Consider in general, that the Westminister Confession is shorter than most books of the Bible.
Why were these doctrines not explicitly stated in the Bible? The Westminister Confession ... is a document that reformed theology embraces, but other parts of "Christianity" may reject.
Yet, if these books were explicitly stated in the Bible, they'd be canon.
Thus, according to reformed theologians, why was the Westminister Confession something that had to be discovered via "human reasoning" rather than explicitly stated in the Bible?
While this is easy enough to answer from a Reformed point of view, I'd like to start by pointing out that the felt need for extra-Biblical statements on matters of faith is not limited to Reformed circles or even Protestantism. In fact they are common to all traditions and sects in Christendom.1 Even your most run-of-the-mill non-denominational half-baked-evangelical Church in Podunk middle-America will have a Statement of Faith somewhere on their Bulletin, website or other literature. These statements serve both a declarative role in announcing what they believe are the key points to the Christian faith and a discerning role in separating them from any group or church that would make a contrary statement.
You read that and now you think you know what I meant.
Maybe you nod your head in approval—or maybe you wonder what happened to me that I consider myself so mistreated. Maybe it moves you and you start an activist group. You use my statement as a slogan and you gather a bunch of followers. They all are motivated to end the wrongs done by humanity to itself. The only problem is, you completely misunderstood what I said. Now my name is on a whole bunch of things I do not actually approve of.
My statement requires interpretation. Even when you think you are "just reading it at face value", you are actually interpreting it based on whatever background knowledge you have of the world and myself and of language. You also bring your presuppositions about what is right and wrong, what human rights are, etc.
You see, if you really knew my perspective on those factors, a different meaning will show up in the same words. I believe that I am a wretched sinner who does not deserve the grace I have been shown in Christ to whom I owe all of my allegiance. As the author and perfecter of my faith was abused and mistreated by this world having done no wrong to deserve it, I having done great wrong feel unworthy of the lesser mistreatment that I receive. Behind my statement lies an understanding that even the world's mistreatment is better than I deserve.
The need for Creeds and Confessions stems from this issue of all language requiring interpretation. Over time as contexts change and we lose perspective on the original authors, sometimes it becomes necessary to clarify to ourselves in what way we are interpreting the teachings of Scripture.
In reading the Scriptures we each bring different light to bear on them. It is only by comparing our understanding with each others' that we come to realize places where we may have erred, and it is partly by seeing the different outcomes that we come to understand how different presuppositions affect our understanding. Creeds and Confessions help bring interpretation full circle, demonstrating to others how we have interpreted the Scriptures and affirming our beliefs. They are a way of echoing back what we have gleaned from the Bible with the Spirit's help, allowing others to verify our interpretations and hold us accountable to them.
They also serve as a measuring stick for other believers. As a minister of the word ordained by a Reformed denomination, part of the ordination process I went through was an examination of my own beliefs in comparison to a number of Creeds and Confessions, including the Westminster Confession of Faith. I will use the WCF as an example because you mention it, but the principles I'm talking about here and the necessity of such confessions is universal and just as relevant for those who hold a confession that conflicts with the WCF.
I actually took exception to a number of points in the WCF. I do not hold it to be an infallible guide or standard of interpretation nor a dictate on my life. However it is incredibly valuable to able to compare my own interpretation of Scripture (particularly in a case like mine where I go on to teach and preach based on said interpretations) against a third party articulation of the Christian faith. Many people use their Bibles to preach sermons, but just because they used a verse or two doesn't mean they are preaching orthodoxy. In fact many of them babble nonsense and even heresy. Having agreed upon fixed standards of interpretation for certain key issues allows other churches, my own congregation and myself to judge my own beliefs and determine if I have wandered from sound teaching. I do not agree with everything in the WCF, but I have made my exceptions known and that gives people a measure with which to evaluate me and keep my teaching accountable.
Confessions are not divinely appointed standards, but they are a mutual aide for us as fallible individuals that we are correctly interpreting God's word.
The necessity for these started very early in Christian history. It actually can be traced back before the NT church into creedal statements made that existed as markers between Israel and other nations and in between different sects of Jews. Some of these were as simple as a fragment of a verse from the OT, some as complicated as a law dictionary.
But let's pick up some traces from the NT. Please note there are huge gaps between each of these steps, I'm not noting some mile markers along the road here.
The early church had trouble with this one right away. How were they to tell who was a follower of Christ? Among the very early church (the first handful of generations after the original disciples) articulating their faith in a way that distinguished them as uniquely Christian is what we know as a Rule of Faith. Wikipedia has the following to note on the subject. Understand that Irenaeus was writing about 120 A.D. and recording what was already a widely circulated Confession of the time.
Gradually, these Creeds grew in length. And for good reason. Beset with heresies as each new group and idea came along with some new and unique way to reinterpret Scripture differently than was understood by the early churches under the guidance of the Apostles, it was necessary to add statements on these issues clarifying what was orthodox belief and what was deviant. While sticking to the core details, these expressed in detail the specific things understood about the faith and the teachings of Scripture in a way that set Christians apart from people whose doctrinal systems had other allegiances.
That covers a lot of little details about the person of Jesus, but groups still arose that claimed various teachings that subverted what Christians understood the teaching about Christ to be. The bit I bolded above from 215 A.D looks more like this in the Nicene Creed from 381 A.D.
One could go on and on, tracing the development of longer or more specific Creeds and Confessions in response to heresies and misunderstandings. As the number of ways man invents to deviate from the teachings of the word grows so will the need to state clearly what the orthodox teaching on those issues is. However, I digress from your question.
Specific points of doctrine such as those you give as examples do not originate with the Confessions that most clearly express them, rather they originate with the Scriptures and are the articulations of orthodox interpretation which the church in various ages felt the need to articulate when faced with influxes of teachings that did not match its own yet claimed to be Christian.
All synods or councils, since the apostles' times, whether general or particular, may err; and many have erred. Therefore they are not to be made the rule of faith, or practice; but to be used as a help in both.
Many other written confessions include a similar note about themselves.
