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Max Verstappen might be the pick of the bunch. If Mercedes continues to struggle with correlation, and the Red Bull is able to find some semblance of reliability and performance, Verstappen will be ready to compete with the very best. Maybe the McLaren really did only need a new engine, and maybe the year-old is ready to get back on the top step of the podium. Bettors Beware: Ferrari is Collapsing.

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The naming convention used in the Podium library is "manufacturer name - product name". Optionally add a stickie note to the device definition or mapping objects with details about configuration of the external device, website links, version number of the plugin etc. Save the project file in the proper library folder with a file name matching the project name.

The file is now ready to be imported into any of your future projects using the import commands on the project start page. There are two types of presets. Program presets are used for selecting predefined programs in your plugins and hardware devices. Importing a device definition on the project start page or importing a plugin directly should provide you with all the program presets that the device supports.

Library presets are created by importing preset files or by using the various preset menu commands in the arrangement editor. You use preset objects by assigning them to tracks. Program presets for external devices use MIDI bank and program change messages. Note that not all plugins support MIDI program changes.

Some advanced MIDI devices, such as those supporting the XG format, can automate parameters for individual drum notes. If you on the same track assign a drum parameter and a drum preset configured with a limited key range, then any curve sequences playing on that track will combine the drum preset key range with the parameter to automate that specific drum sound.

The data contained in a library preset consists either of a VST plugin program file. Plugins and external hardware devices hold only a limited number of presets. You may need to store more presets than can be stored in the device. Rather than relying on loading VST bank files in your plugins or using various storage media with your hardware devices, you can opt to store the presets in your project file and have your entire collection of presets instantly available when you need them.

Just as with program presets, library presets need to be placed within the device definition folder for the device, or else they won't be available in the track inspector preset panel. To create library presets by importing preset files: Use the project window to navigate into the proper device definition folder.

Optionally create a "Library" subfolder and navigate into it. Use the Import File When Podium stores a plugin or SysEx preset it uses a zip packing algorithm to minimize the memory and disk space requirements. You use parameter objects by assigning them to tracks with curve sequence automation, or by dragging them onto tracks to create parameter events.

The MIDI protocol defines a wide range of message types used for transmitting various sorts of information. For polyphonic pressure messages you specify an associated Note number. This message type was designed to provide separate 'aftertouch' for each key held. Keyboards supporting polyphonic pressure are rare and often expensive. Some synthesizers uses polyphonic pressure messages in an unconventional way as an addition to control change messages. For control change messages you specify a Control change number.

This number is used to identify the parameter in the plugin or external device. Control change messages can transmit 7-bit values The dual control change message combines a pair of control change messages for a single parameter and by doing so can transmit bit values Podium will add 32 to this number to get the LSB number.

Note that very few devices support the dual control change method. Many devices support a larger number of parameters than is accessible with simple control change messages. NRPN definitions are entirely in the hands of the manufacturer of a device, and can be unique for each product.

Two control change numbers are used to set a current parameter number and a further two control change numbers are used to set the value of the current parameter. So when combined, you can access parameters and set their values with bit resolution The value definition settings allow you to restrict the range of valid values, set a default value for use by the curve editor and automation tracks, and to define a zero offset point.

If you are configuring a center based parameter such as a panning position, you can specify a value range of and a default value and zero offset of Thus when displaying a curve sequence, the curve will be drawn with its base at the center. By default plugin parameters use bit floating point values ranging from zero to one.

This is the resolution Podium will use if both the min and max settings for the range are set to 0. The floating point values stored in the plugin and sent to Podium will be quantized accordingly. The plugin will of course accept values from Podium in the full floating point range and just round to the nearest valid value. When the number of plugin parameter value steps is known, you can enter the same number of steps in the parameter value range settings.

This will make Podium remap the floating point parameter values when displaying the value in the curve editor and the mixer sliders. If this option is disabled then parameter changes will be recorded as individual parameter events. Understanding and configuring SysEx messages can be a complex task and requires that you are confident with hexadecimal numbers and the MIDI protocol in general.

Podium supports dynamic SysEx messages by using a simple macro language. This allows Podium to encode parameter value and information from device mapping and preset objects into the transmitted SysEx message. You may truncate the macro names, for example [value], [val], [v] as long as the macro name is surrounded by [ ]. The macro names are not case sensitive. You can append bit operators after the macro name. This is used to mask out bits and split up a large number in several bytes within the message.

If you write a number immediately after the macro name this will be used as a bit start offset in essence a right shift operator. A bit width can be specified by writing a colon followed by the bit width. You can use the ' ' character between elements in the message to 'OR' the numbers into a single byte.

