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text:
Q: How to rsync files between two remotes? I would like to transfer files between two remote hosts using on local shell, but it seems rsync doesn't support synchronisation if two remotes are specified as follow:
$ rsync -vuar host1:/var/www host2:/var/www
The source and destination cannot both be remote.

What other workarounds/commands I could use to achieve similar results?

A: As you have discovered you cannot use rsync with a remote source and a remote destination. Assuming the two servers can't talk directly to each other, it is possible to use ssh to tunnel via your local machine.
Instead of
rsync -vuar host1:/var/www host2:/var/www

you can use this
ssh -R localhost:50000:host2:22 host1 'rsync -e "ssh -p 50000" -vuar /var/www localhost:/var/www'

The first instance of /var/www applies to the source on host1, the localhost:/var/www corresponds to the destination on host2.
In case you're curious, the -R option sets up a reverse channel from port 50000 on host1 that maps (via your local machine) to port 22 on host2. There is no direct connection from host1 to host2.

A: An easy to use script
Over the years I've done this many times with more or less the same tricks as in every other answer here. However because it's very easy to get some detail wrong and spend a lot of time figuring out the issue I've come up with the script below that:

*

*Makes it easy to specify all the details (source, destination, options)

*Incrementally tests every single step and gives feedback if anything goes wrong, so that you know what to fix.

*Works around cases where ssh -A fails to propagate authentication data (don't know why this happens sometimes since the workaround was easier than finding the root cause)

*Finally does the job.

How to use the script

*

*Make sure you can ssh to both hosts from localhost without typing a
password.

*Set the variables in the first few lines of the script

*Execute it.

How it works
As I said it uses the same tricks as in every other answer here:

*

*ssh's -R option to ssh from localhost to host1 while at the same time setting up a port forwarding that then allows host1 to connect via localhost to host2 (-R localhost:$FREE_PORT:$TARGET_ADDR_PORT)

*ssh's -A option to allow easy authenticaion of the second ssh chanel

My this IS complicated! Is there any easier way?
When copying all or most bytes from source to destination it's FAR easier to use tar:
ssh $SOURCE_HOST "tar czf - $SOURCE_PATH" \
    | ssh $TARGET_HOST "tar xzf - -C $TARGET_PATH/"

The script
#!/bin/bash
#-------------------SET EVERYTHING BELOW-------------------
# whatever you type after ssh to connect to SOURCE/TARGE host
# (e.g. 1.2.3.4:22, user@host:22000, ssh_config_alias, etc)
# So if you use "ssh foo" to connect to SOURCE then
# you must set SOURCE_HOST=foo
SOURCE_HOST=host1
TARGET_HOST=host2
# The IP address or hostname and ssh port of TARGET AS SEEN FROM LOCALHOST
# So if ssh -p 5678 someuser@1.2.3.4 will connect you to TARGET then
# you must set TARGET_ADDR_PORT=1.2.3.4:5678 and
# you must set TARGET_USER=someuser
TARGET_ADDR_PORT=1.2.3.4:5678
TARGET_USER=someuser

SOURCE_PATH=/mnt/foo  # Path to rsync FROM
TARGET_PATH=/mnt/bar  # Path to rsync TO

RSYNC_OPTS="-av --bwlimit=14M --progress" # rsync options
FREE_PORT=54321 # just a free TCP port on localhost
#---------------------------------------------------------

echo -n "Test: ssh to $TARGET_HOST: "
ssh $TARGET_HOST echo PASSED| grep PASSED || exit 2

echo -n "Test: ssh to $SOURCE_HOST: "
ssh $SOURCE_HOST echo PASSED| grep PASSED || exit 3

echo -n "Verifying path in $SOURCE_HOST "
ssh $SOURCE_HOST stat $SOURCE_PATH | grep "File:" || exit 5

echo -n "Verifying path in $TARGET_HOST "
ssh $TARGET_HOST stat $TARGET_PATH | grep "File:" || exit 5

echo "configuring ssh from $SOURCE_HOST to $TARGET_HOST via locahost"
ssh $SOURCE_HOST "echo \"Host tmpsshrs; ControlMaster auto; ControlPath /tmp/%u_%r@%h:%p; hostname localhost; port $FREE_PORT; user $TARGET_USER\" | tr ';' '\n'  > /tmp/tmpsshrs"

# The ssh options that will setup the tunnel
TUNNEL="-R localhost:$FREE_PORT:$TARGET_ADDR_PORT"

echo
echo -n "Test: ssh to $SOURCE_HOST then to $TARGET_HOST: "
if ! ssh -A $TUNNEL $SOURCE_HOST "ssh -A -F /tmp/tmpsshrs tmpsshrs echo PASSED" | grep PASSED ; then
        echo
        echo "Direct authentication failed, will use plan #B:"
        echo "Please open another terminal, execute the following command"
        echo "and leave the session running until rsync finishes"
        echo "(if you're asked for password use the one for $TARGET_USER@$TARGET_HOST)"
        echo "   ssh -t -A $TUNNEL $SOURCE_HOST ssh -F /tmp/tmpsshrs tmpsshrs"
        read -p "Press [Enter] when done..."
fi

echo "Starting rsync"
ssh -A $TUNNEL $SOURCE_HOST "rsync -e 'ssh -F /tmp/tmpsshrs' $RSYNC_OPTS $SOURCE_PATH tmpsshrs:$TARGET_PATH"

echo
echo "Cleaning up"
ssh $SOURCE_HOST "rm /tmp/tmpsshrs"

A: You didn't say why you didn't want to log into one host and then copy to the other so I will share one of my reasons and solutions.
I couldn't log into one machine then rsync to the other because neither host had a SSH key that could log into the other. I solved this by using SSH agent forwarding to allow the first host to use my SSH key while I was logged in.
WARNING: SSH forwarding allows the host to use your SSH key for the duration of your login. While they can't copy your key they can log into other machines with it. Make sure you understand the risks and don't use agent forwarding for machines you don't trust.
The following command will use SSH agent forwarding to open a direct connection from host1 to host2. This has the advantage that the machine running the command isn't bottlenecking the transfer.
ssh -A host1 rsync -vuar /var/www host2:/var/www

A: The ideal way would be to run the rsync on one of those servers. But if you do not want to run a script on the remote server. You could run a script on your local system and do an ssh and execute the rsync there.
ssh user@$host1 <<ENDSSH >> /tmp/rsync.out 2>&1
rsync -vuar /var/www host2:/var/www
ENDSSH

Also, as you maybe aware rysnc does one way synchronization . If you'd like two way synchronization , you can look at osync (https://github.com/deajan/osync). I use it and found it to be helpful.

A: I like roaima's answer, but the paths are the same in both examples, obscuring which is which.  We've established that the following doesn't work:
rsync -vuar host1:/host1/path host2:/host2/path

But this does (I omitted the explicit bind_address of localhost from the -R option since that's the default):
ssh -R 50000:host2:22 host1 'rsync -e "ssh -p 50000" -vuar /host1/path localhost:/host2/path'

Note that you'll have to have ssh keys set up correctly between the two remote hosts, with the private key on host1 and the public key on host2.
To debug the connection, break this into two parts and add verbose status:
localhost$ ssh -v -R 50000:host2:22 host1

If this works, you'll have a shell on host1.  Now try the rsync command from host1.  I recommend doing this in a different window so the verbose ssh info doesn't get mixed together with the rsync status info:
host1$ rsync -e "ssh -p 50000" -vuar /host1/path localhost:/host2/path

A: Reformatting answer by roaima in bash script syntax (and adding line continuation characters '\' for clarity) I randomly picked port 22000...
SOURCE_USER=user1
SOURCE_HOST=hostname1
SOURCE_PATH=path1

TARGET_USER=user2
TARGET_HOST=host2
TARGET_PATH=path2

ssh -l $TARGET_USER -A -R localhost:22000:$TARGET_HOST:22 \
$SOURCE_USER@$SOURCE_HOST "rsync -e 'ssh -p 22000' -vuar $SOURCE_PATH \
$TARGET_USER@localhost:$TARGET_PATH"

A: You could use a local temporary directory to copy the data from the remote source server and then copy this temp to remote destination server.
An example is this:
SRC=user@source-server:/some/path/in/source/* && \
DST=user@destin-server:/some/path/in/destin/* && \
TMP=/tmp/rsync && \
rm -fr $TMP && \
mkdir -p $TMP && \
rsync -av $SRC $TMP && \
rsync -av $TMP/* $DST/ && \
rm -fr $TMP

A: You could run an rsyncd (server) on one of the computers.
This is the approach I'm taking, since I do not want to use ssh to allow the 'source' (in rsync wording) access to the 'destination' as root without a password (as is required to use SSH tunneling with rsync in a script)
In my case, I simply set up an rsyncd server on the destination computer with a single user allowed from the source pc and used rsync from the source side.
Works great.

A: Not sure if this is of any use to anyone... This is the quick and nasty solution I came up with to sync files between two remote systems that the host is authorized to access, but where the remotes cannot access each other:
(){ local RSYNC_TMP=$(mktemp); rsync -aP src-host:~/filename $RSYNC_TMP; rsync -aP $RSYNC_TMP dest-host:~/filename; rm -rf $RSYNC_TMP }

This can be copy/pasted into zsh, so good for use if your host is macOS. This is not going to keep the file in question safe, however. Swapping out the file name for a directory name, and changing local RSYNC_TMP=$(mktemp) to local RSYNC_TMP=$(mktemp -d) should allow for directory transfer.
For a more secure temporary transfer mechanism, provided that your host is Linux, I'd be inclined to use [bwrap(1)][1] or somethibng like that to create a tmpfs mount that only lives for the duration of the process.