I do mean all. Even sects such as the Bereans who insist on having no creed but the Bible, have as a commonly agreed upon statement that in order to make any doctrinal point, only the text of Scripture can be used. In effect this is their confession. Their collective interpretations also tend to have some unique flair to them do end up documented as statements of faith that set them apart from non-Bereans.
Although Caleb's answer is far better than this, I think you are asking something more philosophical that is hard to express.
First, I think the simple answer is that the Bible is not written as a system of theology, which a statemt of faith summarizes. It does not make precise general assertions with clearly defined logical deductions into a system of specific conclusions. It has some of this in it, especially Romans and Hebrews but it rather more 'organic.' It is applied theology to specific times and situations, it has customized welds and twists one would never expect. There is something sublime about the way its truth is conveyed which a systematic understanding of it falls short of. This is why the Bible will always be the Bible and our creeds just short sided and sketchy notes in the margin. The Bible is not a well manicured garden but a wild natural and endless reposstory of divine truth that no man can search the bottom of.
Second, some mechanical systematic theology is obvious when reviewing the organic majesty of scripture, it is not obvious to those without knowledge. Therefore, a reformer will say predestination is an obvious assertion from scripture but not even the existance of God is obvious to an athiests. Therefore, the extraction of an understanding using systematic theology is not done because it is not obvious, but because it is seen as an obvious result of understanding by faith.
Third, the scriptures were written in different languages. The phrase 'lost in translation' has meaning here. I often find after I feel I have truly understood an argument of scripture that I would not have said it that way, because 'I think in English'. Not only is the bible not a set of creeds we can copy and paste into a confession for the purposes that Caleb outlined, but even if it was, it might be weird to us in the way it was written, as it is not our mother tongue. Anyone who has learned a second language knows that it makes you think differently. Its almost like yout brain shifts under a different perspective when expressing ideas in a different language.
For these reasons it has some value in clarifying our position when we summarize our theoretical test-tube conclusion, devoid of a living application (as presented in scripture) and in our own language, so we clearly identify how we understand the basics of the Bible. It also helps to organize and communicate our positions, and even protect from heresy as Caleb explained.
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text:
How the Biggest Earthquake in North America Changed Our Understanding of the Planet
by Henry Fountain
Pub Date: Aug. 8th, 2017
Publisher: Crown
A veteran science journalist illuminates the significance of the biggest earthquake ever recorded in North America.
In his first book, New York Times reporter and editor Fountain combines scientific expertise and human interest storytelling to detail the devastation wreaked by the massive 1964 earthquake and explain why it hasn't gotten more attention and has been all but forgotten less than 60 years later. As the author makes clear, the quake, which took place on Good Friday, March 27, was truly a horrific disaster to experience: its magnitude was 9.2, and it lasted "the better part of five minutes, which is an eternity for an earthquake." Furthermore, "the energy released was equivalent to thousands of A-bombs," and it opened cracks that were 6 feet wide, 4 feet deep, and a quarter-mile long. Yet because the region most severely affected was underpopulated, it never achieved the notoriety of smaller California quakes through the decades. The human cost was some 130 casualties, many from the giant waves that engulfed small coastal villages. Fountain relates much of the narrative through the perspective of George Plafker, "a geologist with the US Geological Survey" who, at 35, "was already something of an old Alaska hand." Plafker arrived in the wake of the earthquake and used what he learned to advance the theory of plate tectonics, which is "now considered as consequential as Darwin's theory of evolution (although plate tectonics was the work of many people not one man)." The author provides a narrative counterpoint through the perspective of a young female teacher who saw the village surrounding her one-room schoolhouse destroyed. Though Fountain never achieves the novelistic drama of Jon Krakauer or Sebastian Junger in their bestselling man-against-nature books, he succeeds in showing why this particular earthquake and its aftermath are worth remembering.
A readable book that shows how natural disaster spurred scientific inquiry.

redpajama_set_name: RedPajamaCommonCrawl


There are various stressors that come with daily life, which means it's necessary to find a useful way to combat stress. Stress can be detrimental to your health and being able to have methods of dealing with it is very important. These are a few easy ways to start incorporating relaxing methods into your life to make sure your personal life stays relaxing.


Having skin that looks dull or oily doesn't normally sit well with or look good to others. You may have wondered about this already if you've been suffering from breakouts lately.
If you're looking for tips on how to get cleaner or better-looking skin, here's a simple guide.
Whether it's in a med spa in Salt Lake City or the like, you can get dermatological treatments such as microneedling or hydrofacials. These stimulate the growth of new skin cells on your face or other areas of the skin that needs improvement.
For more immediate results, the face should also be cleansed by a dermatologist-approved soap or formulation. This helps maintain the effect of the dermatological treatment if ever you underwent one before.
Something as simple as washing your pillowcases and blankets also contributes to cleaner skin. The logic behind this is that unwashed bedding likely contains dirt from dust and other particles that got into your room.
For those with oily skin, you could remedy this by refraining from eating greasy food. Oily skin might get triggered by imbalances or deficiencies in the body, which would be avoided if you maintain a balanced diet.
Sleep is also a factor of healthy skin. After all, sleeping gives your body time to replenish itself, your skin included. If your skin doesn't have time to recharge or absorb nutrients, it won't look as healthy as that of someone who gets the recommended hours of rest.
Like other organs in your body, your skin needs to get hydration for the rest of the day. This explains why drinking plenty of water is something dermatologists would recommend.
Having healthy-looking skin means you pay attention to personal grooming. For a face that looks healthy, you should get enough sleep, drink enough water, get help from dermatologists, and clean your face regularly. This should give you noticeable results in no time.


text:
Q: Destroy Joyride in Foundation Is there a way to destroy the joyride provided by Zurb Foundation problematically. I am trying to destroy the joyride like this
$('#joyride-list-location-creation').joyride('destroy');

But I am getting this error

Uncaught TypeError: $(...).joyride is not a function(…)

A: I'm using version 2.1 of joyride.
There is a 'destroy' function in the source code
For my usage, I needed to destroy it when it closed, so I added a call to destroy in the postRideCallback.