The [variable1] and [variable2] can be used for alternative enumerations of the voices on a device. Furthermore the SWXG supports routing its audio channels through its built in effects, which requires the use of 'SysEx variable 2' to enumerate the alternative audio channels. The [note] value is the low note of the key range defined in the preset object that is active on the track that sends this message.

This can be used to control specific drum note voices within a drum kit. Here is an example of a master tune message for the SWXG. The value is split up into 4 bytes that each holds 4 bits of the value: F0,43,10,4C,00,00,00, [val], [val], [val], [val], F7.

The 'OR' operator is used to combine the hex value 10 indicating parameter message with a 4 bit device ID: F0,43,10 [id:4],5C,10,00,41,[val],F7. Sequences are objects that have a timeline. All sequences can contain various types of events that place data on the timeline. Arrangements add the use of tracks to hold some types of events. Sounds additionally contain one or more channels of audio samples.

For each type of sequence there is a dedicated editor. These editors share some common features which are described in this chapter. When you enter into a sequence object in the project window, an editor page is installed instead of the normal folder page. Typically you enter into an arrangement, and access sounds, note and curve sequences on the tracks in the arrangement editor.

You access editors for these sequences either with the arrangement embedded sequence editor, or by opening separate editor windows. All sounds, note and curve sequence objects created in the arrangement editor are placed under the arrangement object in the project. Many of the editor controls can be activated using key shortcuts and some of the tools have alternate actions when used in combination with key shortcuts.

A common feature of the editors, is that any drag action can be canceled by right-clicking before releasing the left button. This applies both to dragging objects, editing and zooming with the editor tools, dragging value dials, dragging mixer sliders and resizing panels in the editor. Canceling by right-clicking will undo the effect of the drag operation and revert to the state before the drag action was begun. If the canceled drag action was an edit to a sequence then the edit can be restored using the redo edit command.

The timeline ruler region at the top of the editor shows the currently displayed timeline range. The ruler shows a handle for the edit cursor and draggable bars for segment selection, punch and loop ranges. Holding Shift while using the mouse wheel will scroll the timeline. The timeline context menu has commands for setting the timeline controls based on the clicked position, the edit cursor position or the current selection.

The time position is shown in the menus that use either the clicked position or the edit cursor position. The editor snap mode and quantize value will affect these positions. If the editor is showing a sound, note or curve sequence that is opened from a sequence event in the arrangement editor, then the timeline resolution will be locked to the arrangement timeline, as will the edit cursor, punch and loop settings.

Only the segment selection is independent of the arrangement. The part of the sequence timeline that extends beyond the range of the sequence event is painted with a darker background color. The edit mode determines which of the four is painted topmost and also which is affected when you click and drag in the ruler. For example the loop bar may be overlapped by the punch bar, in which case you need to select the loop edit mode to be able to drag the loop range.

Set the edit cursor position by dragging the handle or by clicking and dragging in the ruler using the cursor edit mode. The editors can optionally show separate edit and play cursors. When this option is disabled the editor will show separate edit and play cursors during playback. The edit cursor can be moved without affecting playback.

Stopping playback will return the play cursor to the edit cursor position. Pressing the play button during playback will restart playback from edit cursor position. When the option is enabled, double-clicking in the timeline ruler starts and stops playback. When using key shortcuts to move the cursor during playback the separate edit cursor appears and there is a small pause before playback jumps to the new position.

The pause gives you time to use multiple keypresses to reposition playback. The segment, punch and loop ranges are displayed as bars with handles at the edges. Drag the top part of the bar to move the whole range, and drag the handles to resize the range. The segment bar is only displayed if a segment is selected.

The segment is highlighted by a translucent curtain that is painted on top of all regions that have a timeline. The appearance of the punch bar depends on whether punch in and out are enabled. If only one of the punch in or out buttons are enabled, then the punch bar is extended to the edge of the timeline to indicate that recording will not punch in or punch out.

The punch bar is painted with a dimmed color if neither punch in or punch out are enabled and recording mode is not activated. When recording mode is activated, areas that will be affected by recording, such as record enabled tracks, are painted with the record color. The loop bar is painted with a dimmed color if looping is not activated. When looping is activated, the loop range is highlighted by a brighter background color in all regions that have a timeline. On the timeline you can use two different types of selection methods.

You can select events or you can select a timeline segment. In arrangements you also have a focus track that receives key focus when there are no event or segment selections. Selection can be done with the mouse or with key shortcuts. Edit actions will apply to the current selection. Mouse selection of events can be done using the select and pencil tools. Clicking on an empty spot with the select tool will reset all selections.

Clicking on an unselected event will select it and deselect other events. Clicking on an already selected event will only deselect other events when you release the button. This allows you to click on a multiple event selection and drag them to a new position. Clicking on an empty spot with the select tool will start a marquee drag selection.

