alexa to Spotify:

First, download the Amazon Alexa app from the Google Play or App store, and follow the prompts to set up your new Amazon Echo or Echo Dot.

Once connected, go to “Settings,” select “Music,” click “Link New Service,” and then tap “Spotify” to input your Spotify username and password.

Select “Default Services” to set Spotify as your default music service—et voilà.

Bonus hack: Once Alexa is up and running, you can even listen to another user’s Spotify account. Just ask Alexa to “Spotify Connect,” and the device will search for another one on the same Wi-Fi network. Stealing your holiday houseguests’ excellent playlists is encouraged.

Ready? Try asking Alexa to play the very best of your library, or help you discover something new, by saying:

“Alexa…”

“Play Spotify.”

“Play my Discover Weekly.”

“Play hip-hop music.”

“Pause.”

“Resume Spotify.”

“Like this song.”

“Play the next song.”

“What’s playing?”

“What’s this album?”

The very first thing I did after I opened my new Alexa Echo was to try to play music. And my first option was Spotify. Very soon I realized that maybe it was not going to be possible without a Premium account.

Can you play free Spotify on Alexa? Yes, there is a way to use Spotify with Alexa even if you don’t have a Premium account. To do it, you just need to have the Spotify app in your smart phone or computer, and connect it with your Echo device using Bluetooth. You will have to pair the two devices and play the music in your phone or computer. Then, you will be able to listen to the music on the Echo speaker. You won’t be able to do everything you can do with the Premium account in terms of the commands that you can say. However, you can still play, pause, stop and skip a song using your voice.

Alexa and the Echo are great products. The problem is that it can be difficult to understand how compatible the Echo is with other products and with other applications like Spotify. For that reason, I created a tool that helps you check that compatibility. The tool lets you specify which Echo device you have. You can find the tool in this link. Check it once you are done with Spotify if you are interested on it. I am constantly updating the tool as soon as I confirm when a new product is compatible with Alexa.

In the following sections I will explain with as much detail as I can, how to play free Spotify on Alexa. I will explain the process for both options: using your smart phone and using your computer or laptop.

Limitations Of The Free Spotify On Alexa

As I mentioned before, with a free Spotify account, you cannot do all the things that you can if you have a Premium account. Let’s see what those limitations are.

1. You Need The Smart Phone or Laptop

First of all, with the Premium account you don’t need a smart phone nor a computer to play music, but you can play Spotify directly on your Echo device. Whereas with the free account, you need to connect a smart phone or a laptop to the Echo device using Bluetooth and play the music on the smart phone or on the computer.

2. You Can’t Ask Alexa To Play Music

With a Premium account you can configure Spotify as the preferred music streaming service. When you do that, you can say simple commands to play music, such as:

Alexa, play jazz.

Or:

Alexa, play my Discover Weekly.

You can also ask about the music that is playing with the following commands:

Alexa, what’s playing?

Alexa, what’s this album?

Echo Dot Spotify Not Working

Without the Premium account, you won’t be able to do that, simply because the “Connect to a device” option will not be enabled for your Echo device in the Spotify app.

So, to play music you have to have Spotify already running in your smart phone or computer to be able to control it with Alexa. You still will have access to some voice commands that I will explain in the next sections.

3. You Will Still Have Ads

As usual, you will still have to listen to ads now and then.

Something crazy, though, is that if you have an Echo that does not support video (for example, the Echo Dot), you will not listen to the video ads. There will just be a moment of silence while the video is playing in your phone. Actually, I see this situation kind of like an advantage!

4. Audio Issues, Sometimes

In general, there are no issues. You can play Spotify with Alexa for a long time, with great sound quality!

However, I have been experiencing problems when I do something with Alexa that stops Spotify, without actually asking her to stop Spotify. If that happens, when I resume Spotify, the audio sounds really bad. Somehow, the devices loose synchronization. Even the Bluetooth connection might get lost. In any case, you have to close Spotify in your phone and disconnect the Bluetooth. Then, you have to re-connect the Bluetooth and then open Spotify again. After that, you will be able to listen to Spotify again without any problem.

It is not perfect, but it works.

How To Use Free Spotify With Alexa (With A Smart Phone)?

OK, let’s see how we can configure Alexa Echo and your smart phone to use Spotify with Alexa.