A: If you are not able to run rsync on at least one of the servers (host1 or host2) and you don't care about bandwidth and performance, I always do it like this (on a third server, not local) as it is super easy to remember:
$ mkdir host1 host2
$ sshfs user1@host1:/path1 ./host1
$ sshfs user2@host2:/path2 ./host2
$ rsync -a ./host1/ ./host2/

If you do it this way (with sshfs), you won't need any extra disk space on the server where you run these commands. If you don't care about disk space either, you can simply do it like this (without sshfs):
$ mkdir host1
$ rsync -a user1@host1:/path1/ ./host1/
$ rsync -a ./host1/ user2@host2:/path2/

Of course you can change the rsync parameters as you like. I mostly just use -a.

A: Just as an additional info:
If you use a jump host to connect the other two machines but they cannot reach each other directly, you can use sshfs as medium between these two machines like so (on the jump host):
$ mkdir ~/sourcepath ~/destpath
$ sshfs sourcehost:/target/dir ~/sourcepath
$ sshfs desthost:/target/dir ~/destpath
$ rsync -vua ~/sourcepath ~/desthpath

SSHFS provides the two paths on the jump host and rsync manages the synchronisation of the files like always (just with the difference that it's virtually done locally).

A: It's possible to use tar via ssh to transfer the files:
ssh -n user1@host1 'tar jcf - -C /var/www .' | ssh user2@host2 'tar jxvf - -C /var/www'

Change j parameter (for tar) to z in two places if you wish to compress the archive with gzip, instead of bzip2. Usually bzip2 has the higher compression than gzip, but it's slower, so change it depending on your needs (see: bzip2 vs gzip).
Related: How to copy between two remote hosts using tar piped into SSH from remote server when behind a firewall?

Alternatively (to safe the bandwidth, because of the transparent compression) it's possible to use sshfs to mount remote file-system as local and use rsync as usual, e.g.
$ sshfs user1@host1:/var/www /mnt
$ rsync -vuar /mnt user2@host2:/var/www

A: Try using this. It works for me.
ssh src_user@src_host 'rsync -av /src/dir/location/ dest_user@dest_host:/dest/dir/loc/'

redpajama_set_name: RedPajamaStackExchange


Janelle Monae is not only an amazing musician, but a talented actress. Following her appearances in Moonlight and Hidden Figures, the ATL songstress has now been cast in the upcoming Harriet Tubman biopic.
The film, tentatively titled Harriet, will chronicle Tubman's journey from escaping slavery to becoming a conductor on the Underground Railroad, leading dozens of slaves to freedom, according to THR.
Monae's role has yet to be revealed, but she will be co-staring alongside Hamilton's Leslie Odom. Jr, Joe Alwyn, Jennifer Nettles, Clarke Petersand and Tony Award-winner Cynthia Erivo, who is set to play Tubman.
Monae can next be seen in Robert Zemeckis' Welcome to Marwen, which hits theaters Dec 21.


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text:
ABC7 News 6:00PM : KGO : December 25, 2014 6:00pm-6:31pm PST
a time. the heat got hot late to put the game away. luol deng somehow gets it to danny granger who knocked down the three. 101-91 was the final. the cavs drop to 17-11. >>> spurs were in a giving mood taking on oklahoma city. kevin durant out with an ankle injury, russell westbrook scoring the game high 34. the defending champs kept it close thanks to tim duncan, he drops in two of his 15. westbrook, pretty play, splits two defenders en route to the basket in a rematch of last year's western conference final. the thunder pull away to win 114-106. the spurs have lost five of their last six. >> just happy. we got a win on christmas, a great win for us. we came out with the victory. >> pitiful performance. and the sad part that is tim duncan comes out and plays every night and he can't find a group around him to consistently compete and execute. >>> the knicks are having a terrible season but fans were feeling the holiday spirit. the with zards got a big game from john wall. he draws the defense before dishing to butler who nails the three. now check out this drive by wall. he does a
a time. the heat got hot late to put the game away. luol deng somehow gets it to danny granger who knocked down the three. 101-91 was the final. the cavs drop to 17-11. >>> spurs were in a giving mood taking on oklahoma city. kevin durant out with an ankle injury, russell westbrook scoring the game high 34. the defending champs kept it close thanks to tim duncan, he drops in two of his 15. westbrook, pretty play, splits two defenders en route to the basket in a rematch of last year's...

redpajama_set_name: RedPajamaCommonCrawl


text:
Home › Programs
Redeveloping Community Schools: Richmond, Virginia
Many Richmond parents are complaining about inadequate funding that could lead to school closures, as some schools struggle to earn full accreditation.
Written By nigelroberts1
School funding and accreditation are some of the troubling issues on the minds of Richmond, Virginia parents, which will likely come up during the June 14 town hall meeting. The meeting is part of a four-city tour called Saving Tomorrow, Today: Redeveloping Our Community Schools.
NBC News reported in April that the local school board is considering shutting down eight schools. The savings, an estimated $3 million, would help close the school district's $18 million budget shortfall.
The plan is causing uproar among parents, who say it's unfair to uproot their children over budget choices.
NBC interviewed parent Jenny Aghomo, who urged local lawmakers to rethink their budget priorities:
"I think that [the mayor] needs to find a way to come up with the money for RPS. I think that funding the (Washington) Washington Football Team (football) training camp… some of these things that he feels are a priority… are actually not in the best interests of anybody in Richmond."
At the same time, schools in the district have accreditation challenges.
The Virginia Department of Education announced in October that just 17 of the city's 45 public schools earned full accreditation, according to The Richmond Times-Dispatch.
The department denied accreditation to two schools: Martin Luther King Jr. Middle and Patrick Henry School of Science and Arts. School board officials are required to create a plan to improve the schools, The Times-Dispatch reported.
Meanwhile, public schools across the state are under scrutiny for a pattern of bias in school suspensions.
Suspended Progress, a newly released joint report by the JustChildren Program and the Legal Aid Justice Center, adds more evidence to the chorus decrying racial disparities in school discipline and calling for change.
Although African-American students comprise 23 percent of Virginia's student population, they represented 58 percent of short-term suspensions, 60 percent of long-term suspensions, and 55 percent of expulsions.
At the same time, Black students were on average nearly four times more likely to be suspended than White students.
The town hall meeting is organized by the Rev. Al Sharpton's National Action Network, the National Network of State Teachers of the Year, and the University of Phoenix. It begins at 6 p.m. at Mount Olivet Church, located at 1223 North 25th Street in Richmond.
SOURCE: NBC News, Richmond Times-Dispatch | PHOTO CREDIT: Getty
What Action Will You Take To Improve Education In Your Community?
Virginia Middle School Student Charged With Stealing Free Milk At School
Education	, NAN	, NNSTOY	, Rev. Al Sharpton	, Richmond	, University of Phoenix
More By nigelroberts1
Happy Birthday, Nelson Mandela! 5 Quotes Madiba Said That Still Ring True Today
15 Little Known Facts About Malcolm X's Life, From Birth To Death
How Ronald McNair Overcame Racism To Become A Space Shuttle Challenger Astronaut