When the mouse is released all events that overlap the marquee are selected. Holding the Shift key while clicking will start a marquee selection no matter if you click on an empty spot or an existing event. Using Shift will also preserve the existing event selection and it can be used with the pencil tool as well. Segment selections can be made by dragging with the segment tool, or by dragging in the timeline ruler if the ruler segment edit mode is selected.

Press the arrow keys to move either the track focus or a currently selected event focus to the closest track or event. The sequence clipboard can store events, segments, tracks and sound channel samples. When you paste an an event selection that you have cut or copied to the clipboard, the events are inserted starting at the current segment selection, or if there is no segment selection, at the edit cursor position.

When copying track events in the arrangement editor, the events are stored with a track offset relative to the focus track. Thus you can paste events onto other tracks by moving the track focus before doing the paste. Cutting and pasting an event selection will not change the positions of the other events in the sequence. Use segment selection to cut or copy entire segments and all events within. Events will be split if they extend across the segment edges. Pasting a clipboard segment will insert the segment at either the current segment selection, or else at the edit cursor position.

Existing events that extend across the insert position will be split and the last part moved to the end of the inserted segment. Edit actions are logged in a history list for each sequence object. You can also access the edit history using the undo and redo menus. The menus show each undo and redo edit with the time elapsed since the edit was made.

Some edit actions in the arrangement editor involves changes both to the arrangement and other sequences. The changes made to the other sequences are logged in the history of these sequences. Undoing the edit action in the arrangement editor will also undo the related edit action in the sequences, provided that you have not since made edits to the sequences in their own editors.

Note that changes that only relate to the visual layout are not logged in the edit history. This includes minimizing and hiding track lanes and track groups, resizing tracks or sound channels, zooming and scrolling. This chapter describes the elements of the default edit, track, editor profile and transport toolbars. The track and editor profile toolbars are only present in the arrangement editor. The transport toolbar is only present in the arrangement editor and the standalone sound editor, since sounds, note sequences and curve sequences placed on tracks are controlled by the arrangement editor transport.

You can customize the elements in the toolbars, if you for example want to remove elements you have no need for, or if you want to join the edit and transport toolbars into one toolbar. You can specify the height of a toolbar in the toolbar setup dialog. You can also adjust the height directly on the toolbar: Move the mouse cursor onto the toolbar and use the mouse wheel while holding the Ctrl key down.

The elements in the toolbar will resize accordingly. To adjust the default button size: Move the mouse cursor onto the project window menu bar and use the mouse wheel while holding the Ctrl key down. Selecting a tag that is part of a mutually exclusive group buttons that are joined with no space between them will reset other tags in the group. Each tag button has a small check button inside it. Check buttons indicate which tags are assigned to the focus track.

Note that if you remove a tag from the focus track, the track may become hidden if the tag is selected. The editor profile toolbar is used to quickly switch between editor profiles. In the default setup this toolbar is only included in the arrangement editor. The profile bar shows a row of buttons that represent the available editor profiles. Editor profiles are designed specifically for either arrangements, sounds, note sequences or curve sequences. Only profiles that are compatible with the editor are shown in the profile bar.

Generic profiles are rarely used, so they are not included in the profile bar. Click a profile button or press the number keys to select a profile. You can customize the editor profiles by right-clicking one of the profile buttons to bring up an options menu:. The toolbars in the default setup are configured so that they will fit on a small screen resolution without being truncated. If you are working with a large screen resolution, you may, for example, want to move the editor profile bar into the edit toolbar, so that you can free up some vertical space by deleting the dedicated editor profile toolbar.

To do that, follow the steps listed below. Note that you will need to repeat those steps for each of the profiles in the editor profile bar. If you have created your own additional profiles for sound, note sequence and curve sequence editors, you could also use the above procedure to add the editor profile bar to those editors.

This chapter describes the different methods you can use to slide and zoom the timeline area in the editors. The navigator can be included in all editor types. The arrangement navigator displays a line for each non-hidden track, with colored blocks representing sequence events on the tracks. The sound navigator shows a half-height miniature of the waveform. The note sequence and curve sequence navigators show miniatures similar to those that are shown on the sequence events in the tracks region.

The navigator height can be resized by dragging the bar below the navigator. If you have a lot of tracks in your arrangement, it can be necessary to increase the height of the arrangement navigator to see all the tracks. A zoom pane is displayed on top of the miniature. The pane is painted as a frame around the current zoom range in the editor.

There are several ways you can adjust the zoom range using the mouse:. Zoom snapshots can be used to quickly jump between different areas in your arrangement. Each zoom snapshot stores the timeline position and zoom setting, as well as the track list vertical position and zoom setting. The snapshots are managed using the buttons on the panel to the left of the navigator.