First, activate the Bluetooth connection in your smart phone, as shown in the following picture.

You should be able to see your Echo device in the list of available devices. In my smart phone, the Echo device has the name Echo-BBM and has the icon of a headset with a microphone.

Now that you can see the Echo device, you have to ask Alexa to pair with your phone. You might have to click the name of the Echo device in your phone so that Alexa can find it. So, to pair Alexa with the phone, say:

Alexa, pair.

The following screen will be shown in your phone:

After you click PAIR, the Echo device should be listed in the paired devices list, as show in this picture:

Now, just have to start playing music from Spotify in your smart phone and you should be able to listen to the music on the Echo device.

How To Use Free Spotify With Alexa (With A Computer)?

For some reason, it was more difficult to be able to connect my laptop to the Echo device using Bluetooth. I was able to pair both devices, but after just seconds of being connected, the connection would get lost. So, I was not able to use Alexa to play music on Spotify.

The connection issue happened when I tried to pair the Echo device from my computer. Again, it was possible, but after some seconds, the connection was lost. I don’t know exactly if it was because of my laptop or because Alexa works better with phones.

Anyway, the connection works great when you use the Alexa app in your smart phone to pair the Echo device and your laptop. In this case, you don’t start the process from the computer, but from the Alexa app in your smart phone. So, this is the process that I will explain here, because it is the one that worked.

First, click the top left icon (the one with stacked horizontal lines) to see the Alexa app’s menu as shown in the picture. Then click the Settings menu to open the Alexa app settings page.

Now, click the Device Settings option:

You will see all the devices that you have in your smart devices environment. Select your Echo device. Mine is the Echo Dot.

Then select the Bluetooth Devices option:

And click the PAIR A NEW DEVICE button:

If your laptop or computer has the Bluetooth connection on, you will see it in the Alexa app, as shown in this picture:

Echo Dot Spotify

Click the name of your laptop in the Alexa app. You will see a notification in your computer, asking you to allow the Echo device to be paired. Accept the request. Now you will see your computer listed with the paired devices. You should also hear a confirmation from Alexa.

Once you have the laptop and the Echo device paired, you can open Spotify and start playing music!

Available Voice Commands

Once you have started playing music with Spotify in your smart phone or computer, and you can hear that the Echo device is actually playing the music, you can use Alexa voice commands to do some of the tasks. Let’s see what you can actually do:

You can pause the song that is being played in Spotify by saying:

Alexa, pause.

Alexa won’t respond, but the music stops playing.

Alternatively, you can achieve the same effect by stopping the song by saying the following:

Alexa, stop.

Again, Alexa doesn’t respond, but the music just stops.

If you want to play music again on Spotify while your phone or laptop is still connected to Alexa, you can say the following:

Alexa, resume.

Alexa will respond: “Resuming Bluetooth”.

Another way to start playing again, is by saying:

Alexa, play.

Alexa will respond: “Playing Bluetooth.”

You can even skip a song on Spotify. Remember that if you are using your phone with a free Spotify account, you can only skip five times within an hour. So, while you have skips available, you can say the following to skip a song:

Alexa, skip.

Or you can say:

Alexa, play the next song.

In the two previous cases, Alexa does not respond anything, but Spotify stops playing the current song and starts playing the next onw. Of course, if you are using your computer to play Spotify, you don’t have the skips restriction.

Keep in mind that when you play Spotify with your smart phone, you can only shuffle play. You can’t play a list in order. This behavior remains the same when you use Alexa to reproduce the music. Again, using your computer, you won’t face this limitation.

You can also like a song with Alexa by saying the following while a specific song is playing:

Alexa, like that song.

Alex will respond: “OK, rating saved”.

However, when I tried this command, I did not find anything about any song being rated or liked in the Spotify app on my phone. I also checked the Spotify app on my computer but I didn’t find anything either. So, I don’t know exactly what Alexa does with this command.

Finally, you can control the volume of you Echo device as usual using the following commands:

Alexa Echo Dot Spotify

Alexa, turn down the volume.

Or:

Alexa, turn up the volume.

Conclusion

Although the process is a bit difficult to complete, it is possible to play music with a free Spotify account on Alexa. You won’t have all the advantages that you have with a Premium account, but the listening experience and the hands free experience are still pretty good!

Anyway, one can always start like this, and then decide later to get a Premium account to have a much more comfortable experience.