text:
Every Picture Tells a Story: Selma to Montgomery March at 50
By Carl Mellor
Art writer Carl Mellor visits ArtRage's display of photographs documenting the civil rights movement
The ArtRage Gallery photography exhibit Selma to Montgomery March at 50 pivots on three 1965 civil rights marches that played a key role in influencing Congress to pass the Voting Rights Act. Matt Herron's images not only discuss that larger narrative but also tell stories of everyday people demonstrating for political and human rights.
The exhibit also makes other linkages. It presents photos of 25 Syracusans who took part in various civil rights events. And it interfaces with a show at SUNY Oswego's Metro Center in downtown Syracuse and Syracuse Stage's upcoming play Sizwe Banzi Is Dead. ArtRage has joined with the other two groups for "Race Place Being," a multi-site series encompassing art, theater, film and lectures.
Many of Herron's photos outline three marches from Selma to Montgomery, two of which were repelled by local and state police. The third ended successfully at the state capitol, and a long-view image portrays marchers at the end of their journey. Dr. Martin Luther King and Ralph Abernathy, both of the Southern Christian Leadership Conference, are in the forefront of the crowd, and so is Bayard Rustin, a skilled organizer who planned the 1963 march on Washington, D.C..
The Selma to Montgomery March for voting rights was the largest and most significant march of civil rights history. Here marchers and flags cross the horizon. In the air, a US Army reconnisance plane on the lookout for threats to the march.
King appears in other photos at the gallery, including one in a banner format. He's at a podium, and his image is sharp and large while the microphones are faint, seemingly fading into the mists of history.
Another set of images features people we've never heard of. Samuel Newell, an 8-year-old child, holds a sign calling for voter registration before being arrested and jailed. Marcher Doris Wilson, age 20, has her blistered feet treated by Dr. June Finer. Because of her support for voting rights, Wilson was fired from a job in a school lunchroom.
Herron's work also deals with the 50-mile march in a physical and communal context. There are photos detailing small moments: Wilson's shoes totally worn down; a man playing guitar; people walking in the rain; and a young man, with zinc oxide dabbed on his face, who has written the word "vote" in the cream. One incisive, emotional image portrays a group of African Americans celebrating at roadside.
The final march came after months of turmoil with more than 3,000 people jailed for taking part in a voter registration campaign, 17 hospitalized after March 7, 1965, known as "Bloody Sunday," and three people killed.
A smaller segment of the exhibition accesses images Herron took in Mississippi. He photographed African Americans filling out voter registration forms in Hattiesburg and waiting in line at the office of the Holmes County circuit clerk. Two other photos convey a radical transition. In the first, taken in 1965, C.O. Chinn Jr. urges people in Canton, Miss., to register to vote. In the second, shot 26 years later, he works as a municipal court judge in the same town.
Herron was a volunteer photographer for the Student Non-Violent Coordinating Committee and coordinated the Southern Documentary Project involving himself and five other photographers. They spent months documenting scenes ranging from the Selma marches to the Mississippi Freedom Delegation's struggle to be seated at the 1964 Democratic Convention. He's the author of the 2014 book MIssissippi Eyes: The Story and Photography of the Southern Documentary Project.
In addition to Herron's photos, ArtRage is displaying images of Syracusans who participated in varied civil rights actions, among them the final Selma march; demonstrations against the demolition of much of Syracuse's 15th Ward in 1963 and 1964; and a 1961 Freedom Ride through several Southern states. Those portrayed include Akosua Valerie Woods, Delores and John Brule, Pastor Roosevelt Baums, and the Rev. Leroy Glenn Wright.
Twenty-year-old Doris Wilson of Selma celebrating. "I'm walking for my freedom." She was fired from her $12/week job in a school lunchroom for taking part in voter demonstrations. She and three siblings went to jail, and her father was removed from the welfare rolls.
The exhibition is just one of several presentations happening over the next month. On Thursday, Feb. 19, 5 to 8 p.m., the SUNY Oswego Metro Center, located in the Atrium on Clinton Square, will host a reception for Apartheid and Identity: Race Place Being, a multi-media show featuring photos, sculptures and quilted pieces discussing the Soweto uprising and other events in South Africa. The exhibit runs through March 28.
Theatrical productions will happen at ArtRage, the venue for Steady, a Selma anniversary drama conceived and directed by Ryan Hope Travis, has 7:30 p.m. performances on Friday, Feb. 20, and Saturday, Feb. 21, and Syracuse Stage, where Sizwe Banzi Is Dead, premiering Wednesday, Feb. 25, concerns a black man who struggles with oppressive work rules in South Africa during the apartheid era.
Other events include storyteller Natalie Daise's one-woman show, " Becoming Harriet Tubman," at SUNY Oswego's main campus on March 3 and 4; a panel discussion, "Civil Rights Moving Forward," at ArtRage on March 19; and an artist talk by Herron at the gallery on March 25. The overall series is intended to evoke history, to compare movements for change in America and South Africa, and to provoke discussion of race and identity in the current-day United States.
Selma to Montgomery March at 50 runs through March 28 at ArtRage, 505 Hawley Ave. The gallery is open Wednesdays through Fridays, 2 to 7 p.m., and Saturdays, noon to 4 p.m. For more information, call 218-5711.
What is Good Public Art?
"Illuminating" a City Through Public Art


The state Legislature in 2013 excluded Prichard's from the law passed at the behest of Jack Daniel's that for the first time established rules for which products could label themselves as Tennessee whiskey. Those rules codified what is known as the "Lincoln County Process," which requires whiskey to be filtered through maple charcoal before being aged in unused charred barrels made out of oak. The filtering requirement makes up the principal difference from making bourbon. Distiller Phil Prichard gained his exemption after arguing that he shouldn't have to follow a charcoal filtering requirement because it does not follow the technique used by his grandfather.
"If I subscribe to this rule that Jack Daniel's has imposed on us all, then I would then be paying homage to Jack Daniel's and not paying homage to my grandfather Benjamin Prichard," he said in a phone interview Wednesday.
Prichard has since opened another distillery in Nashville, creating the odd scenario in which his product made at the original location is grandfathered out of the Tennessee whiskey law, while spirits flowing from the new still are not. "The fact that I can't make whiskey according to my grandfather's techniques at the Nashville location is a bit of a slap in the face to me," Prichard said. "It's still the same grandfather, and I'm still Phil Prichard." Slatery said in the legal opinion that Prichard's exemption could run afoul of the equal protection provisions of the U.S. Constitution and the Tennessee Constitution's ban on suspending "any general law for the benefit of any particular individual." The state law exempts Prichard's by saying it does not apply to distilleries established between certain dates that match when Phil Prichard began doing business. "There is no discernable reason to distinguish one distillery from other existing distilleries on this basis, especially since the exemption at issue is purportedly the one that distinguishes Tennessee Whiskey from bourbon," Slatery said. The fight over the Tennessee whiskey law has drawn in global liquor giants Diageo PLC, which owns George Dickel, and Louisville, Kentucky-based Brown-Forman Corp.


text:
Penske Automotive Group Announces $500 Million Senior Subordinated Notes Offering
BLOOMFIELD HILLS, Mich., May 25, 2021
BLOOMFIELD HILLS, Mich., May 25, 2021 /PRNewswire/ -- Penske Automotive Group, Inc., (
NYSE:PAG, Financial) a diversified international transportation services company, today announced that it intends to offer $500 million aggregate principal amount of fixed rate Senior Subordinated Notes due 2029 (the "2029 Notes"), subject to market and other customary closing conditions, pursuant to an effective shelf registration statement filed with the Securities and Exchange Commission ("SEC").
The company intends to use the net proceeds of this offering to redeem its $500 million 5.5% Senior Subordinated Notes due 2026. In the interim, we intend to repay amounts outstanding under our U.S. credit agreement, to repay various floor plan debt, and for general corporate purposes.
This offering is being made solely by means of a prospectus supplement and accompanying prospectus, which has been filed with the SEC. A copy of the prospectus for the offering may be obtained on the SEC's website, www.sec.gov. Alternatively, you may request it by contacting BofA Securities, Inc., NC1-004-03-43, 200 North College Street, 3rd floor, Charlotte NC 28255-0001, Attn: Prospectus Department, or by email at [email protected], J.P. Morgan Securities LLC, c/o Broadridge Financial Solutions, Attn: Prospectus Department, 1155 Long Island Avenue, Edgewood, NY 11717, or telephone: 1-866-803-9204 or Wells Fargo Securities, LLC, 550 S. Tryon Street, 5th Floor, Charlotte, NC 28202 Attn: Leveraged Syndicate or email [email protected] or by facsimile at (704) 410-4874 (with such fax to be confirmed by telephone to (704) 410-4885).
This press release does not constitute an offer to sell or a solicitation of an offer to buy the securities described herein, and shall not constitute an offer, solicitation or sale in any state or other jurisdiction in which such an offer, solicitation or sale would be unlawful.
This press release contains forward-looking statements regarding the company's proposed offering of the 2029 Notes. The forward-looking statements in this release are based on information available at the time the statements are made and/or management's belief as of that time with respect to future events and involve risks and uncertainties that could cause actual results and outcomes to be materially different. These factors include, but are not limited to, successful negotiation of definitive documentation for the financing arrangement and satisfaction or waiver of all conditions to closing. The consummation of the transaction may also be impacted by the other risks and uncertainties detailed in the company's filings with the SEC. While the company may elect to update forward-looking statements in the future, it specifically disclaims any obligation to do so, and therefore, you should not rely on these forward-looking statements as representing our views as of any date subsequent to today.
About Penske Automotive
Penske Automotive Group, Inc., (NYSE: PAG) headquartered in Bloomfield Hills, Michigan, is a diversified international transportation services company that operates automotive and commercial truck dealerships principally in the United States, the United Kingdom, Canada, and Western Europe, and distributes commercial vehicles, diesel and gas engines, power systems and related parts and services principally in Australia and New Zealand. PAG is a member of the Fortune 500, Russell 1000 and Russell 3000 indexes and is ranked among the World's Most Admired Companies by Fortune Magazine. For additional information, visit the company's website at www.penskeautomotive.com.
Inquiries should contact:
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Executive Vice President Investor Relations and
Corporate Development
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SOURCE Penske Automotive Group, Inc.