Like this:
$('#incompleteJoyRide').joyride({
        autoStart : true,
        postRideCallback: function () {
            $('#incompleteJoyRide').joyride('destroy');
        },
        modal:true,
        expose: true,
        animate: true
    });

redpajama_set_name: RedPajamaStackExchange


text:
The best TV dramas on Hulu
ByThe A.V. Club
Clockwise from top left: Lodge 49 (Photo: Jackson Lee Davis/AMC), Harlots (Photo: Liam Daniel), ER (Photo: Hutton Archive/Getty Images), Claws (Photo: Skip Bolen/TNT)
Streaming libraries expand and contract. Algorithms are imperfect. Those damn thumbnail images are always changing. But you know what you can always rely on? The expert opinions and knowledgeable commentary of The A.V. Club. That's why we're scouring both the menus of the most popular services and our own archives to bring you these guides to the best viewing options, broken down by streamer, medium, and genre. Want to know why we're so keen on a particular show? Click the links for some in-depth coverage from The A.V. Club's past. And be sure to check back often, because we'll be adding more recommendations as shows come and go.
Hulu subscribers can also check out our lists of the best TV comedies and the best movies on the service—and if you're the type who likes to bundle, we've got film picks for Disney+, too.
Photo: Brownie Harris/Hulu
As always with true crime—a genre where we always know, or at the very least can find out, how the story ends—the gratification of The Act is in the telling. And the show, spread out over 10 leisurely hours that greatly expand on Lifetime's condensed treatment of the story in the recent TV movie Love You To Death, only gets more compelling with every new reveal. [Katie Rife]
Photo: Fotos International/Getty Images
Graphic: Libby McGuire
Former lawyer David E. Kelley—who already had Chicago Hope and The Practice on his plate—was tasked by Fox with creating a show about beautiful, successful people. To his credit, Ally McBeal turned out to be more than Melrose Place: The Corporate Years, casting New York stage actress Calista Flockhart as the young associate who goes to work at the Boston law firm of Cage And Fish, where she encounters the lost love of her life, Billy Thomas (Gil Bellows). Kelley realized his show's early promise by turning Ally into a Walter Mitty of sorts: Bizarre, fantastical asides punctuated the show's concepts and offered striking visuals not seen on other shows of the time. When Ally learns that Billy is married, she's hit in the heart with arrows. When Billy suggests coffee, she pictures them frolicking naked in a giant coffee cup. When she tells us in voice-over narration (a device that gained ubiquity on network comedies in Ally McBeal's wake) that she always feels like a little kid in client meetings, she's then shown as a child, swinging her legs in a giant chair. [Gwen Ihnat]
Ally McBeal was more than dancing babies and inflammatory magazine covers
In 100 Episodes, The A.V. Club examines the shows that made it to that number, considering both how
Photo: Freeform
Escaping a career cul de sac in Las Vegas, a ballerina-turned-showgirl makes a new career as a dance instructor in a sleepy California town—where she has as much impact on her young charges and the townsfolk at large as they have on her. A return to series drama for Gilmore Girls creator Amy Sherman-Palladino, Bunheads wrapped its first season on a fantastic string of episodes—only to be let go by ABC Family after lingering for months in a renewed-or-canceled limbo. Its first-time leads (chief among them Tony winner Sutton Foster and sweet-and-sour spark plug Bailey Buntain) are now available to scooped up by other shows, but will those shows give them occasion to hoof it to showtune standbys and college-radio staples? That's not to mention the way the show used the performing arts to channel (and compare) adolescent and middle-aged angst in ways Smash and Glee could only fantasize about. [Erik Adams]
Bunheads was the first Gilmore Girls revival, with added dance numbers
By the time a showrunner becomes a household name, they're usually known for a diverse legacy of…
Photo: Skip Bolen/TNT
Claws continues to deliver an experience that is suspenseful, unorthodox, and relentlessly fun while testing its own boundaries. It's hard to guess where this season will take us—playing it safe has never been part of the formula. But what we can glean so far is that this casino will serve as the setting for some significant changes for our manicurist mafia, and neither Desna's reign nor the security of their friendship will come easily. [Shannon Miller]
For the women of Claws, time's been up
With its vibrant color scheme, superficially wacky characters, and Florida setting, Claws appeared…
Photo: DirecTV
In the final season of Damages, Todd and Glenn Kessler's riveting legal thriller, master manipulator Patty Hewes (Glenn Close) tells her protégé-turned-target-turned-rival Ellen Parsons (Rose Byrne) that her favorite cases are the ones in which all the facts are up in the air. This little admission is more than a testament to Patty's mastery of the law. It's a nod to her resolve, which she's demonstrated time and again by who and what she was willing to sacrifice; the woman who regularly represents David against Goliath isn't thrown by a seeming lack of evidence. It's also another one of Patty's mind games. As they go through all the pretrial motions in a case that was somewhat inspired by Julian Assange (the details of which, as Patty notes, aren't all that important), the blue-chip lawyer is trying to undermine Ellen's confidence. Given their complicated relationship, she might also be imparting another lesson. Luckily for Ellen, this one didn't involve attempted murder. But there was always next time (not to mention the first time). [Danette Chavez]