Echo Dot Spotify Connect Not Working

I hope you found this article useful. If you did, please share it so that other Alexa users benefit from this information!

[hypeblog580]

Transfer Dropbox To Icloud

I then opened the iCloud app in Windows 10, intending to copy the photos en masse to Dropbox, then, once the move was confirmed, erase the photos from my iCloud. (I also tried this through accessing my iCloud via Google Chrome.) I can’t seem to select more than 1 photo at a time, in my iCloud photos area. I used Dropbox with selective sync to avoid to download photos and videos on my Mac. But for migrate to iCloud, I first had to have a copy of each and every one of the files I had in Dropbox. Fortunately, my MBP is 512GB so I had more than enough space. To transfer Dropbox to iCloud drive, you have to proceed with the same steps given above for Mac. In the case of an iOS device you have to open the iCloud Drive and Dropbox app manually. Go the icloud.com from safari and log in with Apple ID and Password. Copy data you want to transfer from the Dropbox app and Past in the safari browser.

How to sync with iCloud?

pwSafe uses iCloud Drive for syncing. All safes stored inside the pwSafe folder in iCloud Drive will be available on both the Mac app and the iOS app. To make sync work, please open the settings app (iOS) or the system preferences app (Mac), navigate to the iCloud section, and check that:

You are using the same Apple-ID (email address) to log on to ICloud on all your devices

That iCloud Drive is enabled (including the pwSafe-specifc sub-option)

On iOS devices, that you are connected to WI-FI or the 'Use Cellular Data' option is enabled for iCloud Drive.

Macs and iOS devices can take time to download all your files from iCloud Drive servers. If they get stuck, rebooting usually fixes the problem. If not, then please:

Turn pwSafe off inside iCloud Drive, inside iCloud settings (system preferences on the Mac, settings app on iOS).

Reboot

Turn it back on

Finally, OS X Yosemite and iOS 8 will only sync with one another or future OS X and iOS versions. Please see the question below for more information.

After iOS or OS X upgrade or buying a new device, syncing stopped. How do I fix it?

When first launching iOS 8 or OS X Yosemite, you also upgraded to a new iCloud technology called 'iCloud Drive'. When you do that for the first time, Apple copies your data from iCloud Documents to the new system. The thing is that iCloud drive only works with iOS 8 and OS X Yosemite, it doesn't work on OS X Mavericks or iOS devices running iOS 7.

Please see these for more information:

Therefore, we advise you to either update all your devices to iOS 8 and Yosemite or use Dropbox for syncing.

How to sync with Windows using iCloud?

First, you'll need Password Safe for Windows.

Then install Apple's iCloud Windows app and enable iCloud Drive.

If you already have a safe on your PC, move it to the pwSafe subfolder in your iCloud Drive folder. If you wish to open a safe you already have on pwSafe for iOS or Mac, then open free Password Safe app and browse for your safe inside the pwSafe subfolder in your iCloud Drive folder.

On iOS, tap +, then either 'Create a Safe in Dropbox' or 'Link to Safe in Dropbox'. You might be asked to purchase the Dropbox add-on at this time. If you already have it, tap 'Restore Purchase'. You might also be asked to link with your Dropbox account. If so, follow the instructions on screen. If you don't have a Dropbox account yet, follow this link to create one for free.

Transfer Dropbox Files To Icloud

Finally, when Dropbox is correctly configured, you'll be asked to name your new safe or browse for your existing one, depending on the option you first selected.

Move From Dropbox To Icloud

Dropbox safes on iOS are locally stored safes with a sync-relationship to a safe in your Dropbox folder. They are accessible even when offline. This means you don't need both a unsynced safe and a Dropbox safe to sync with one another, that's not how pwSafe works. Instead, you'll have a single Dropbox safe which is also a local safe which works offline if needed.

Can I Transfer Dropbox To Icloud

On the Mac or on Windows, you'll need the official Dropbox app. This app will create a Dropbox folder in which you should either store your existing safe or find the safe you created or moved in iOS. Either way, syncing with Dropbox is fully transparent to the pwSafe Mac app or the free Password Safe for Windows app.

1password Migrate Dropbox To Icloud

How to manually transfer a safe to and from the iOS app?

You can either use email or iTunes.