Clicking this button will add the current zoom range to a new snapshot, unless a snapshot already exists with that exact zoom range. Each snapshot will be shown as a numbered button. Up to nine snapshots can be stored for each arrangement. A snapshot button will be shown as selected when the current zoom range matches the range stored in the snapshot. If you hover the mouse cursor over a snapshot button, the snapshot zoom range will be highlighted on the navigator miniature.

Click a snapshot button to recall the zoom snapshot. Click the button again to restore the previous zoom range. The tracks, channels and notes regions all have a vertical scrollbar and a vertical zoom slider. Use these to get an overview of your current vertical zoom range, as well as for adjusting the position and zoom setting. You can also scroll up and down with the mouse wheel, provided that you are not holding down any key modifiers.

You can insert a horizontal timeline scrollbar region in the editor profile, as an alternative to the navigator region. A scrollbar region contains: a timeline scrollbar, a timeline zoom slider, and buttons for zooming to full range and zooming to the current selection. The scrollbar shows the current zoom range in relation to the full range. Clicking the right arrow button on the scrollbar allows you to step beyond the full range, so that you can add new content with the edit tools.

In the default setup, the editors have been configured with a navigator instead of a scrollbar region. If you prefer the more simplistic style of a scrollbar, you can add a scrollbar region and optionally delete the navigator region. To do so, follow these steps:.

The position where you place the mouse cursor will be the fix point for the zoom. When releasing the keys the previously selected tool will become active again. As you may notice, the orientation of the key combinations on the keyboard matches the direction of the zoom. When the slide tool is activated, the mouse cursor turns into a hand cursor. This will reset the zoom range to the state it was before you started the drag operation. This can be useful if you for example want to temporarily zoom out for an overview.

Pressing the arrow keys without other key modifiers will navigate the event selection. The timeline area will automatically slide if focus is moved to an event outside the currently displayed range. Below is a summary of all the key shortcuts:.

An arrangement consists of tracks on which you assign input, output, effect and instrument devices. You organize the tracks in a hierarchy to set up how audio is routed through the tracks. On the track timeline lanes you can place sound, note and curve sequences as sequence events. Sounds will output audio into the audio routing at the track. Note and curve sequences will control the device mapping assigned to the track.

You can create the sequence events manually using the editor tools or by recording the MIDI and audio input mappings you have assigned to the tracks. You access the editors for the sound, note and curve sequences by selecting the sequence events on the tracks. You can use the sequence editor that is embedded in the arrangement editor, or you can open new editor windows. Events in note and curve sequences do not have device specific properties.

Curve sequences output relative values that are converted to true parameter values using the parameter object assigned to the track. This allows you to reuse note and curve sequences on multiple tracks with different device mappings and parameters. It can also be opened with the New Arrangement The default arrangement editor layout is from top to bottom: Edit toolbar, timeline ruler, marker region, tempo and time signature region, tracks region, mixer, transport toolbar.

The main part of the arrangement editor is the tracks region. At the left edge is the track inspector which shows the properties of the focus track. At the bottom edge is a resizable embedded editor which shows the editor for the last selected sequence event. The track inspector, embedded editor and mixer can be collapsed allowing you to optimize the available screen space when arranging events on the tracks.

The height of tracks that are neither minimized nor collapsed are defined by a combination of the vertical zoom slider position and a height scale of each individual track. Drag the zoom slider to scale the height of all tracks.

Marker events can be used to identify and divide timeline sections of your arrangement. In a typical song for example, you could use marker events to indicate where the different verses and choruses begin. Marker events are shown on the lane just below the timeline ruler.

Each marker is displayed as a tag where the left edge is aligned at the event time position. The name of the marker that is placed at or before the start of the displayed timeline range is shown at the left edge of the lane. Right-clicking a marker event shows a context menu with options for the clicked event. There are commands for selecting all marker events and setting the segment, punch and loop ranges between the clicked marker and the next marker on the timeline.

There are also commands to extend the punch and loop ranges. The editor snap mode and quantize value will affect the insert positions. New marker events can be inserted by double-clicking with the select tool or clicking with the pencil tool on a blank spot in the timeline. Use the scalpel tool if a previous marker tag overlaps the position where you want to insert a new event. Use the mouse wheel over the marker event lane to scroll the timeline so that it starts at the previous or next event on the lane.

Arrangements created with musical time resolution use tempo events to define time signature and tempo changes on the timeline. Tempo events are shown on the lane below the marker lane. The time signature and bpm value that is active at the start of the displayed timeline range is shown at the left edge of the region. Right-clicking a tempo event shows a context menu with options for the clicked event. Right-clicking on a blank spot on the timeline shows a context menu that allows you to select all tempo events or to insert a new tempo event either at the clicked position or at the edit cursor position.