Operators are choosing to drill simpler and shallower wells. On average, offshore exploration wells were drilled three weeks faster in 2016 than in 2013.
Both operators and contractors are considering ways to reduce headcount on rigs through the integration of services and by moving more jobs to shore. However, the compensation structure for offshore services must be reexamined.
Further sustainable cost reductions are needed for offshore to compete with unconventionals.
Signs of recovery – even if only slight – are afoot in the offshore drilling industry. Companies have learned to do more with less, with exploration drilling costs falling by 50% and development drilling costs falling by 30% over the past two years, according to Wood Mackenzie. In fact, the company forecasts that the number of offshore exploration wells drilled is expected to increase by about 14% this year, going from 215 drilled in 2016 to 250 in 2017.
Rig dayrates remain low, however. Many floaters and jackups – if they are working at all – are earning less than 50% of what they were making pre-downturn. "There's no doubt that rig rates are still strained, and that is a big part of the story, but the performance improvements and improved economics of well designs are also big reasons for the expected increase in offshore exploration activity," said Dr Andrew Latham, Vice President of Exploration at Wood Mackenzie.
Odfjell Drilling's Deepsea Atlantic semisubmersible drills for Statoil on the Johan Sverdrup field in the North Sea. By focusing on increasing its drilling efficiency, the operator was able to drill 394 ft/day in 2016 compared with 246 ft/day in 2013. This efficiency gain has allowed Statoil to drill more wells even as the company has reduced its rig capacity by 30% over the past three years. Statoil delivered 119 wells in 2016 and expects to deliver a similar number of wells this year. Photo Courtesy of Statoil.
Full-cycle returns on exploration wells are expected to reach an average of 11% per well – up from only 3% in 2014, Dr Latham said. "We calculate this by modeling the cost of the exploration well versus the value of the discovery and the cost of developing the discovery. The lower the post-tax cost of the well, the higher the return of the well can be." If the drilling industry continues to transform itself into a leaner enterprise, he added, it could reach full-cycle returns up to 15% per well by 2020.
One of the most important ways in which well designs are contributing to better performance and lower cost is simplification. Many operators are opting to drill shallower wells. The average total depth of an offshore exploration well was approximately 11,150 ft (3,400 m) in 2016, down from an average 13,450 ft (4,100 m) in 2013.
Other examples of simplification include less coring, less sidetracking, and less sophisticated logging and data gathering programs.
The result is offshore exploration wells are now being drilled approximately three weeks faster – 55 days in 2016 compared with 75 days in 2013. The high-grading of rig fleets has also helped in this achievement, he noted, because operators are able to hire the best drilling rigs with the best equipment and the highest-performing crews. "With so much of the drilling fleet idle, operators are clearly going to be using the more capable end of the fleet," he said.
Wood Mackenzie is forecasting that offshore E&A spending will begin to increase again in 2018, after three years of decline. The firm also expects operators to devote a greater percentage of their upstream CAPEX to exploration.
Statoil is aggressively examining all aspects of its business to reduce costs. In drilling, the operator has been able to increase its efficiency so that it was able to drill 394 ft/day (120 m/day) in 2016, compared with 246 ft/day (75 m/day) in 2013.
This efficiency gain has allowed Statoil to drill more wells even as the company has reduced its rig capacity by 30% over the past three years. In 2016, Statoil delivered 119 wells, including multilateral wells – which is six more than the planned 113. For 2017, the company expects to deliver approximately the same number of wells – but likely on a slightly tighter drilling budget than in 2016, which was approximately $6.5 billion (NOK 56 billion).
The Askeladden Cat J rig was built to drill for Statoil in the North Sea. The operator is moving toward more integration of services and having fewer service companies onboard the rig. For example, the drilling contractor could take responsibility for things like casing running and mud treatment. However, in order to support such operational and logistical changes, the dayrate model for drilling rigs must be examined and possibly changed. Photo Courtesy of Statoil.
In some cases, work can also be transferred from third-party service companies to drilling contractors. "We need oilfield services crews for specialty jobs, like mixing cement or fine-tuning electronics, but some things can be transferred to rig crews. For example, things that need to be moved, plugged in, screwed together, hoisted, lowered – you don't need extra oilfield services people onboard to do those things," Mr Haaland said.
He suggested transitioning to a combination of dayrates and a meter rate, versus using just a basic dayrate formula.
Noble Drilling's Lloyd Noble jackup drills for Statoil off the coast of the UK. It is under contract until November 2020.
In 2017, Noble launched OneSite – a wellsite integration initiative under which the company takes responsibility for services that have traditionally been completed by oilfield service companies. These services may include drilled cuttings treatment, mud logging and data transmission.
Noble is currently looking for an operator partner and hopes to implement this initiative on a rig within six months. "There's a myriad of companies that work at a modern well site, and a lot of those people are doing tasks on a callout basis that we could easily provide within our work scope by simply adding a few bits of equipment or utilizing new, emergent technologies," he said.
Noble's Bob Douglas drillship drills for Anadarko in the US Gulf of Mexico. Since the start of 2015, Noble has retired five semisubmersibles, one jackup and one drillship.
Driving out inefficiency is increasingly important for offshore drilling contractors, as new fixtures on rigs around the world approach operating cost levels. Dayrates for all rig types were halved between 2014 to 2016, and Mr Johnson said he expects no improvements in 2017. Dayrates in 2016 averaged $124,470 for Noble's 14 jackups, $166,253 for its six semisubmersibles and $474,462 for its eight drillships.
The Transocean Spitsbergen was recently awarded two contracts by Statoil. The first is for three exploration wells in the UK North Sea, followed by a six-well production drilling campaign for the Aasta Hansteen licence in the Norwegian North Sea.
In the current energy landscape, offshore drillers recognize that they are no longer competing only with other offshore drillers. They're now competing with onshore unconventional shale, and they must find ways to sustainably increase offshore drilling efficiency. "If we can do that, it will encourage our customers to provide funding and investment into more offshore opportunities," said Terry Bonno, Senior Vice President, Industry and Community Relations at Transocean. She estimates that the offshore industry will need to push breakeven levels well below $50/bbl to compete with shale projects.
The Transocean Conqueror ultra-deepwater drillship began a contract with Chevron in the US Gulf of Mexico in Q4 2016, which is set to end in Q4 2021.
Transocean estimates that approximately half of offshore cost reductions that have been realized since 2014 are sustainable. To address the other half, the company is undertaking various strategies aimed at retaining higher levels of efficiency through all cycles.
One such strategy is using data analytics to enable condition-based monitoring (CBM). "We're working with our original equipment manufacturers to further improve uptime by leveraging core competencies, condition-based monitoring and maintenance services," Ms Bonno said.
In December, Transocean signed two 10-year service contracts, with Cameron and Schlumberger, for the management of risers in the Gulf of Mexico and of pressure-control equipment on nine Transocean rigs. These contracts were followed in January by the announcement of a contractual service agreement, under which GE Oil & Gas will provide condition-based monitoring and other maintenance services for pressure-control equipment on seven Transocean rigs.
Further, Transocean has developed what it calls performance dashboards, which take a data-driven approach to improving processes in order to improve efficiency. "We can now sensor our rig equipment and break down tasks that we spend most of our time doing – like tripping and connecting – on a second-by-second basis," Ms Bonno explained.
Exploration drilling costs have fallen by 50% and development drilling costs have fallen by 30% over the last 2 years.
The number of offshore exploration wells drilled is expected to increase by about 14% this year, going from 215 drilled in 2016 to 250 in 2017.
Many floaters and jackups are earning less than 50% of what they were making pre-downturn.
Full-cycle returns on exploration wells are expected to reach an average of 11% per well, up from 3% in 2014.
If the drilling industry continues to transform itself into a leaner enterprise, it could reach full-cycle returns up to 15% per well by 2020.
The average total depth of offshore exploration wells fell from 13,450 ft in 2013 to 11,150 ft in 2016.
So far, results have been encouraging. In Q2 2016, when the performance dashboards were still in the process of being implemented, the company's total revenue efficiency was 97.8%. In the second half of the year, Transocean recorded over 100% of revenue efficiency, Ms Bonno said.
While innovative and data-driven initiatives, such as these, signal positive impacts for the future, Transocean, like its peers, recognizes that market conditions will remain challenged in the near term. The market remains highly competitive, and the only new contract opportunities are smaller, well-by-well programs. Transocean's total fleet utilization fell from 65% in December 2015 to 45% in December 2016, and no meaningful improvements are expected until 2018 at the earliest.
Atlantica's Delta semi-tender assist rig was delivered in mid-2016 and began working for Total in the Congo in September of that year. It was designed specifically for development drilling on the Moho Nord project. The contract duration is 3 1/2 years.
For smaller drilling contractors like Atlantica Tender Drilling, finding a niche in long-term development drilling can be a way to shelter itself from the pains of the downturn. The company has a fleet of three tender-assist rigs, consisting of one barge tender and two semisubmersible tenders, that were built specifically for development drilling programs in South America and West Africa. Two of the semi-tenders, which remain under long-term contracts through 2018 and 2020, were built to work on tension leg platforms in benign weather environments. They were also designed drill wells in deep waters where operators prefer to have a dry tree design rather than opting for a subsea tree development, Atlantica COO Mike Cadigan said.
Atlantica's Beta semi-tender assist rig is on a 1,500-day contract with Petrobras that began in March 2014. The rig is currently warm-stacked in Brazil because Petrobras has paused drilling to complete geological evaluation work, but the rig is still on contract and is set to begin development drilling again mid-year. "These are long, 180-day wells. We've drilled three of them in Brazil so far, and there are plans to drill at least two more," Mr Cadigan said.
The company's other semi-tender assist rig – the Delta – was delivered in mid-2016 and began working for Total in the Congo in September of that year. It was designed specifically for development drilling on the Moho Nord project in the Moho-Bilondo license, approximately 75 km off the coast of Pointe Noire. The contract duration is 3 ½ years.
OneSite and Digital Rig Solution are registered terms of Noble Corp.


text:
title: Backend modules dal
category: architecture
authors: amuller
wiki_category: Architecture
wiki_title: Backend modules dal
wiki_revision_count: 2
wiki_last_updated: 2013-02-12
---

# Backend modules dal

**Introduction:** The dal module, or Data Access Layer, provides access to the PostgreSQL database used by the engine. This module uses several concepts:

POJO - Plain Old Java Object - A class with no logic, only data fields with accessors. Commonly known as structs or records in other languages, and Entity in storage jargon. DAO - Data Access Object - A gateway between a POJO/Entity and its representation in persistent storage. A DAO provides an abstraction over which type of persistent storage is used to store the given POJO. Ideally, each POJO would have its own DAO, however in the oVirt codebase that is not necessarily the case. Entities/POJOs include VMs, hosts, networks and so on. Basically, any entity in the codebase that is to be serialized to persistent storage uses its DAO.