To use email, you need to email yourself the safe file. If sending it from an iOS device, unlock the safe and tap the share button to the bottom. Then, select 'Email Safe'. Otherwise, when receiving the email on the iOS mail app, tap on it and then select the option to open it with pwSafe.

How To Transfer Dropbox To Icloud

To use iTunes, connect your device to your computer using the USB cable and open iTunes. Then, click on your device, on the 'Apps' section on the left pane under 'File Sharing' and then on pwSafe on the left list. Finally, use the document list to drag and drop. Please note that only unsynced documents are available on iTunes File Sharing.

[hypeblog580]

Vodafone Spotify

Vodafone Spotify Duo

Vodafone Spotify Nz

Vodafone Spotify Family

Vodafone Spotify Duo

Enjoy your choice of YouTube Premium, Amazon Prime Video or Spotify Premium from Vodafone. Welcome to Vodafone Entertainment, where you can choose one of the top streaming subscription. Examples of these include Spotify Premium, Netflix, Now. Vodafone's Red Entertainment Plans give you the option to choose a NOW TV Entertainment Pass, Spotify Premium Pass or Sky Sports Mobile TV Pass. Compare Vodafone Mobile Contract Offers.Pick great deals and offers and best on latest Vodafone contract smartphones at AnytimeCompare.

В этой теме 0 ответов, 1 участник, последнее обновление 1 год, 6 месяцев назад сделано .

Vodafone Spotify Nz

Vodafone Spotify Family

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Second Life Art

The Second Life of Art offers the first substantial selection of Eugenio Montale’s essays to be published in English translation. (A slimmer and more fragmentary anthology. Documenting Second Life Art. Because it is digital, though, the works are by nature ephemeral (StarAx was a victim of an updated version of the software, for example, which caused many of his artworks to stop working). Richard Minsky is an artist and founder of the Center for Book Arts in New York who has undertaken the task of both documenting. Want to discover art related to secondlife? Check out amazing secondlife artwork on DeviantArt. Get inspired by our community of talented artists.

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Second Life Artist

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1ARTS AND CULTURE IN SECOND LIFE

ARTS AND CULTURE IN SECOND LIFE

A Rich Creative Medium, an International Audience

'Second Life is the future right now, offering endless possibilities for artists.'— Nick Rhodes, Duran Duran

Writers and Authors

Second Life has become a great place for writers and authors over the past two years, with everything they could need whether they're hobbyists, aspiring authors or bestselling authors. One of the largest active projects for writers is The Written Word with over 1,000 members in its associated groups and activities from open mics, workshops and socialising, through to televised interviews with bestselling authors, and free spaces for publishers who invite submissions. Visit the website to find out more and come along to be given links to more of the growing number of writing projects on Second Life. http://www.writtenword.org.uk

Creative People

Artists of all kinds have found a powerful new medium for creative expression in Second Life. Dancers, theater artists, painters, graphic designers, photographers and architects use the Second Life platform to develop exciting new work and expand their audience. Second Life is a new canvas with infinite possibilities.

Artists

The virtual world offers artists an extraordinary creative medium. The embedded building and scripting tools allow artists to add multi-dimensionality to their work — light, sound, 3-D sculpting and motion. And, Second Life is an ideal format for sharing that work. On any given day, hundreds of inworld galleries and museums are host to shows by artists from around the world, displaying everything from photography to paintings, the real to surreal. For an up-to-date list of art galleries in Second Life, see http://sasun.info/ArtGalleriesOfSL.aspx.

Architects

Second Life is an ever-expanding world filled with diverse environments, from cityscapes to fantasy lands, all created by the Residents. It's an architect's paradise. There are no limits to what you can create — scale models of real-world houses or fantastical structures unbounded by physics. Builders can work simultaneously on the same project, and all members of a team can see the work as it develops then tweak it on the fly. Real-world clients can walk through a virtual model of their home. Second Life can help Architects visualize, prototype, build, and then sell a project.

Creative Tools

Built-in, easy to use creative tools give Residents the power to change the world. Professionals and beginners alike can quickly learn to make anything from hairstyles to houses, personal photo galleries to interactive art installations. Second Life offers an environment unlike any other, merging many of the best qualities of the Web, online games, social networking, user-generated content, creativity applications and telecommunications technologies. Residents also benefit from these tools and features:

Build & Script

Residents use simple 3-D modeling tools embedded in the Second Life platform to create clothes, buildings, landscapes, sculptures and whatever else they can imagine, and they can animate objects and avatars using the built-in scripting language. Because everything happens in real time, creative work can be highly collaborative.