As an alternative to editing tempo events in the timeline, you can double-click the tempo indicator in the transport toolbar to access the properties of the last tempo event before the current play cursor position. If a tempo event with a time signature change is not placed on a bar line then the time signature will be in effect from the next bar.

The bar and beat divisions of the time signature is visualized both by the numerals shown in the timeline ruler and by the vertical grid lines drawn in the editor. If you have any sound events on the tracks and you insert a tempo change, you may notice that the waveform shown inside the events will compress or expand accordingly.

If you have dragged a sound file onto a track, the event will be resized so that the entire sound still plays. The command will adjust the tempo of the tempo event located before the edit cursor position to make the grid lines align with the edit cursor time location.

The editor quantize value determines the grid snap resolution. You now have a tempo indication of the recording. Repeat this procedure from start to end of the recording. The tags configured in this dialog are shown as tag buttons in the track toolbar. Tags can be used to organize tracks into categories such as: instrument type, microphone placement, performer, and whatever groupings you may find useful.

Selecting tag buttons in the track toolbar will show only the tagged tracks in the tracks and mixer regions. Each track can have several tags applied. As an example, you may have a general tag group that groups your tracks into drums, guitars and vocals. Another tag group can organize tracks according to whether they were recorded with close mics or ambient mics. Depending on what you're doing in your mix, you can select the drums tag when you want to do overall work on your drum tracks, and you can select the ambient mics tag when you want to adjust the sound of all your ambient microphone recorded tracks.

The multichannel extension to the Wave file format is also supported, which enables you to configure a sound to use up to a Normal Wave files can only be up to 4GB in size. Note that many applications that can read Wave files may not be able to read RF64 Wave files. If you are working with multichannel files it is recommended to use Wave files, since AIFF files don't store the speaker configuration specified in the sound properties dialog.

When you save a sound file with the file dialog, it will by default use this format, but you can override it by entering the proper file name extension. Wave files use the ". When working with large sound files all sample data cannot be loaded into memory at once. Podium only loads the sample data when it is needed, which means when playing the sounds or when zooming in on the waveform in the editors. When the waveform is shown zoomed out beyond a certain point, Podium uses a miniature of the waveform which takes up much less memory than the real sample data, yet provides an accurate graphic representation of the waveform.

This miniature is saved in a file with the same filename as the real sound file but with the file name extension ". After importing a sound file that does not yet have a mini companion file, Podium will start to create the miniature in a background process. Thus when you import sound files you don't have to wait for the miniatures to be created. As a consequence, if you enter the sound editor for a recently opened sound file, you may see the text "Profiling waveform This does not prevent you from playing the sound or zooming in on the waveform in which case the real waveform samples at some point will be displayed.

When recording audio or editing the waveform in the sound editor the changes are stored in temporary cache files. The sound file will not be touched until you choose to save the sound. If a sound object references a file that could not be found, the sound object icon shown in the project and browser windows is colored red. If the sound object is created as a new object in the project, it initially is not linked to a sound file.

When you save the project file, all unsaved sounds are assigned filenames based on the sound object names and are placed in the same folder as the project file. The Podium project file only stores the sound object as a sound file reference. All the settings specified in the sound properties dialog, along with the wave data and any marker events, are stored in the wave file. The Relink File This will store the sound filename with a relative path reference in the project file, which enables you to move the project folder together with the sound files to another folder location without breaking the links to the sound files.

Changing the sample rate will not resample the wave data. You can create a custom setup by toggling individual speakers or adjusting the number of Channels. Selecting speaker locations are optional. You can choose to assign all channels as mono by clearing all speaker check boxes and entering the number of mono channels. This will reset the sound edit history. The sound file is not affected until you choose to save the sound.

The sound editor shows the individual sample data channels in the sound. The channels are identified by labels in the channel headers. If the sound uses a surround speaker configuration, speaker placement miniatures are drawn beneath the channel labels. If you accessed the sound object from the project window instead of from an arrangement, the sound is opened in a master sound editor. Compared to the slave sound editor used with arrangements, the master editor gives you a marker region, a transport toolbar, and punch and loop settings for the sound.

Marker events are saved in the wave file as a cue list, so that the markers are available if you edit the wave file in other sound editor applications. The sound punch and loop settings are saved in the Podium project file. Clicking the particle zoom button next to the tool buttons will set the timeline zoom so that one pixel covers one sample. This is useful when doing precision editing of the waveform with the pencil tool. The pencil tool is mostly used for removing unwanted clicks in recordings.