Removed from its debut buzz, forgotten fashions, and crying-face .gifs, Dawson's Creek has as promising an introduction as any teen soap. The opening scene is remarkably efficient, introducing Spielberg, sex, and the central romance of the series, all in Kevin Williamson's snappy, pop-literate dialogue. Part of the seduction of the scene is that Dawson speaks with lines so self-conscious he may as well be another life form, but he's totally oblivious to the basic truth that Joey is reacting to: Adolescence is changing their intimate friendship. On some level he's aware. At the end of the scene, in Steve Miner's promo-ready overhead shot of the two characters lying in bed, Dawson can't get comfortable. He closes the scene by asking, "Why'd you have to bring that up?" At the end of the episode, he accepts that the two friends shouldn't keep sleeping next to each other, but it seems like acquiescence more than any conscious understanding. This is still the same guy who, a few hours earlier, accuses his father of making everything about sex for deigning to broach The Talk before Dawson's quasi-date. It's going to be a long, slow journey for Dawson Leery. [Brandon Nowalk]
Photo: Hulton Archive (Getty Images)
ER lasted so long (15 years) and killed its characters off in so many ridiculous ways that it's hard to remember it was once the jewel in the crown of network drama. When it premièred in 1994, up against much-hyped fellow medical drama Chicago Hope, it became an instant sensation. Even in the pilot, the show had a blockbuster feel. It pulled off things people hadn't seen before on TV, with long Steadicam shots that turned the show's medical procedures into white-knuckle thrill-rides. The sight of that charismatic, pretty, but appropriately de-glammed cast shouting medical lingo while wheeling gunshot victims into grimy trauma rooms felt worlds away from any other hospital drama, even the great St. Elsewhere. [David Sims]
10 episodes that will remind you why ER was the top drama of the '90s
With so many new series popping up on streaming services and DVD every day, it gets harder and…
Photo: FX
Noah Hawley took the Coen Brothers' Fargo film and used the general atmosphere to create something that felt unique: an anthology series set in a weird, wonderful world of colorful characters and unexplained events. The show is packed with stellar performances from the likes of Kirsten Dunst, Jesse Plemons, Mary Elizabeth Winstead, Allison Tolman, Ted Danson, and so many others—shout-out to Dunst's series-best line reading, "It's just a flying saucer, Ed, we gotta go!"—and part of the show's appeal is in watching these actors play with the dialogue and the tone. More than anything though, Fargo crafted three seasons of great storytelling bolstered by complex character motivations and more than a few memorable set pieces. [Kyle Fowle]
Screenshot: Felicity
For four seasons, viewers watched with rapt attention as a young college student was constantly made to choose between two suitors on The WB's Felicity. To be fair, there was more to J.J. Abrams and Matt Reeves' coming-of-age drama than that, but there's no denying that the love triangle between Felicity Porter (Keri Russell), Ben Covington (Scott Speedman), and Noel Crane (Scott Foley) dominated fans' interest. From September 29, 1998 to May 22, 2002, 'shippers of all stripes tuned in to learn which head of luscious locks their mop-topped heroine would choose to run her fingers through. And the series delivered that dose of drama, leaving Felicity to frequently vacillate between the two men, who represented two distinct archetypes. Speedman's Ben gave every other brooding late-'90s hunk a run for their money, while Foley's nerdy Noel melted hearts with his unwavering affection for the heroine. [Danette Chavez]
Fosse/Verdon
Photo: Craig Blankenhorn/FX
Too many biographical stories about self-indulgent rogues lean hard into the scenes where the subjects behave like abusive, out-of-control jerks, leaving audiences with little to no indication of why these characters might actually matter. If nothing else, Steven Levenson and Thomas Kail's Fosse/Verdon deserves some credit for taking the time to explore multiple facets—the shiny and the splintered—of one of the American musical theater's most fruitful and complicated relationships. As played by the lithe and soft-spoken Sam Rockwell, the influential director and choreographer Bob Fosse is as charismatic, driven, and inspired as he is rapaciously needy; and Michelle Williams' brassy, boundlessly energetic dancer Gwen Verdon is at once a nurturer and an opportunist, taking sometimes undue advantage of whatever power the sexist mid-20th century showbiz would afford. With its cleverly structured episodes and its loving recreations of a bygone Broadway and Hollywood, Fosse/Verdon doesn't lack for razzle-dazzle. But what makes this miniseries great is its nuanced understanding of how artistic collaborations really work—and its insistence that there's more to creators than just their grossest personal failings. [Noel Murray]
Photo: Bill Records/NBC
Nominally a show about high-school football teams, Jason Katims' beloved adaptation of Friday Night Lights used the Dillon Panthers and East Dillon Lions as gateways to explore all the lives lived within a small West Texas town—all the dreams and setbacks and heartbreak of its residents. The simple drama of the everyday ascended to an epic level for the players, coaches, and residents of Dillon, the stage of the football field frequently the only place where anything in life made sense to any of them. And on a day where family is important, there's no better family to look to for inspiration than Eric and Tami Taylor, played to perfection by Kyle Chandler and Connie Britton. [Les Chappell]
Freeform—for the most part—gets it pretty right when it comes to LGBTQ+ representation. The Fosters existed in a world where queer representation and acceptance mattered, on top of its natural diversity, as the titular Foster (well, the Adams Foster) family unit was helmed by lesbian couple Stef and Lena. So it makes sense that its spin-off, Good Trouble, exists in that same world. Only, now with Adams Foster sisters Callie and Mariana off on their own in adulthood, that representation and acceptance extend beyond being the parent storyline on a teen show. Good Trouble focuses on the twentysomething experience of really living on your own for the first time, and an integral part of that is also its discussion and depictions of sexuality—from its natural acceptance of the fluidity of sexuality to its depiction of how hard it can be to come out to your own family, even if you're able to be open about it to the rest of the world. And the series' main relationship features a bisexual Latino character who has to deal with issues of biphobia (even from open-minded characters) as well as what his sexuality means coming from a family that's shut out his transgender sister—that culturally, refuses to talk about it. Good Trouble doesn't pretend hatred and bigotry don't exist, but it also doesn't pretend that everyone in the world—or at least a city like Los Angeles—is straight and lily white. And it's heavily invested in those different perspectives and identities. [LaToya Ferguson]