Images & Textures

It's easy to convert digital photos and designs from popular graphics applications into an Second Life-compatible format and import them to the Second Life servers. All images can be applied as 'textures' to objects and avatars for an infinite variety of creative results.

Audio & Video

The Second Life platform supports streaming media, and enabling it is as easy as copying and pasting the artist's media server URL into a control panel. Theater artists, dancers, musicians, and spoken word acts can put on live or prerecorded performances inworld.

Intellectual Property Rights

Linden Lab, the makers of Second Life, decided in 2003 to break away from industry standards and allow users to have intellectual property rights over what they create in-world. Built-in features allow creators to label work as their own and flag it with the level of copy permissions they want to assert over their work, e.g., all-rights reserved or freely modifiable and transferable. You own your work, so you can sell it, swap it, hang it in your virtual mansion and enjoy it.

Micropayment System

Since you own the rights to your work, you can sell and trade your objects, scripts, and animations for pleasure or profit. The inworld micropayment system (Linden Dollars) allows you to easily pay other avatars for products, services and entertainment. Similarly, the audience at a performance, concert, or film screening can pay a 'tip jar,' or event organizers can charge for admission. Some talented Residents have been able to quit their day job and live off what they make selling their goods and services in Second Life.

Second Life offers professionals and amateurs alike a vast canvas for imaginative expression. Theater artists, dancers, painters, musicians, designers, sculptors, and creative people from around the globe have already made their mark on the virtual world, and the wonders have only just begun.

Retrieved from 'https://wiki.secondlife.com/w/index.php?title=Arts_and_Culture&oldid=1147568'

Senna Coronet‘s new exhibit Loss opens tomorrow at Berg by Nordan Art. We got to spend some time together planning the show and we ended up putting together this interview as well. I am so pleased that Senna will show his extraordinary photographs at the gallery and very happy we got to put together the interview too. So without further ado, I present to you the talented Senna Coronet.

~Kate Bergdorf

Interviewer

First, thank you Senna for agreeing to this interview. I know you are incredibly busy at the moment with all kinds of things, both inside and outside of Second Life. I very much appreciate you making time for this!

Coronet

No worries at all. Thank you for the opportunity to do this show in Amona’s place.

Interviewer

Let’s jump right in. You have been in Second Life since 2006, meaning you are now at least a decade old! Ten years of this virtual reality business. I remember when I first came here, in 2009, I never thought I would last longer then a week. But I did. Then I left a few times, I think I had doubts, and it wasn’t that easy coming back, but I did anyway. What is it do you think about this place that makes us somehow not take it seriously initially, but then eventually it turns into such an incredibly meaningful part of our lives?

Coronet

Well, I know from my perspective, when you first get here you don’t know what it is you’re supposed to do and then you realize you can do anything. Thereafter, you might ask yourself, should I do those things at all? I started taking images early in SL, back in 2008. That was also a time when I was just starting to revive my RL art skills, which I hadn’t used in a long time. SL was just another way to explore creativity. I was pretty raw back then. Very few controls and objects weren’t that great, but still, you could play with forms and color and the very basics of light to create compositions. But that all got a bit boring after a while and I was not happy with who I was in SL. I was doing a lot of magazine work and fashion shoots but that wasn’t really me. It became work, not art. So, I left SL for essentially 2 years. When I came back I dedicated myself to making images (photography) that were artistic. Now, SL is more fun and rewarding for me than ever. The talent here is amazing and my friends are just fantastic.

Interviewer

Many of us stay I think because we are drawn to and curious about the creative aspects of the virtual world. I’ve given some thought to virtual photography lately. It’s fascinating to me how much we get inspired, and also learn about technique, from our peers in our little Flickr community and how we develop as photographers there. I also think of photography in that particular context as a means of communication between Second Life residents. What are your thoughts on virtual photography in general and in the virtual Flickr setting in particular?