To draw silence you can alternatively use the eraser tool. Use the select or segment tools to drag a segment selection. Drag the segment handles in the timeline ruler to adjust the segment selection. Clicking the channel headers will toggle channel selection. The curtain that is drawn for a segment selection will only be drawn on selected channels.

When performing an edit on a segment selection only the selected channels will be affected. This allows you for example to copy sample data from one channel, toggle channel selection and paste into another channel. The vertical scrollbar and zoom slider control the amplitude range of the waveform displayed inside all the channel lanes. Click and drag upwards on one of the channel headers to increase its height relative to the other channels.

The height of the other channels will shrink so that all channels are always visible in the editor. Exporting allows you to quickly save the sound to a file format that you need for other applications and tools such as mp3 encoders. Exporting a sound will not affect the source sound used in the project. Once you have set the desired export options you can press the Export In the file save dialog you can specify either wave or aiff file format by selecting the corresponding file extension.

Note sequences contain note events. The properties of each note event are: start time, duration, note number, attack and release velocities. Note properties are defined according to the MIDI specification, so note number and velocities are values in the range of 0 to Note sequences are placed as sequence events on tracks in an arrangement. The instrument that is active on the track will be used for playback of the note sequence and for auditioning edited notes in the note editor.

A note sequence can be phantom copied to multiple tracks and thus you can control different instruments with the same note sequence. The note editor will be shown in the embedded editor when a note sequence event is selected. Double-clicking a note sequence event will open the editor in a separate window. The note editor is used for editing note events as well as for editing the note map. The note map can be configured to work in either piano roll or drum map mode.

Each track contains a customizable note map where individual notes can be disabled, soloed, muted, colored and renamed. Solo and mute are only available in drum map mode. By disabling notes you can hide unused note ranges from the editor. Disabled notes are muted during playback.

This makes it possible to phantom copy a single note sequence to multiple tracks, and set up each track to play different note ranges with different instruments. The note map properties are stored for the track where the note sequence is placed. Thus editing the note map will affect all note sequences that are placed on that track. The note map editing is integrated in the note editor for convenience, as the note map is only useful in relation to the note editor.

Edits to the note map are stored in the note sequence undo history, and not the arrangement undo history. At the left side of the note editor is a button panel for setting various editor options. The primary difference between piano roll mode and drum map mode is the layout of the note lines. In piano roll mode the area to the left of the timeline shows a picture of a piano keyboard that is resized to align with the zoomed note line height.

In drum map mode the piano keyboard is replaced with drum line headers that show the name of the note along with buttons for soloing and muting individual notes. By default the drum map headers will show the drum names defined by the standard GM format, which is the primary format supported by most drum capable instrument plugins. If note names have been customized in the note map, then these names are shown instead of the GM names.

This also applies to the piano keyboard, provided that the vertical zoom is large enough to show the names overlaid on the black and white keys. If a VST instrument plugin supports custom note names, the plugin supplied note names will be displayed on the drum map headers and on the piano keyboard, unless the note map already has a customized note name.

The following describes the default actions:. Clicking on the piano keyboard or the drum map headers will audition the note. The note will sound until the mouse is released. The mouse can be dragged up and down to play other notes. Clicking towards the left edge will audition at low velocity and clicking towards the right edge will audition at high velocity. Click with the select tool on a note to select all events on that note and deselect all other events. Click with the pencil tool on a note to add an event at the edit cursor and advance the edit cursor to the next grid line.

If loop is enabled then the edit cursor will move back to the loop start if it is advanced to the loop end. If the mode is disabled then edit cursor behaves as described above. If the mode is enabled then clicking a note works as realtime recording of events at the play cursor position. The event duration will be set according to how long you keep the mouse button pressed.

Note events are displayed and edited almost identically in piano roll mode and drum map mode. Note events are displayed on the timeline as blocks that are colored according to the note attack velocity. In drum map mode the height of the events are furthermore scaled according to the attack velocity. This makes it easier to see the velocity progression of a single drum line. The vertical zoom resolution can be adjusted with the zoom slider in the right side panel, as well as with the standard zoom shortcuts.

The note editor remembers the zoom setting separately for piano roll mode and drum map mode. With the select tool you can double-click an empty spot to create a new note event. The new event will have a default velocity and a duration set to the editor grid value.

When you single-click an empty spot with the pencil tool, the new event will take on the velocity and duration properties of any currently selected event. You can adjust the note duration by dragging the mouse before releasing the button. With the select and pencil tools you can double-click an event to delete it. With the eraser tool you can delete an event with a single click, or by holding the shift key to drag a marquee deletion.

When you click and drag events, the default action is to move the events. Hold the Ctrl key to create copies instead. Hold the Alt key after starting the drag action to lock either the x or y position of the events depending on the drag direction. Hold the Shift key after starting the drag action to override snap. Note events can be added by dragging MIDI files directly onto the note editor timeline.