For a show all about fraternity and sorority life (and, of course, partying) on ABC Family, Greek shouldn't have been half as good as it was. In fact, it probably shouldn't have been good at all. But with its relatable characters (a huge surprise given the show's focus), witty dialogue, and keen attention to pop-culture detail, Greek found itself surviving and succeeding as the now "defunct" network's (having transformed into Freeform in January of 2016) best show and the last of its kind. It was a John Hughes movie in 21st-century television form. [LaToya Ferguson]
Photo: Mitch Haaseth
Shonda Rhimes' soapy hospital drama is now in its 16th season, placing it in the all-time top-10 longest-running scripted primetime U.S. TV series, along with Gunsmoke and Lassie. At this point, Grey's Anatomy's longevity is its not-so-secret weapon; it has perfected its formula of medical problems as metaphors for relationship ones (original series title: Complications), aided by a now-familiar-as-distant relatives cast of really, really good-looking doctors. And it's already renewed for season 17. [Gwen Ihnat]
Photo: Liam Daniel
Despite its impeccable period fashions, Harlots has more in common with The Sopranos than most Regency dramas. This woman-led series, which centers on dueling brothels in 18th-century London, deals in the same illicit business, power struggles, and family-before-all ethics. But where creators Moira Buffini and Alison Newman depart is in their treatment of women. The patriarchy still looms, but rival madams Margaret Wells (a top-notch Samantha Morton) and Lydia Quigley (Lesley Manville, whose powder just barely keeps her rage at bay) enlist few male soldiers in their battle, relegating them to their customer base. Things grow increasingly competitive and complicated over the candy-hued first season—the only thing that is clear is that neither has the moral upper hand, a more effective cliffhanger than any that preceded it. And there were several, because Harlots loves to dangle those loose threads in a kind of storytelling striptease. But for all that flash—not to mention flesh—the series' biggest reveal is its frank discussion of sexual politics, which remains as pertinent as ever. [Danette Chavez]
The Handmaid's Tale isn't the only battle over women's bodies on Hulu
What Are You Watching? is a weekly space for The A.V Club's staff and readers to share their…
Police officers (or blues) in a nameless American city work the beat bringing together issues of everyday crime-fighting and domestic strife into the precinct. It's the first major success of Steven Bochco who, along with Law & Order creator Dick Wolf, has defined crime dramas on television for the last several decades. Since it aired in the '80s, countless shows have copped Hill Street Blues' style. It's weird to call elements of the show, like an interracial cast, groundbreaking. But at the time, they certainly were, as were the combination of both serial and episodic arcs, discussion of not-ready-for-primetime issues like alcoholism, and plots without the black-and-white morality of previous cop shows. [Molly Eichel]
Hill Street Blues transcends its era to remain tremendous TV
All TV shows age. It's the nature of the medium's production process that shows will be marked…
While Quentin Tarantino is certainly responsible for the best film adaptation of an Elmore Leonard novel, Justified stands as the greatest evocation of the Leonard spirit, from the roll-off-the-tongue dialogue to the indelible characters that feel lived-in the moment they're introduced. The pulp storylines involving the various criminal factions in Harlan, Kentucky compelled on their own merits, and yet the interpersonal relationships were what elevated Justified to the heights of greatness. Timothy Olyphant's turn as the tempestuous Raylan Givens is one for the books, but his character isn't whole without his archrival, Boyd Crowder, played by Walton Goggins. After all, "We dug coal together" might be the quintessential expression of the thin line between cop and crook this decade has produced. [Vikram Murthi]
Justified honored Elmore Leonard by making great—not revolutionary—TV
"He looked like a farmer: that stringy type with hollow cheeks, crow's-feet, and had the accent to…
Photo: BBC America/Sid Gentle Films Ltd
On its surface, Killing Eve appears to be a good/evil standoff, but it offers so much more than that. Shepherded to TV by Fleabag's Phoebe Waller-Bridge, the cat-and-mouse series features Jodie Comer as impossibly charming assassin Villanelle ,and Sandra Oh as the crafty MI5 operative on her tail, but the twists and turns of the chase seem to surprise even the characters themselves. Comer is a revelation as the chameleon-like killer with no qualms at all about taking down whoever she was paid to, until Oh's spy brings up buried memories from her past. The chase in this explosive first season was Les Mis-like epic, the killer and the detective's eventual confrontations over dinner or in a remote field anything but anticlimactic, only heightening the suspense between the two. Eve's quirky and duplicitous co-workers and Villanelle's paternal guide Konstantin (Kim Bodnia) added depth and an intriguing Russian subplot to the chase, but they never fully stole attention from the series' magnetic fulcrum. Somehow, we rooted for both Villanelle and Eve, and even though they each admire a lot about each other, only one can ultimately prevail. [Gwen Ihnat]
Photo: Jackson Lee Davis/AMC
Lodge 49 exists in a class of its own, and not just because it's difficult to describe. Jim Gavin crafted an eminently specific, deeply personal vision about the feeling of living through this surreal age. It's remarkable he also found a way to infuse it with a type of optimism that's neither saccharine nor naïve. It's important for disparate people to gather in a safe space, share a drink, and try to mend their broken souls together. [Vikram Murthi]
Lodge 49's Jim Gavin and Peter Ocko on making great but deceptively aimless TV
This interview originally ran in October 2018, as Lodge 49 ended. Catch up on our Lodge 49 reviews,