Coronet

The “photography” subject is very interesting and it’s a continuation of a discussion about what is art. I have been referring to this thing I do here as “image making” rather than photography lately simply because it’s not photography in reality. I’m not offended if someone calls it that, I just tend to think it’s something else so call it Image Making. Well, clearly I love this thing we do here in SL. The advent of mesh and the massive improvement in general of textures of objects, clothes, and skins/shapes, it just gets more fun every day to create images. I don’t say this enough but I really appreciate the people who create the viewers that we Image Makers use most often. They give us the features and tools that make our curious hobby easier to do (thanks guys!). Then, of course, you have the people in the community that just add all their talent in so many ways to make the experience so much better. I laugh sometimes when I shooting images I’m all by myself, yet think of all the hours that were invested by so many people to let me do this. It’s mind-boggling.

At the end of the day, all these improvements let us explore our individual creativity and express ourselves through the images we make. That process and the resultant art is as valid as any other art created today. It’s not second class art, not by any measure, it’s true art. That doesn’t mean everyone outside of SL (or inside SL for that matter) understands what we do or likes what we do, but it is a serious artistic endeavor none the less.

Interviewer

It seems that some of our virtual world photographers are also creative outside of Second Life, but not all. I am not, the virtual world is my only creative outlet. I am curious about if creativity is part of your life outside of Second Life as well. And do you think that it matters when it comes to quality of work produced in-world if a person is creative outside of Second Life or not?

Coronet

I went to fine art school (college) for classic art studies – drawing, painting, printmaking, and I worked in the commercial art world for about 10 years after getting out of college. But then got involved in other things professionally and my art laid dormant for many years. I don’t think it’s necessary to have prior art skills in order to be successful (whatever that means) with your work in SL, in fact, I tend to like to see when people “discover” their creative side through SL. It does not come laden with preconceived notions of what art is, and can be refreshingly raw. I love it.

I’ve started doing my own RL work again, and that will get more intense in the next few years. I owe that all to my renewed interest in creativity which came from SL. No question about that.

Interviewer

Let’s talk a bit about your photography style. You mostly take portraits, some are self portraits, but many of them are of female subjects, some of them with an erotic undertone, and in my humble opinion, all of them sublime. There is simultaneously something elegant, decadent, raw, and modern about your pictures. There is emotion and depth. Tell us about your work and how did you go about getting to where you are today?

Coronet

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My artwork and style are just basically what I tend to like in the world. From a “style” perspective, while I like realism and even some “hyper-realism” (think Chuck Close), I also like to see that blended with surrealism. They are not mutually exclusive, so that works. As I mentioned early, the improvements in all areas of SL have made making images just better all the time. Even still, I’ve long given up the notion that I can do everything in world to get the images that I want so I spend many hours working on images in Photoshop after a shoot. Basically, my philosophy and advice to anyone creating images in SL is to create the best raw images you can, you can’t make bad images much better in Photoshop. I am very picky about images that I take to completion. For every image I finish, I probably shoot 10 to 20 that don’t make the final cut. This is a lot like RL photography. Which is basically to say, be a good editor of your own work, you are the best judge of whether it is “good” or not.

I do shoot a lot of Female subjects mostly because I found Female AV’s more interesting to shoot in SL (textures and clothes were better) and eroticism/sexuality comes across better with Female subjects. I do like to shoot mildly provocative images but not overtly sexual ones. My primary interest has been and remains to try and draw out some humanity in the AV’s. It’s not easy and it doesn’t always work but it’s a constant struggle. The one thing that I love about this effort in SL is watching the changes in my work and the people I follow on Flickr. It’s absolutely fascinating to look at someone’s image stream and literally see where they made a change or a jump in creativity in their images. Try it sometime with your own stream or someone you know, you can see the progress. It just means its not getting stale and boring and there’s more work to be done.

Interviewer

Clearly, and not only in Second Life, but in general, the creative process becomes a means to process feelings and experiences, which are then in turn reflected in the finished work. I have a feeling that the work you did on your new Berg by Nordan Art exhibit, Loss, will illustrate this. Can you share with us what that process was like, what were some of the hurdles and some of the triumphs, putting together that show?