**Significant DAOs:**

*   DAO itself is an empty interface
*   ReadDAO - An interface that defines the R (Read) part of CRUD: get by ID, and getAll (Get all rows of type T)
*   ModificationsDAO - An interface that defines the other parts of CRUD: save defines Create, update defines Update and remove defines Delete.

Both ReadDAO and ModificationsDAO are generic interfaces defined by two generics: T must extent BusinessEntity, and ID is serializable. The implication is that DAOs that are of Read or Modifications flavors need to work with Entities that implement BusinessEntity. BusinessEntity is simply an interface that encapsulates an entity with an ID.

*   GenericDAO - An interface for DAOs that are both Read and Modifications, or CRUD complete. Most DAOs implement this interface. As the name suggests it is a generic interface like ReadDAO and ModificationsDAO.

**Spring and JDBC:** The dal module uses the popular [Spring](http://www.springsource.org/) library for its JDBC (Java Database Connectivity) wrapper to talk to the PostgreSQL database.

redpajama_set_name: RedPajamaGithub


text:
CELEBS LIFE REEL
Molly Qerim
Molly Qerim is an American sports anchor and moderator. She is currently serving as the host for ESPN's First Take. Previously, she has been the host of weekday morning show such as NFL AM, and NFL Fantasy Live airing on NFL network.
Categories Biography
Dustin Byfuglien
Dustin Byfuglien is an American professional ice hockey player. He is currently playing as well as serving as an alternate captain for the Winnipeg Jets competing in the National Hockey League (NHL). He plays both forward and defense, but mainly playing the latter role.
Olwen Kelly
Olwen Kelly is a model and actress who comes from Ireland. She gained a lot of popularity and fame for appearing in as the body of an unidentified woman named Jane Doe in the film named The Autopsy of Jane Doe.
Jon Meacham
Jon Meacham is an American presidential historian. He is also a writer, journalist, and editor. Previously, he served as executive editor as well as executive vice president at a publisher named the Random House. Currently, he is a contributing writer to The New York Times Book Review as well as a Professor of Political Science at Vanderbilt University.
Moreover, he won Pulitzer Prize for Biography or Autobiography for his book titled American Lion: Andrew Jackson in the White House in 2009. Also, he is the grandson of the renowned Chattanooga, Tennessee judge, Ellis K. Meacham.
Ruthie Ann Miles
Ruthie Ann Miles is an American actress and singer. She is best known for her roles in musical theatre playing Christmas Eve in Avenue Q for which she won a Lucille Lortel Award. Also, she starred as Imelda Marcos in Here Lies Love, which went on to win a Theatre World Award. She played the role of Lady Thiang in The King and I, on Broadway. She won the 2015 Tony Award in the category of Best Featured Actress in a Musical.
Joey King is an actor and model from America. She gained a lot of popularity and fame for starring as Ramona Quimby in Ramona and Beezus, the 2010 adaptation of Beverly Cleary's book series. Similarly, she is known for his roles in movies such as Oz the Great and Powerful, The Conjuring and White House Down.
Think of it, every celebrity has their own life reel (story), and we cover their story encompassing their age, romantic life, the wealth they have earned, and what not, hence our name, CELEBS LIFE REEL.
Suggestion/Correction
© 2021 CELEBS LIFE REEL


This mostly indica hybrid, Tahoe OG Kush is a fluffy phenotype of OG Kush known to be even more uplifting and sometimes even arousing strain. Cannabis lovers have said that Tahoe OG Kush's high provides a clear-headed and uplifting, meanwhile, the physical side of this strain stimulates those who use it both physically and mentally. Dense moss green flowers of Tahoe OG Kush give off a particularly pungent, earthy scent, but once this strain is smoked it has a somewhat spicy pine bark and sweet lemon flavor. This strain's flowers sparkle due to each one's individual cloak of dew-like trichomes, which are mixed with smaller patches of thick sunset-colored pistils.
This mostly indica hybrid, Tahoe OG Kush is a fluffy phenotype of OG Kush known to be even more uplifting and sometimes even arousing strain.
Cannabis lovers have said that Tahoe OG Kush's high provides a clear-headed and uplifting, meanwhile, the physical side of this strain stimulates those who use it both physically and mentally.
Dense moss green flowers of Tahoe OG Kush give off a particularly pungent, earthy scent, but once this strain is smoked it has a somewhat spicy pine bark and sweet lemon flavor.
This strain's flowers sparkle due to each one's individual cloak of dew-like trichomes, which are mixed with smaller patches of thick sunset-colored pistils.
Ah shucks, are you sure you want to remove your review of Tahoe OG Kush?