Mrs. America
Photo: Sabrina Lantos/FX
FX on Hulu's grand drama about one woman's fight against second-wave feminism touts one of the best ensembles in recent years. Mrs. America stars Cate Blanchett as Phyllis Schlafly, the real-life conservative woman who stood against the ratification of the Equal Rights Amendment. Blanchett alone is enough of a powerhouse to ramp up excitement; adding Rose Byrne, Sarah Paulson, Margo Martindale, Uzo Aduba, John Slattery, and appearances from James Marsden and Niecy Nash (to name only a few!) makes it an embarrassment of riches. The product of predominantly female talent—including writer and executive producer Dahvi Waller of Desperate Housewives and Mad Men—culminates in the kind of distinct, sprawling storytelling that most have to come to expect from FX. Mrs. America will undoubtedly pull double-duty as an evergreen story about the battle for inequality and a suitable escape from reality via unmitigated star power. [Shannon Miller]
Rae Earl (Sharon Rooney) weighs 16 stone (that's about 220 pounds) and has just left a four-month stint at a mental hospital that her mom was late to pick her up from. Rae is a lovely character to spend time with as she tries to reintegrate herself back into the life of her childhood friend Chloe and her clique in 1990s Lincolnshire. The show, taking place over three seasons, is very much rooted in Rae's mind, which comes to life in vivid ways on screen. Rooney is fabulous as Rae and the writing is top notch, based on the diaries of the real Rae Earl, a British broadcaster and writer. (A crush isn't just a crush, for example, he's "gushington central.") But My Mad Fat Diary's real charm is in how perfectly it captures that feeling of adolescence. [Molly Eichel]
The brilliant My Mad Fat Diary finally comes stateside
Streaming television is a numbers game. "Original series" remain a primary currency for…
Screenshot: NYPD Blue
Hill Street Blues and NYPD Blue were credited for revolutionizing television in their respective decades, and for similar reasons. Both shows' first episodes are immersive experiences, thrusting audiences directly into fast-paced, dangerous, at times blackly comic worlds, populated by so many jaded lawmen and vicious criminals that at first, it's hard to keep track of who's who. Both then expand out to include glimpses of the cops' complicated home lives, while still finding time to show the police interfacing with the other side of the criminal justice system, where state's attorneys and defense lawyers are slugging it out. Throughout their respective runs—1981-87 for Hill Street Blues on NBC, 1993-2005 for NYPD Blue on ABC—both shows explored the edges of what broadcast censors and the FCC would allow, in an overt attempt to compete with other media. Hill Street Blues looked to be as sophisticated and adult as contemporary cinema, which was in the middle of a heyday of R-rated maturity. NYPD Blue was looking to draw people away from cable TV, which at the time was luring viewers with the promise of nudity and profanity, even though its original programming wasn't yet up to the networks' best standards. [Noel Murray]
NYPD Blue and Hill Street Blues' pilots hooked viewers with sex, violence, and depth
About two-thirds of the way through Hill Street Blues' first episode, 1981's "Hill Street Station,"
Photo: NBC
In a television landscape full of antiheroes, the Braverman family proudly flies the banner for the opposite side. Parenthood is the rare family drama that gets better as it goes along, with the first half of season four sealing its place as one of the most touching hours on television. The show's magic trick is consistently spinning storylines that could easily veer into after-school special territory into gripping, emotional, well-observed treatises on what it means to be part of a family—for better or for worse. [Carrie Raisler]
Photo: Ray Mickshaw/Fox
Ginny Baker (Kylie Bunbury) is on the precipice of athletic history: When she takes the mound for the San Diego Padres, she'll be the first woman to play a regular-season game in any of the major American pro leagues. It's a milestone for some, and a reality-rending cause for alarm for others, but the fabric of the universe holds together long enough to introduce the varied types of teammates in Ginny's life, from the ones who wear cleats (including Mo McRae as Ginny's buddy from the minors and Mark-Paul Gosselaar as a grizzled veteran catcher) to those in the C-suite (a no-nonsense agent played by Ali Larter, and Mark Consuelos as the Padres' general manager). As she breaks into the boys' club(house), Ginny brings with her a mean screwball and a ton of emotional baggage. [Erik Adams]
Photo: James Minchin III/Starz
What I love about Power is how unabashedly female-skewing it is, even as it explores the gritty criminal underworld, territory aggressively staked out by male storytellers and typically consumed by male audiences. Power is essentially urban street lit, a story not unlike those available for 10 bucks on folding card tables on Adam Clayton Powell, but told with the planning and craft demanded of a competent scripted television show. That in itself is kind of awesome, considering how little television is created with black women in mind, and it's even cooler in the case of Power, which was developed from 50 Cent's concept by a black woman, The Good Wife alumna Courtney Kemp Agboh. [Joshua Alston]
Pride & Prejudice (1995)
This miniseries adaptation of Pride & Prejudice is still the gold standard, with a stoney-faced Colin Firth as Mr. Darcy and Jennifer Ehle as the charming and willful Elizabeth Bennet. Six hours may seem like a long time for a slow-moving period piece, but there's a reason this story keeps getting adapted: it's thoroughly engaging, and this particular cast is especially so. The perfect backdrop for a long day of cooking, it's as pleasant as other British imports like The Great British Baking Show but even easier to drop in and out of (though we also recommend devoting your full attention to it at some point, perhaps a gray, snowy day in February; it's worth every minute and goes great with hot cocoa). It's a romance but not a saccharine one, and the female-heavy cast includes Julia Sawalha (Absolutely Fabulous) as the headstrong and carefree Lydia, and a small appearance from Lucy Davis in her first television role. [Laura M. Browning]
Prime Suspect (U.K.)