This will merge the notes from the MIDI file into the current sequence, in contrast to dropping the MIDI file on a track, which will create a new sequence object. Dropping MIDI files onto the note editor timeline enables you to build a sequence using simple elements, such as chords, arpeggios, single drum patterns, and so on.

When you move a MIDI file over the timeline, you'll notice that the drop highlight is cut at the note under the mouse cursor. This indicates that all the notes in the MIDI file will be offset to this root note.

Holding the Alt key will override the root note offset. Holding Shift will override snap mode. The Insert key can be used as a quick shortcut to append duplicates of selected events. The duplicates will be placed starting at the end of the last selected event.

The original events will be deselected and the duplicated events will be selected, so that pressing the Insert key repeatedly will continue to append duplicates. A duplicate event will not be created if an existing event is already positioned at the place where the duplicate should be placed. If snap mode is enabled, pressing Insert will snap the duplicates relative to the next editor grid line.

If multiple events are selected, any edit action will be applied to all selected events. You can edit note events with both the select tool and pencil tool. The select tool is convenient for quickly selecting and moving events by dragging, while the pencil tool provides more ways to edit note event properties with single click and dragging. When the pencil tool is selected, each event has up to four drag hotspots depending on the size of the event: move, resize start, resize end, and velocity.

The layout of the hotspot areas are utilizing the full available note line height. The visual frame of the events may be smaller depending on the zoom setting. The velocity dependent height of events in drum map mode will also not affect the layout of the hotspot areas. The event will be highlighted when the mouse cursor is over the clickable area of the event, and the mouse cursor will change to a resize cursor when it is over the resize or velocity hotspots.

The width of the resize hotspots are 4 pixels, and the height of the velocity hotspot is 4 pixels. When the event width is less than 16 pixels the resize hotspots are cut off at the middle, and when the event height is less than 12 pixels, the velocity hotspot is not available. This is to ensure that the move hotspot does not become too small. In addition to the pencil tool hotspots, the event can also be resized or velocity adjusted by holding the Alt key when clicking and dragging.

This will work with the select tool as well. Double-clicking with the Alt key pressed will start a proportional resize action, where all selected events will resize proportional to their original size. At the bottom of the editor is a horizontal bar that you can drag to resize the note velocity region. Using the right-click menu or the three buttons in the left side panel you can select between editing attack or release velocities and whether only selected events should be affected when drawing on the timeline.

This option is useful for editing a single selected note event that overlaps with other events in a chord, or when editing the events on a single drum line selected by clicking a drum line header. The velocity of each note is shown as a bar where the height is the velocity and the width is the note duration.

Click and drag to set the velocity of the events under the mouse cursor. Use the eraser tool or hold the Ctrl key while dragging to set the default velocity. The dialog can also be opened by right-clicking the piano keyboard or the drum map headers, in which case the dialog is opened with focus set to the clicked note number. Curve sequences are used to automate parameters in devices or in the Podium mixer. They consist of a series of point events that connect to form a continuous curve.

Each point event can be configured as either a bar, line or spline type. A bar point maintains its value until the next point event, resulting in a stepped value curve. A line point connects to the next event in a straight line. A spline point also connects to the next event but the line can be twisted with the spline handles. Each point event defines a relative value within an unspecified value range. When a curve sequence is placed on a track a link is established to the parameter object assigned on the track.

The relative curve values are converted to true parameter values using the value range properties of the parameter object. This enables you to use a curve sequence for any kind of parameter. During playback of line or spline point events that controls a mixer parameter, the curve values will be calculated for each sample.

When controlling MIDI or plugin device parameters, a series of parameter messages are output to approximate the curve. The density of these messages depends on factors such as the parameter value range and the slope of the curve.

The base line of the curve body is normally at the bottom of the editor. If the parameter uses both negative and positive values then the base line is placed at the zero value. This is the case for example with pitch bend and pan parameters.

The opacity of the curve body can be configured in the editor profile. Bar and line point events are shown with rectangular handles. Spline point events are shown with circular handles. Selected events are highlighted with the select color, both in the point event handles and the part of the curve body that is affected by the event.

The left panel shows a parameter value scale. If a single event is selected then a translucent box with its value is displayed next to the event handle. The background of the curve editor shows an outline of the sequences placed on the parent track, which can be either notes or sound waveforms.

This is helpful when aligning point events to the source material. The select tool follows the standard behavior with a few exceptions. Click an empty area and drag to select all events on the timeline that you drag across. Hold the Shift key to start a marquee selection instead. Double-click an empty area to insert a new event.