text:
All Audio Classes > Recording Drums > Advanced Drum Production > Bonus: Ezdrummer - Writing From Scratch
Bonus: EZDrummer - Writing from Scratch
Lesson 42 from: Advanced Drum Production
Eyal Levi
Recording Drums > Advanced Drum Production > Bonus: Ezdrummer - Writing From Scratch
42. Bonus: EZDrummer - Writing from Scratch
The Tone Pie and Process Overview
Getting the Lay of the Land and Q&A
Assemble Your Gear
Drum Tuning Part 1
Fine Tuning Tones Part 1
General Guidelines of Tracking Drums
Tracking with Sean Reinert
Basics of Superior Drummer
EZDrummer vs Superior Drummer
Constructing a Metal Drum Kit Part 1
Constructing a Rock Drum Kit
Grooves and Programming
Prepping Virtual Drums for the Mix
Superior Review with Q&A
Intro to Mixing and Drum Clean Up
Interview with John Douglass
Intro to Drum Editing
Manual Editing Approach
Editing with Beat Detective
Editing with Elastic Audio
Sample Layering
Gain Staging and Bussing
Mixing Essentials
Compression and Parallel Compression
Reverb and Automation
Mixing Tips and Tricks
Bonus: EZDrummer - Introduction
Bonus: EZDrummer - Intro to EZDrummer
Bonus: EZDrummer - EZDrummer Foundations
Bonus: EZDrummer - How a Drummer Plays
Bonus: EZDrummer - Part Writing Part 1
Bonus: EZDrummer - Part Writing Q&A
Bonus: EZDrummer - Intro to Grooves
Bonus: EZDrummer - Intro to Fills
Bonus: EZDrummer - Writing Fills
Bonus: EZDrummer - Mixing in Your DAW
Bonus: EZDrummer - Bussing and EQ
Bonus: EZDrummer - Compression and Reverb
Bonus: EZDrummer - Conclusion with Q&A
Bonus Video: Editing
Bonus Video: Toms and Cymbals
Bonus Video: Snare Midi
Bonus Video: Kick Midi
So how would you do that if you're gonna just go from scratch like you want to do a big Led Zeppelin style drumbeat? Um, I'll get Teoh crazy metal stuff later, but I'm gonna start with something that that is seemingly simple. So here's an exercise. And Ah, you guys actually do this. You will get better if you don't do this than whatever. Um, I've done this a lot the and I mean a lot. So I'm just copying this midi over to another track. So I have is a reference, and I am deleting. What's there? Says you can hear nothing is going to easy drummer now, So opening up the MIDI window. Actually, I'm gonna open this one up. This is our original beat. It's not routed to anything, and that's fine. Um, I don't know how you guys to do it in your Daw, but right here in pro tools. It's selecting what I'm seeing. So this track right here, But I just added, As you can see suddenly more midi guys come on more many notes Um, it's showing what selective? So many one and easy drummer. If I get rid of many...
one That's what I copied down. It's now gone. Okay, So where am I going with all this? Where you're gonna do is take this beat and recreate it. Now, that doesn't mean copy paste. It means go from scratch. So let's ah, break it up into bite size chunks. So we've got this, uh, beginning. All right, so open up a MIDI editor and let's take a look at what we have in that little segment. I will, uh, make the grid smaller, so that's easier, toe. See what's going on. Okay. Not too much going on. Basically Looks like a crash kick. Another crash, double crash. You know, double crash high hats snare ghost note kick. And then ah, another another kick. All right, So start with start with a kick pattern. Go to this track and basically right in some kicks if you forget where they are. Like I do sometimes just, uh, quick question for you. Sure. Why do you pencil the notes in like this rather than hit him with a keyboard or other MIDI controller? I don't know. I've never used one. Never. Never in my life have I used one for drums. Any of you guys ever know? Some people do do it that way. Or do you guys all? Yeah, that's all I use is a MIDI controller. So this is kind of new to me. Like when selling things in. What are your thoughts like seeing it this way on pencil and rather than usual controller. I mean, it's all based off of, like, I'm sure Ailes really quick at this just because he's used to doing this for me, it would take me a lot longer. Like I'm I use a keyboard. Is I'm a piano player. So for me to you know, right, my drums is pretty quick and just do it and then and it from there. The cool thing about what I'm doing right now is that one measure long so going in bite size chunks. But the thing that I have never liked about this is that yes, you can do this and put a pattern down or whatever, but, uh, my fingers aren't trained drummers, so I would do this and then still have to go in and correct everything. So I feel like it's just cut that step out. Go straight to this. That's what works for me and always has where you had to say something. This is the way I've always thought as well as a keyboard and mouse. Well, it just see, it seems to me keyboard meaning like, yeah, like the typing. Yeah, it seems to me and I understand lots of people do it. The method with some sort of a MIDI controller. Um, it just seems to me like it's an extra step. Unless if you just got rhythm, finger rhythm, magic fingers or something. You know, I have actually seen a few people. I work with a guy, ones who did it with the MIDI controller who could actually play drums on a keyboard like a drummer and sounded amazing. But, I mean, that's I've only met one dude in my entire life who could do that. And he's Ah, he's pretty successful in music, but my point being that to be that awesome if you're that awesome probably don't need to be doing this stuff. But this is for people that want to go from absolute scratch. This is just an exercise I would recommend, so all right, we've got the, uh does that answer your question? will. Okay, cool. So got three kicks. Now, what's important here is so this 3rd 1 actually goes right here and then right here was important. Is here is not just that we place them in the exact same spot, but that the velocities air the same. This is the really, really glamorous part. So what's the velocity on this first kick up there? Close enough. And then this one significantly lower. And then this one pretty high. Okay, so you go to your practice track and put the 1st 1 really high. 2nd 1 really high, middle one, Significantly lower. Now you've matched the velocities of the kicks. Onley do this, mind you on beats that you actually like from drummers that you actually like. Um, the reason that I recommend doing this is because since Caesar beasts are actually played by drummers who know what the hell they're doing, who you actually like the style of and want to learn how to program in the style of, uh, there's no better way to do it then by emulating them. I mean, that's how you learn any instrument, learn guitar. You learn other people's songs learning the program drums you almost have to treat it like your learning an instrument. So you're not learning a drum set learning a virtual drum set. So, uh, next we've got the snare. Well, the snare only happens once, and ah, what has check what? Its velocity is approximately. It's pretty high. Cool. So we'll put a snare right there. Can I ask a quick question? Yes, GM 13 says, while randomize ing velocities is doing it manually, manually, The only way, Or is there another easier way to do that? You ask the question again while randomize ing velocities is doing it manually. The only way Or is there an easier way? No, within pro tools. If you go to the event, go to the event menu and event operations and then change velocity. It gives you this menu right here and you select. Basically, you select the group of hits that you want to change the velocity on, and then it randomize. And then there's a percentage, and then you can limit it to a certain range like, say, for instance, wanna blast beat between 101 15 just say, and I wanted to be 100% randomized in that range. Uh, so I say a minimum of 100 a maximum of 1 15 and random on. Is that 200% and apply there? You from what? I understand some of the random ization engines, air better and some programs and others. So the purples one I've heard is the little Jaenke compared with logic one, I don't know how the able 10 1 is, but, uh, this is how you would do it in pro tools and for its I'm sure it's not that different. So the reason I'm doing this manually, though, is because I'm tryingto create something that's exactly like the original beat. And you guys would all hate me if I had chosen a blast beat for this. So I think a key detail that there is that the variation in human drummers is not random. No, there's very specific patterns or reasons for that duration. Like when you play the first notable fill. Some people play the first of a roll. The first note will be a little bit harder. Some like that. So it's not random. It's just varied. Yeah, well, there's There's both, I think, cause there's accents. Uh, like, you know you're doing something. 12312312 And then you put the accent on the Denton. Denton. Don't Don't you know what I'm saying? My point is that variation. It's not like that. It's just random that No, no, that's not that part's not random. However, what is random, uh, is where the stick is hitting and the precise distance between the stick and the drum. And you know those factors the are random. So the I think the musical intent isn't random, but they're still always a random factor when involves humans because they're not machines, but yeah, very variation in, um, in musical parts. That's that's just this is music. Um, so All right, let me continue on this. So, looking back at the original Mittie, we've got a high hat pattern of eight notes right here, varying velocities. As I said a 1,000,000 times by now. So put that in. I believe it was that guy. Oops. Come on. Whoopsy daisy. Okay, so now I'm gonna match these velocities. So here's the original track. So we got the loud, soft, loud, soft thing happen again. So, however, is kind of like medium loud. Pretty soft, A little bit louder. A little bit softer, medium softer, A little bit louder. So we're gonna kind of match that pattern, and it's the double check. Okay, Once again, guys is a totally and exercise. But if you do this enough, used to be able to fly through your drum programming. Um, we've also got some crash events taking place. This guy, this is a crash on the one velocity kind of around there. So And if you're doing this exercise at home, how many measures would you do of this? I would me personally. Yeah, entire songs. Like I would pick your 10 favorite songs where your 10 favorite drummers and go for it and spend a week or two doing it like I mean this. Like I said at the beginning of the course. Like, I didn't learn how to do this in six hours and nobody else will. I'm sure. Cam, didn't you know? Ah, no. Fin is getting awesome. It it. But how long have you been working in it? As an example, like, uh, the last sign did, which is only a minute half long. I probably spent 30 hours programming and mixing the drums on it, if not more. We would do this for fun. In high school, we would take like, odd songs and then program drums over them. But like this, but not this inter kicks we did. We're just screwed around. We'd make like we would just do this for fun every day. Click and click and click on piano. Roll their program drugs. There you go. How detailed would you go, though, just out of curiosity, Um, we would just do full songs. So, like I'm pretty quick with piano roll now because of programming drums and what not? And that's how we kept doing it, Um, but we weren't like making advanced big room rock hi hat patterns back then. We were just don't know screwing around. But it says we got good at it, though It's basically what I'm saying by doing, and by doing over, it's like practicing an instrument. Yeah, basically like it's just like when I had to learn guitar for the first time or now them still learning on guitar when I taken a new concept. I mean, I might be able to play it after the first day, but to really get it internalized. I mean, it takes weeks Still eso If you really want to get good at programming drums, you have to approach it like a like a nen stream in, like you're going to dedicate yourself to get good. So, yeah, I would do entire songs. And, like he said in that, that wasn't staged either. That's completely I'm completely surprised. Me has a totally organic moment. We would do like we put like metal drums over Frau Frau songs. He's affect just weird things. Just way we weren't doing it to, like, get a piano roll. But that's was that was that was what? The product waas We do it for fun, but yeah, it was not. I'm seeing this definitely was exercises. Yeah, totally. Yeah, well, you just view piano roll Is your instrument on And you you do the appropriate exercises. Yeah. I mean, if you view it as an exercise when you're a kid, you might not do it. So that's why I'm saying pick your 10 favorite drummers like it has to be fun. And also, this is part of the reason that I dropped out of college is I believe that you end up becoming a product of what you know. Whatever comes in is what goes out. So I don't want to sound like the guitar players that went to the school I went to. So I decided to just cut that out completely. Um, and it seems to have been a good choice. So don't just pick what other people say are good drums yet to pick what you like. So, for instance, me personally, um, some of my favorite drummers would be, uh, Dave Lombardo, the guy from use, and Dave Groll. There's others, but just three examples. I forget the guy's from uses Name. Sorry, but, uh so, yeah, pick three Slayer songs, three Muse songs and three songs that Dave Girl played on and just bring in the MP three. The only problem you'll find sometimes is with older material. If it wasn't recorded to a click. Finding the tempo is sometimes a very, very daunting task, so I would attempt to keep him up to date just for that reason alone. But being that this is just an exercise anyways, you can still do it. I mean, I've done this to tracks that were obviously not recorded to a click. I can imagine this exercise. Then product about you can speak on that, too, is that you can almost look at a piano roll in. Just Bill that you know what the patterns look like And what your scenario should look like where crashes come in. Uh oh, yeah. Completed. Three just based off this well, I mean, it's just ah, modern version of sheet music in a way that sheet music that you can play and listen to. Um, But people who get really good at sight reading sheet music can eventually get to the point where they just look at it and hear it. It's the same sort of thing. I mean, maybe not every single little detail, and especially with when you have stuff Drum mapped. I mean, this isn't a good example, because this is all I've done. But you can get stuff in superior Drummer that's mapped across the entire span, the keywords. So sometimes it's hard to really to really take that in. But still, if you can see where the basic elements are, the kick snare where the hi hats are, Yeah, you can almost start to visualize it will not almost definitely just visualize that and know what's gonna happen. And also programming the velocities will just become a natural thing to do. Uh, you're not. How long did you say it would take you to do now? You said something like you said some sort of long time thio of you. If you were to sit down, if you were to sit down and do this, that I'm saying for a whole song like, how long do you think it would take? You realistically see me a few hours, at least. But I've I'm pretty versed in, like, the piano roll in, like seeing the dignity. OK, but we've got this way. It would be this way would be a lot longer for me than to actually just play it like input and then tweak. Well, I mean, you got to do what works for you. The point of the point of the exercise, though, is to match is to get your midi to match the, um what it is you're trying to emulate. So however, however you go about doing that, whatever works for you works for you. Um So let me just finish yourself real quick. There's, like, two crashes I have to add. So one right here? Yes, and ah, I'll go ahead. And I'll say this too. If people out there and Internet world think that this exercise is a tedious exercise, then just use the grooves, because this is what it This is what getting good at programming drums entails a lot of dealing with dragging stuff around, and, ah, velocities and all kinds of non glamorous stuff. Okay, so it looks to me like the ah, looks to me like the velocity on this guy is pretty high. Probably yet, so I'm not gonna tweak that. All right, all right. So that's what I just programmed. And, ah, what I'm gonna do now, just for the sake of seeing what's up. So I'm gonna put these back to back. I'm gonna take the original Midi and my MIDI, and let's see how different they are. They might be totally different. Just about the same. There's one extra kick, but I mean, you get the point. So let me do something about this extra kick, because I won't be able to live with myself that I don't. You know how it is. Looks like this doesn't exist, OK, pretty much identical. Um, pretty much identical enough. So apply that concept to lots of drums, different drummers. Put the time in and you won't need to ever ask anybody ever again how Teoh program Realistic sounding drums is basically the only way I know of how to do it. It takes a lot of work, and it's not them. Which fund? Unless if you do something like what can did, which is, uh, put metal beats over a different style of music or find a way to make it fun. Uh, I would recommend just doing whatever you can do to not quit, because using fun as motivation is usually best way to go about tedious things like getting good at programming drums. I think I I agree, because a lot of people who I spoke to about this course were hesitant because they thought that it was gonna be all dragging midi around, and they just don't want to do that, and I get it. It's tedious is we concede it is very tedious. I'm doing this section for the people who want to take it there, but Hopefully, everybody out there in Internet world can see that. If you don't want to take it there, you can use the grooves and get really, really close and really good results with minimal amount of tweaking. This is just if you want to go from absolute scratch, uh, and get good at it. This would be how I would recommend doing it. But yet we have another question about that from Mr Michael Montoya from Goliath. Shout out to Michael and his coworkers, Andrew Glover from Sound Temple Studios and Winds of Play. Are you guys doing? So Michael asks as an alternative to either using grooves or in putting them manually. Do you ever use an e kit? Say you have a good drummer, but not a good room. Also, do you trust e kits for catching a good, accurate performance? We at Audio Hammer have done the e kit thing where sometimes you use live symbols with any kit and yeah, it works. But the thing about that is, um you do have to have a good drummer and Okay, cool. So if you have a good drummer and unique it, sure go for it. Why not That seems like a great idea. Most people don't have a good drummer at their disposal. And if you're not a good drummer, I think that this getting good at this will be infinitely faster than dicking around on Annie Kit. But, you know, e kit is definitely a viable option if you've got the skills to play. I think having a good e kit makes a difference to there's some pretty yeah e kids out there. Oh, yeah, the and the good ones are pricey. One, uh, video earlier, the one Matt was jamming on. That's a pretty solidly kid. Yes, and that is a very awesome eket. For sure. That will reflect what you're playing la pen and was really dense pads. Yeah, exactly. Yeah. I mean that if you want the velocities to be captured accurately in the MIDI and not have to go back and just basically redo everything, you're gonna have to have a good Eket. There's no way around it because even if you have a good drummer on a bad eket, the MIDI will be all over the place. So, to Michael, what can just said is a big deal. Yes, the quality of the EQ. It would be a huge factor. And then the other huge factor would be the quality of the drummer in both of those Aaron Check, then why not? That's that seems to me like an even better option, but it also seems to me like a very rare option.
Day One Presentation.pdf
Day Three Presentation.pdf
Day Two Presentation.pdf
Johns QuicKeys Shortcuts.qkmx
Sample Input List.docx
Eyal Levi is a critically acclaimed educator, musician and producer. After attending the prestigious Berklee College of Music, Eyal cut his teeth as the guitarist and primary songwriter in Daath, a progressive death metal band that released albums on Roadrunner and Century Media. In the studio, he has worked with such artists including The Black Dahlia Murder, Monuments, The Contortionist, Chelsea Grin, Carnifex, Demon Hunter, August Burns Red, Reflections, Motionless In White, and Firewind. An accomplished speaker and educator, he has logged hundreds of hours teaching the next generation the craft of music production.
Recording Drums Sound Mixing Rock Audio Engineering
El Bulbo Studio
This class will give you confidence when tracking drums. Eyal's interaction with the drummer will help you communicate better with the artist to get the best performance and tone. The added bonus on drum replacement is very valuable and will improve your mixes.
My drum sound has improved by 150% and counting. I'm grateful that Eyal would share this information with us. Not every technique is for every situation, but they all work. It's up to you to have the vision and to use the right tools for the job. Thank you guys!!
Michael Nolasco
To the guy that said buyer beware: this is an advanced production class, it's not meant for beginners who are learning to mic up a kit. I'm a beginner, but i'm using superior drummer, so this class was perfect for me to learn how to process drums post recording. I refer to it constantly. The editing videos are also prime information.
Studio Pass: Periphery
Mixing Master Class
Gear Gods presents Studio Pass: Kurt Ballou
Recording Drums Classes