Coronet

That’s a big question. This show is very important because now that it’s done, I’ve finally been able to put the hurt to rest following the death of my good friend Amona Savira back in February. It wasn’t just her passing that was at the root of the emotional storm I’ve been in for more than a year now, there are many other factors in RL contributing to that, but Amona’s passing was the straw that broke the camels back, it was just too much to deal with. She was just a very very good friend but I cried for 2 days when she passed. I was totally distraught and I couldn’t stop seeing her (SL) image in my head. As I said in my message on flickr, on the day I heard the news, Amona had transitioned from being just an SL friend to becoming a RL friend to me, as is true of other friends of mine in SL. I just didn’t know the depth to which she meant to me and that’s what was coming out in those days after she died. But it was more than that, I was leaving a home that I’d had for almost 2 decades, that event was coming and it became clear that I was far more emotional about that event than I realized. So in the end, the notion of Loss is very strong and not simply about Amona but just generally about the experience in general and how it messes with your mind, your emotional stability, and how you recover from it in the end.

Second Life Artist

Creating a show from this is a challenge, I didn’t want it to be trite, and I didn’t want it to be too depressing. In the end, it’s a story, shown as a series of vignettes, expressing the engrossing nature of Loss. Stepping back from the hundreds of images i made for this, in the end, I had to pick the ones that told the story but were also beautiful art as well. The final edits and image selection is a difficult process. I’m pleased how it came out but like all of us, we finish something and start seeing all the faults, but I’ve been through that so many times, I just ignore it now!

Interviewer

Thank you very much, Senna.

Coronet

Thank you so much Kate!

Photograph by Kate Bergdorf

[hypeblog580]

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Magazine Cover Page Template Word

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[hypeblog580]

Vmware Fusion Metal

Vmware Fusion Metal

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Ok.. I’m so ecstatic.. a quick blog post must be written…

The Product manager of VMware Fusion, Michael Roy, had a classic “One More Thing” item in his VMworld presentation. The presentation was “What’s New with VMware Workstation and VMware Fusion”.

Unlock the value of any cloud and accelerate the delivery of modern applications with VMware Cloud. Bare-metal hypervisor. VMware Fusion: Powerfully Simple Virtual Machines for Mac VMware Fusion Pro and VMware Fusion Player Desktop Hypervisors give Mac users the power to run Windows on Mac along with hundreds of other operating systems, containers or Kubernetes clusters.

While running a Big Sur macOS guest, he showed “Metal Support” working without a hitch… Now we have been told for years that we cannot get 3D Acceleration in a macOS guest. Seeing this on the list of “things to come” was already pretty great. Something to look forward to. During that same presentation he also showed the .vmx settings in order to get that working. Once the feature lands…

Who wants to wait?

So of course, immediately after the presentation I had to try. No matter that it is only supposed to be working in a future version of VMware Fusion 12.0. After adding the .vmx settings from the presentation I got a “Invalid configuration” error (or something along those lines). OK, sad panda. But … silly me did not look at the vmware.log file. Today I was poking Michael a bit on twitter and asking about how well Metal works on Big Sur beta 9 and that it is “so hard to wait” and he tells me “but you can try it yourself already”… 😮

OMG.. that’s when I realized that I had missed a detail..

It’s all in the details

Also my host wasn’t running Big Sur yet (I had only run it in a VM) … so… next hour or so I was frantically busy installing Big Sur Beta 9 on my 2014 Mac Mini and YES… IT DOES WORK and it is SOOOO SMOOTH

This is the best thing since sliced bread.

Vmware Fusion Metal

THANK YOU VMware Fusion team!

In summary

This is not an officially released feature, treat it what it is: Experimental Required: minimum of macOS Big Sur as host OS Required: minimum VMware Fusion 12.0 Guest OS support: minimum of macOS Big Sur as guest OS (earlier macOS versions are missing the GPU paravirtual kernel extension for this – AppleParavirtGPU.kext. Unless apple steps in here and releases that for earlier macOS versions, it likely isn’t coming to earlier guest OS’s) You have to add the following lines to the .vmx file of your VM in order to test this: svga.present='FALSE' appleGPU0.present='TRUE' appleGPU0.screen0.width = '1680' appleGPU0.screen0.height = '1050'

Vmware Fusion Metal Api

To be honest I don’t even have the lines with width and height, but that’s how you can define that for now. It will only get better from here on once it is officially supported.

Update 2020/11/13: Another tip from Michael Roy (thanks Mike) is to update your VMware Tools to 11.2

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Now that you are here. Please check out our product “Vimalin“. It has been designed for making your life easier to get good backups of your VMs. We support VM’s running in VMware Fusion, VMware Workstation and VMware Player.

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