In April 1991, Helen Mirren starred for the first time as DCI Jane Tennison in Prime Suspect, a two-part, four-hour TV movie that aired on consecutive nights on ITV in the UK, and became an immediate hit, both at home and abroad. At the time—pre-Homicide, pre-Cracker, pre-NYPD Blue—Prime Suspect stood as the grittiest television procedural since the heyday of Hill Street Blues. A sequel aired the following year, and Mirren returned to play Tennison in five more series, with the last one airing in 2006. By the time the series ended, 15 years after it began, television crime stories had changed dramatically. But contemporary cop shows from CSI to The Closer (and even more offbeat offerings like Life On Mars) are all Prime Suspect's progeny to some degree. [Noel Murray]
Photo: ABC
Olivia Pope (Emmy-nominated Kerry Washington) is Washington D.C.'s top "fixer," the woman who figures out ways the rich and powerful can get out of the scandalous situations they're caught in without irreparably harming their reputations. But because this is television, Olivia's own reputation is constantly dancing just ahead of being ruined by all the illicit things she's done. Olivia and her crew are among TV's most amoral characters, and watching them work to save their own skins is at once exhilarating and queasy-making. Add crackerjack dialogue from creator Shonda Rhimes and her writers and an enthralling, cliffhanger-every-second pace, and viewers will find one of TV's most addicting shows. [Emily VanDerWerff]
Scandal: both an OMG Soap and a hoity-toity Opera
For 2013's best of TV list, The A.V. Club's TV writers got together to discuss the shows that got…
Screenshot: The Shield
There were earthy police dramas before The Shield, but nothing quite this visceral. Where The Job gets too slick for anything to stick, The Shield rolls around in the muck. Where NYPD Blue gets depressed, The Shield gets pumped. Where Hill Street Blues gets dangerous, The Shield cocks its head to the side like Michael Myers and smirks. M Squad has some of The Shield's muscle, and Dragnet some of its spine. Both sides are essential. The pulp powerhouse isn't just about pushing buttons. [Brandon Nowalk]
Photo: Matthias Clamer/FX
Rather than explore its groups and institutions—the cartels, street-level dealers, and government agencies—across multiple seasons, Snowfall's introduced them all at once. The story implicates everyone from a soldier in the Nicaraguan jungle to the president of the United States, who are all poised for future run-ins. Early on, this just seems overly ambitious; it's not until the second half that the series starts tying together these arcs. But like charming and calculating college dropout Franklin Saint (Damson Idris), Snowfall is thinking two or three moves ahead; and while that's caused the occasional stumble, it's also set up a compelling long game, one that it's not too late to join. [Danette Chavez]
Snowfall is one of TV's long games, and here's why you should play
Our TV options are ever expanding, both in programming and platforms, but that overabundance has…
Subscribers long had access to St. Elsewhere's first season, but now that the show's complete run is back in circulation, you can more easily bear witness to the stranger paths traveled by the staff of crumbling St. Eligius, from the decade-spanning two-parter "Time Heals" (with Edward Herrmann as swing-loving hospital founder Father McCabe!) to the episode where the veteran docs decamp to Cheers to decompress over beers and Carla's jeers. There's plenty of compelling workplace drama and memorable characters (if you only know William Daniels as Boy Meets World's Mr. Feeny, you must see his Emmy-winning turn as prickly heart surgeon Dr. Mark Craig) in between, but if you're in it for the historic oddities, an episode that launched TV's widest-ranging shared-universe theory—after all the viewers it infuriated calmed down, at least. [Erik Adams]
For most of the history of television, the barrier to syndication—and to profitability—has been 100
Photo: Mitch Haaseth/ABC
If you miss the days of 1970s bourbon-drinking, fists-flying, clever TV detectives, check out the new ABC series Stumptown. Based on a graphic novel, Stumptown focuses on Dex, a bisexual vet with PTSD who lives with her brother in Portland, as she kicks off a new career as a private investigator. Stumptown also functions as a kind of sequel for Donal Logue in Terriers, or if Jake Johnson's New Girl character were an ex-con with a bar. For star Cobie Smulders, Dex is as far from How I Met Your Mother's Robin Sparkles as you can imagine. Because of her military training, Dex is an unsinkable warrior, able to escape from her own trunk mid-traffic, or take down a mobster's muscle with ease. Dex contains shades of writer Sara Paretsky's gritty female private eye V.I. Warshawski—like V.I., Dex is determined to do the right thing, even though she makes many mistakes along the way. She is funny, sarcastic, unwilling to take no for an answer, and downright riveting as she battles her own demons alongside criminals of all sorts. [Gwen Ihnat]
Stumptown should really be called Cobie Smulders Town
The history of television is littered with terrific crime dramas. So far, Stumptown, adapted from…
A brilliant mashup between crime drama and chill hangout comedy, FX's Terriers starred Donal Logue and Michael Raymond-James as an ex-cop and reformed criminal who find themselves stumbling into a massive conspiracy as part of their private investigation business—none of which was conveyed in its infamously generic title. A show ahead of its time, Terriers did season-long mysteries and tortured-yet-charming protagonists before they were cool. [Sam Barsanti]
Terriers' perfect one-season run defied description, marketability
FX needed a comeback in 2010. The cable outlet had found hits in The Shield, Nip/Tuck, and Rescue…
Photo: WGN America
Reconstituting the horror of American slavery as a serialized drama is no small feat, since most people wouldn't want to make a weekly appointment to watch the height of human cruelty. While Underground is certainly intense and emotional, it's also surprisingly fun, borderline popcorn fare. By focusing on escaping slaves and their treacherous journey north, creators Misha Green and Joe Pokaski turn the period piece into a rousing adventure tale full of all the stunning betrayals and shocking twists expected of a contemporary thriller. [Joshua Alston]
Before Harriet, Underground gave "Minty" the stage
Harriet Tubman escaped slavery in 1849, making the 90-mile journey from Maryland to Pennsylvania on
Photo: Michael Desmond/Hulu
Running for three seasons on UPN and The CW, Veronica Mars followed the scholastic and investigative exploits of its eponymous character (Kristen Bell), who used to be a member of the Neptune High elite—until her best friend, Lilly Kane (played in flashbacks by Amanda Seyfried) was murdered, and her sheriff dad, Keith Mars (Enrico Colantoni), fingered the wrong man for the crime. The TV breakthrough for future Party Down and iZombie co-creator Rob Thomas, Veronica Mars garnered praise for its quippy dialogue, cunningly plotted mystery arcs, and deft handling of topical stories, and its cult following has twice brought it back from the dead: as a Kickstarted movie sequel in 2014, and as an eight-episode fourth season on Hulu. [Erik Adams]
The essential Veronica Mars case files
After a short time in streaming limbo—thanks for nothing, go90—Veronica Mars arrives on Hulu…


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[ Orchestral ]
Value for Money 9
Design & Layout 8
Stability & Performance 9
Reviewers Slant 9
FOR ALL SYSTEMS:
1GB free disk space
Additional hard drive space according to the library's size
SUPPORTED INTERFACES
Stand-Alone | VST | Audio Units | ASIO | CoreAudio | WASAPI | AAX Native (Pro Tools 10 or higher)
$499 NZD (Approx)
Summary 8.8 great
Mojo 10
Reviewers Slant 10
Summary rating from 1 user's marks. You can set own marks for this article - just click on stars above and press "Accept".
Summary 7.7 good
Sonuscore The Orchestra – Animated Perfection
Greetings and welcome to our review of The Orchestra by Sonuscore. Being somewhat suspicious of grandiose claims for this library, I am more than a little curious to see if the product can live up to the incredible demos making the rounds on the Internet recently.