Hold down the button on the second click to drag the new event. Double-click an existing event to delete it. With the pencil tool, click on an empty area and drag to draw a series of new point events. Existing events that you drag across will be deleted. The type of the new point events are determined by the draw mode set with the three buttons at the left edge or with the context menu. The spline draw mode will initially draw line point events but once the mouse is released the drawn curve will be digitized into a spline curve.

The interval between new events will depend on how fast you drag. You can activate editor quantize snap and set the quantize value to restrict the interval. With the eraser tool, click on an event to delete it. Click on an empty area and drag to delete all events on the timeline that you drag across.

Hold the Shift key to start a marquee deletion instead. When you drag a single event, it will be dragged in real-time and restricted to the timeline between its two neighbor events. If you drag a multiple event selection, there is no timeline restriction and you can hold down the Ctrl key when dropping to create copies.

Press and hold the Shift key after you have started dragging a single or multiple events, to lock either the x or y position depending on the drag direction. Press and hold the Alt key after you have started dragging or drawing new events to set the events to the default value as defined in the parameter object. Use this to reset for example pitch bend or pan parameter curves to their center position.

Spline point events specify a spline going through the point. Changes to a spline event may affect the curve drawn from the previous event if that event is a spline too. If you have a series of bar or line point events you can digitize their curve to replace them with spline point events. If you select a single spline event the editor will show a line representing the tangent length and slope.

You edit the spline by dragging either of the two tangent handles or by using key shortcuts. The length of the two parts of the tangent can be adjusted individually. Extending the length of a tangent will widen the curve at the point event and compress the curve at the neighbor event. Likewise a shorter tangent length will create a sharper bend in the curve.

Depending on the tangent lengths and the zoom setting, the tangent handles may overlap the event handle. To drag the event handle instead of the overlapping tangent handles, hold the Alt key while clicking the event. If the tangent handles extend beyond the editor area you will not be able to grab them with the mouse.

In this case you must use the keyboard shortcuts to edit the spline, or use the reset tangent menu commands. This means you can at any point go back to the original timing if you later on regret your adjustments. The timing adjustments are stored as offsets to the event start and length. This means that manually moving events in the editor timeline will move the original timing as well.

This allows you to for example move and copy events between bars, but still be able to revert to the original relative timing. It is available in the arrangement, note and curve editors, for arrangements that use musical time resolution. The dialog offers three different ways to affect the timing: First the events can be gradually quantized to the grid, followed by randomization and finally swing. The most common use of beat slicing is for manipulating drum loops. Beat slicing a drum loop does not by itself change the sound, but once you have sliced the individual beats you can quantize or manually move the beats around to change the timing of the loop.

Having the beats split up also allows you to move for example kick, snare and hihats to separate tracks with individual effects processing. Beat slicing can be performed on sound events in the arrangement editor. There are no distinctly separate tracks for processing of audio and MIDI data. Instead, this is determined by the device objects assigned to a track.

Audio, MIDI, and parameter automation signals flow upwards from tracks into parent group tracks, and, depending on the signal type, thus become affected by device mappings on the group track, as well as the group track's gain and pan settings. Group tracks can be nested, meaning groups can be placed inside another group, and due to this, group tracks can also be child tracks of another parent group track. This allows for flexible solutions to routing and sub-mixing, with the signal flow arrows displayed at the left edge of track headers and at the top of mixer strips additionally providing visual confirmation of how tracks are routed.

When working on an arrangement, you might want to split it up into sections such as drums, vocals, and synths for pop songs, or violins, violas, cellos, basses for classical music. You may also create sub-sections in each section. This allows mixing on different levels: sections, sub-sections or individual tracks within a section.

When mixing sections, it can be useful to collapse the section group tracks, so that the individual tracks within the section are not taking up space on the screen. Gain, pan, and send level controls can be double-clicked to open the respective track properties dialog in order to enter a numeric value. Hold Shift while adjusting a control to fine-tune its setting. Tracks configured for audio processing display a level meter on the right side of the track header. Depending on track height and vertical zoom settings, indicator lines are shown on the meter, at -6, , and dB.

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The segment is highlighted by the project are marked with painted on top of all. A device may have multiple bit floating point values ranging as all other tree lists. Only the first available note bettingadvice podium the browser page contains will be auditioned. Setting bettingadvice podium device to local located in the folder or time you ran Podium, there will be a set of generic device definition files in under the cursor. They can be found in just delete all the text once you have created your. By default the arrangement is you have recorded on the. When this option is disabled the editor will show separate. You can use the transport extract audio from one or the next best approach is stop, or move the playback file as a sound or. When you enter into a the audio output of your supported IO configurations and create a bit start offset in. Clicking on an unselected event kind of sequence is created inputs.

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