Anga is an Ayleid ruin in northern Cyrodiil, northeast of Bleaker's Outpost. A Dunmer named Brelynd Verano is attempting to enter the ruin with her assistant, Enak. Their attempts are unsuccessful.
Anga also appeared in Oblivion.


text:
Spring-cleaning of African agathidines: new combinations for five species previously placed in Cremnops Förster (Hymenoptera: Braconidae)
Tucker E M, Sharkey M J (2015). Spring-cleaning of African agathidines: new combinations for five species previously placed in Cremnops Förster (Hymenoptera: Braconidae). Plazi.org taxonomic treatments database. Checklist dataset https://doi.org/10.11646/zootaxa.3946.1.7 accessed via GBIF.org on 2020-01-20.
This dataset contains the digitized treatments in Plazi based on the original journal article Tucker, Erika M., Sharkey, Michael J. (2015): Spring-cleaning of African agathidines: new combinations for five species previously placed in Cremnops Förster (Hymenoptera: Braconidae). Zootaxa 3946 (1): 133-138, DOI: http://dx.doi.org/10.11646/zootaxa.3946.1.7
Erika M. Tucker
Michael J. Sharkey


text:
Q: Reading stream of Data using TIdIOHandlerStream and TIdTCPClient I have an app that needs to connect to a server using TCP/IP and then just wait for server to send data, and what ever server sends should be saved into a file.
Here is what I did:
The Header file
#ifndef MainH
#define MainH
//---------------------------------------------------------------------------
#include <System.Classes.hpp>
#include <FMX.Controls.hpp>
#include <FMX.Forms.hpp>
#include <FMX.Controls.Presentation.hpp>
#include <FMX.StdCtrls.hpp>
#include <FMX.Types.hpp>
#include <IdBaseComponent.hpp>
#include <IdComponent.hpp>
#include <IdIOHandler.hpp>
#include <IdIOHandlerStream.hpp>
#include <IdTCPClient.hpp>
#include <IdTCPConnection.hpp>
#include <boost/scoped_ptr.hpp>
//---------------------------------------------------------------------------
class TForm1 : public TForm
{
__published:    // IDE-managed Components
    TIdTCPClient *pTCP;
    TIdIOHandlerStream *IdIOHandlerStream;
    TButton *Button1;
    void __fastcall Button1Click(TObject *Sender);
    void __fastcall IdIOHandlerStreamGetStreams(TIdIOHandlerStream *ASender, TStream *&VReceiveStream, TStream *&VSendStream);
private:    // User declarations
    boost::scoped_ptr<TFileStream> mFile;
    boost::scoped_ptr<TMemoryStream> mMem;

    void __fastcall StopTcpClick(TObject* Sender);
public:     // User declarations
    __fastcall TForm1(TComponent* Owner);
};
//---------------------------------------------------------------------------
extern PACKAGE TForm1 *Form1;
//---------------------------------------------------------------------------
#endif

and the CPP file:
include <fmx.h>
#pragma hdrstop

#include "Main.h"
//---------------------------------------------------------------------------
#pragma package(smart_init)
#pragma resource "*.fmx"
TForm1 *Form1;
//---------------------------------------------------------------------------
__fastcall TForm1::TForm1(TComponent* Owner) : TForm(Owner),
                            mFile(new TFileStream(L"C:\\IbsData.txt", fmCreate | fmOpenReadWrite | fmShareDenyWrite)),
                            mMem(new TMemoryStream())
{
}
//---------------------------------------------------------------------------
void __fastcall TForm1::Button1Click(TObject *Sender)
{
    pTCP->Connect();
    Button1->Text = L"Stop";
    Button1->OnClick = StopTcpClick;
}
//---------------------------------------------------------------------------
void __fastcall TForm1::StopTcpClick(TObject* Sender)
{
    pTCP->Disconnect();
    Button1->Text = L"Start";
    Button1->OnClick = Button1Click;
}
//---------------------------------------------------------------------------
void __fastcall TForm1::IdIOHandlerStreamGetStreams(TIdIOHandlerStream *ASender, TStream *&VReceiveStream, TStream *&VSendStream)
{
    VReceiveStream = mFile.get();
    VSendStream = mMem.get();
}

I have to note that IdIOHandlerStream has been set as the IOHandler of pTCP.
The problem is, I know server is sending lots of data, but nothing gets written into the file.
Does anyone know why?

A: You are using the wrong IOHandler class.
TIdIOHandlerStream performs I/O using TStream objects. It is typically used for replaying previously captured sessions for debugging purposes, without needing a physical connection to a real server.
You need to use TIdIOHandlerStack instead, which performs I/O using a TCP/IP socket connection. It is Indy's default IOHandler class, so you don't even need to create an instance of it 1, TIdTCPClient::Connect() will create one internally for you if you do not assign your own.
1: unless you need more advanced usage, like connecting to a server through a proxy, etc, then you need your own instance so you can configure it as needed.
For what you are attempting, let TIdTCPClient use TIdIOHandlerStack and then you can call the TIdIOHandler::ReadStream() method after connecting to the server. Pass in a TFileStream for it to read into, and set its AByteCount parameter to -1 and AReadUntilDisconnect parameter to True so it will read continuously until the socket connection is closed.
Also, like most operations in Indy, ReadStream() blocks the calling thread until finished, so to avoid blocking your UI, you should call ReadStream() in a worker thread. But, if you don't want to use a thread, you can alternately put a TIdAntiFreeze component on your Form instead.


text:
BLOGS BY AWC MEMBERS
Read informative and entertaining blog posts about life in Seville by three of our members – including handy information on different areas to live in; which tapas you must try; fun things you can do in, and near to, the city; plus practical advice on important topics like filing your taxes!
Fiona Flores Watson is an English writer, guide and translator who has lived in Seville since 2003. Married to a Sevillano, with two children, she contributes to The Guardian, The Telegraph, and Lonely Planet. Fiona always enjoys researching her favorite subjects – the city´s restaurant scene, history and architecture.
Inside the Palacio de las Dueñas – home of a Seville icon
Casa de las Dueñas
The Casa de las Dueñas is the official residence of the Dukes of Alba in the city, and was the favoured residence of Cayetana, 18th Duchess of Alba. She spent much time here during her nearly nine decades, and said that she felt most at home in Seville. More recently, Cayetana married her third husband, Alfonso Diaz, at the palace chapel in 2011.
A century of tradition: Seville's olive oil biscuits go global
Famous Seville foods – Ines Rosales Tortas
Over 100 years ago, a young woman in a town near Seville started making and selling snacks called tortas de aceite, using an old family recipe. Made from nothing more than flour, water, sugar and olive oil, with a little aniseed and sesame for flavouring, these thin, round biscuits were individually wrapped in greaseproof paper, printed with their inventor's distinctive logo, to protect them.
Game of Thrones Season 7: locations around Seville
Castillo de Almodovar
Back in March, I went on a bloggers' weekend, "A Una Hora de Sevilla" (An Hour from Seville), themed around Game of Thrones. Some locations had already appeared in the HBO series, watched by around 25 million people, and others you'll be able to see in the next few weeks and months.
Game of Thrones Season 5: the Water Gardens of Dorne, aka the Alcazar of Seville
Salon de Embajadores
Appearing shortly on your television, if you're as hooked on Game of Thrones as I am, will be the episode of Season 5 when we are fortunate to feast our eyes on Seville's majestic Alcazar. Our mudejar gem takes on the role of the Water Gardens, private residence of the House Martell.
Seville on two wheels
Cycling along Avenida de la Constitucion
Cycling is a perfect pastime for getting around Seville. The city is flat, with 130km of marked bike lanes, so you can ride safely in most areas. On two wheels you can see a large section of the city in a short time, much more than you could manage on foot – and all while taking gentle exercise and looking after the environment.
The Biggest Misconceptions about Seville
Sevillanas at the Feria de Abril
This one has been nudging me for a while now. Being a long-term resident of Seville, and working in several fields including journalism, tourism, social media, I see and hear lots of conflicting information about the city, provided both by the well-informed (should know better) and the less so (we'll let you off). These are some of the commonest myths I've come across.
Sunshine and Siestas
Cat Gaa left the skyscrapers of Chicago to teach English in Seville shortly after finishing college. More than a decade later, she works in the communications field and is raising two bilingual children with her sevillano husband – children who are more inclined to let out a, mi arma, than a Go, Cubs!
Where to Live in Seville: The Best Neighborhoods in Andalusia's Capital City
Central Seville Neighborhood Map
So, you've gotten the visa, packed your bags and moved to Seville. The first order of business (after your cervecita and tapita, of course) is looking for a piso and a place to call home while you're abroad. While living in the center of Seville can mean a long commute or blowing half of your salary on rent, it is undoubtedly one of the most liveable and lively cities in all of Spain.
How to Spend an Afternoon in Triana
Plaza del Altozano Seville
Most people leave Triana off of their Seville itinerary – there isn't much by way of museums or grandiose churches, and it's across the Guadalquivir from the city's major draws. But what the historic neighborhood lacks in monuments, it more than makes up for in feeling.
How to Stay in Spain legally as an American and other FAQ to a US expat in Spain
Spanish documents and paperwork
I have lived in Spain for eleven years – we are now in the double digits. The only things I've stuck to for longer have been gymnastics (12 years) and driving a car (17 years). As September comes and goes each year, the nostalgia kicks in as I remember lugging two overstuffed suitcases from Chicago to Madrid to Granada to Triana. What a long, strange, tapa-filled journey it's been.
A Guiri Guide to Having a Baby in Spain: 1st Trimester
Having a baby in Spain
Having a baby in Spain was something that my mind had been programmed since the Novio and I got serious. We'd talked about offspring quite early on in our relationship, bought a house with said offspring in mind, and began conditioning our minds to nights nursing babies instead of beers (oh, and I bought a pregnancy book, which thoroughly scared the Novio).
Parenting in Spain: the differences between raising children in Spain and the USA
The 48 hours I spent in the hospital post-birth were a bit of a blur. Between doctors and nurses coming in and out, trying to figure out breastfeeding and the cycle of 20 minutes of dozing before I was interrupted by doctors or a hungry child, it wasn't until I was back home and fumbling through the first few days and dozens of dirty diapers that the habits of Spanish parents – and just how different they were to my own upbringing – shook my baby-lagged brain.
Five Things You Didn't Know About Filing Your Taxes as an Expat in Spain
Filing Your Taxes
If life abroad weren't complicated enough, filing taxes from abroad becomes even more complicated. As he drove me to the airport in 2007 for a year in Spain, my dad casually mentioned that I'd need to fax my first paycheck so that he could get a handle on my tax situation as soon as possible. "You'll lose your passport otherwise."
Enjoy Living Abroad
Karen McCann is an American writer living in Seville and traveling the world with her husband, Rich. Karen's travel tips and adventure stories have appeared in Huffington Post, International Living Magazine, New York Daily News, Los Angeles Times, and Lonely Planet as well as her own travel memoirs and guides.
The 3 Food Tribes of Seville; Which Is Yours?
Shrimp and Rice at Bar Castizo
"This place has the worst food in all of Seville," I told a new acquaintance, as we sat down at a small outdoor table. "And the staff is downright hostile. We eat here every week."
The restaurant (which shall remain nameless) is strictly old school with dark wood, tile floors, a long bar, and a giant espresso machine. It happens to be the only eatery within shouting distance of the yoga studio I go to on Saturday mornings, and as everyone's weekends are busy, we opt for the convenience
7 Classic Spanish Tapas You Must Try
Salmorejo at Vineria San Telmo
You don't find jabalí on many menus these days, and as the price was just 5€ ($5.67) we figured it would be an appetizer we could sample before moving on to the main meal. What arrived was a heaping platter of slowly simmered meat swimming in gravy (by which I mean boar fat loaded with salt). The flavor was magnificent. As we tucked in, sopping up the gravy with crusty bread, I could feel my arteries hardening and waist thickening and absolutely did not care.
Connect with Seville's Vibrant Art Community & Bring Home Memories & Mementos You'll Treasure
Who could resist a talisman capable of warding off the evil eye, especially one priced at less than $5? This nazar seemed like a lot of good karma for the money — until I got home from Athens and the lapel-pin promptly snapped off the back of the amulet so I couldn't fix it to my jacket as planned. I was going to repair it, but then it dawned on me that any fetish without sufficient juju to protect itself from harm probably wasn't capable of safeguarding me, either.
My Game of Thrones Tour of Seville
Italica Dragonpit
"Hey, this is the Dragonpit!" exclaimed my sister Kate. "The actual Dragonpit from Game of Thrones."
"Yep," I said. "Although sadly, it doesn't have any actual dragons in it at this time."
We were in the ancient Roman city of Italica, just six miles northwest of Seville, visiting the remains of the massive amphitheater built to enable 25,000 bloodthirsty spectators to watch gladiators fight to the death.
The Art of Breakfast in Seville
Bar Alfalfa
I have to admit, it felt strange — surreal, even — the first time I ate breakfast in the same bar I'd been drinking in the night before. But this isn't uncommon in Seville, where the line between coffee house and tavern is a blurry one. Then there was the morning I found myself sipping café con leche next to a man downing a glass of anís seco (aniseed liqueur with a paint-thinner aftertaste), and I began to wonder if some folks never went home at all, but simply settled onto their barstool from sundown to sunup and beyond.
Seville's Best Eats
Bar XIX (interior)
I update this page often, so check back to discover new entries.
Best Breakfasts in the City
Bar Alfalfa, corner of Alfalfa & Candilejo.
I love this one for relaxed breakfasts and afternoon snacks; at night it's jammed to the rafters and deafeningly noisy.


Display your favorite decorative items or use daily for family-style meals.
Each bowl has a high gloss black, food safe, interior and features the signature white matte textured outside.
These bowls pair great with the Everyday Stoneware Bowl for a matching dinnerware set.
All items are handmade and each will vary slightly.