With the vast number of orchestral sample libraries available these days, developers need to look outside the box for innovation. Sonuscore is bucking the current trend of providing ever-expanding mega-gigabyte libraries, instead offering an orchestra in-a-box with a tiny data footprint and smart, one-finger workflow. It's been tried before to limited success, so let us jump in now and see if The Orchestra can deliver where others have failed.
Sonuscore is the German developers responsible for the excellent Origin Series libraries we reviewed earlier this year. Featuring unusual pairings of dual-instruments in a nifty interface, we were impressed with all three offerings in the current Origins lineup. The company has also collaborated with other high-end libraries collections, such as Action Strings and Trinity Drums, so their credentials are already established.
The Orchestra is essentially a supercharged version of the smaller Origins libraries with, of course, the focus this time on traditional orchestral instruments. The Orchestra requires the free version of Kontakt and employs the same layered multi-instrument concept, but this time up to five individual slots are available, each having access to rhythm and dynamics envelopes, expanded effects and a fully featured mixing desk.
Unlike it's Origins Series brethren where much of the creative results were down to guesswork and happy accidents, The Orchestra features a very predictable and surprisingly intuitive step sequencer and dynamics envelope. Packed with a massive selection of instruments to choose from, the entire library weighs in at a very surprising 6.5GB fully installed.
Though you can play each of the instruments as individual entities, the star feature of the library is its built-in step sequencer arpeggiators, mostly doing away with the tiresome chore of creating realistic sounding ostinatos. The idea is that you layer each of the five individual instruments, applying separate mix, effects and either one of the two animation engines. You can create almost unlimited variations from simple tutti ostinatos through to extended passages with multiple complex orchestrations running in sync with each other.
The software wins on instant gratification right out of the box, providing hundreds of excellent animated sequences and multi-patch themes to showcase the possibilities.
The UI is a little old-fashioned with an antique gold font on a dark wood background, but it is well designed and relatively easy to navigate
The Orchestra has been available now for over a year, and I have been playing with the latest v1.1 update which fixes a few bugs and adds a few more instruments to the collection.
An impressive 80-piece orchestra is split into more manageable groups. You can load each as layers in the core patch, or as individual playable instruments on their own. Everything gets a legato patch where applicable, and overall the library features an excellent selection of instruments and articulations to call on.
The stringed instruments are split up into ensemble groups: Violin 1 and 2, violas, cello and basses. The brass has four horns, three trumpets, three trombones, a tuba and bass trombone. Woodwinds include a flute, oboe, clarinet, bassoon and contrabassoon. Finally a selection of men and women's choir, a harp, timpani, glockenspiel, tubular bells, cymbals, gran casa, snare, tam-tam, Piatti, taikos and a drum ensemble.
The included manual is basic and only shows the fundamental operations of the library. Fortunately, there are some excellent video tutorials online which probably suits most users who may prefer this to reading the manual .
The library has two main categories; "Instruments" containing the core "Orchestra" patch, and individual string, brass, woodwind, percussion and choir sections available, each containing isolated articulation patches if you prefer to separate out the instruments.
The percussion and choir sections differ slightly, in that they contain atonal instruments and vocal effects, respectively.
The second "Multi" category contains pre-made themes separated by three banks; Colours, Rhythms and Animations. Each can include many layered instrument instances with custom mix and rhythms.
Orchestral Colours is a mood category containing traditional and unusual combinations of instruments playing sustains, staccato or other typical styles. There is an excellent selection of epic sounding styles to choose from and a good starting place for most compositions.
Rhythms feature 30 combinations of the core orchestra patch performing basic rhythmic patterns. Only 8th and 16th note intervals have been included with the library, but they are separated by common 4/4 and other odd time signatures. Again, a great place to start if you want a full sounding orchestra with more movement.
The final Animated category contains 20 themed orchestral presets, primarily to showcase the capabilities of the library, but also for you to build on or take inspiration from for your arrangements. Presets like Mystic Waters, Earthquake and A Fairytale provide expected results, whereas more intriguing offerings like Apocalypse, Rocket Range and Green Planets require exploration to reveal their secrets.
The takeaway lesson here is that patch layering is a good thing. While the library has good sounding individual presets, it comes to life once multiple instances are combined and thoughtfully arranged.
For a product that weighs in at less than 7GB downloaded and installed (and yes, it was the first thing I checked), I cannot believe how good this sounds. And it's not hiding behind a load of effects and scripting trickery, that actual recording samples mostly sound extremely good.
There isn't the full range of dynamic velocity layers you would expect in a heftier library, so on the whole everything sounds rather one-dimensional. But since The Orchestra sounds best vamping out ostinatos, this isn't as much of a problem as you may expect.
While The Orchestra is really about the core patch and its rhythm and envelope engines, the library also comes with each of the core instruments separated out as playable solo patches. There isn't a lot of depth in regards to round robins or velocity layers, making them all sound relatively flat. In some cases, this isn't a huge problem, like with the excellent percussion category which is varied and epic sounding.
The surprisingly good choir category is usually the first to suffer in multi-instrument libraries like this. It's not overly flexible; there is no word builder or anything like that. But certainly good enough to incorporate with your orchestral arrangements, and indeed other projects outside the library.
The brass and woodwinds, unfortunately, suffer the most and don't stand up to scrutiny as solo instruments. Nothing wrong with the basic recording quality, it's the lack of dynamics that is problematic. Again, as with the choir, excellent with the full tutti core patch, but not enough realism as solo instruments to convince me.
Getting back to the core patch, to a certain degree, much of the big sound comes from the room recording and built-in reverb effect, but the most useful feature is the animator controls which bring life and movement to the recordings. The samples also have a fair amount of baked-in room reverb, so it's not the place to find dry and intimate sounds.
The digital reverb included sounds excellent, though somewhat heavy-handed for my taste. I found a much lighter, high-quality 3rd party convolution reverb worked better for me taming back some of the massive roominess of the library. Eventide's impressive Black Hole sounds excellent, as does East West's latest Spaces 2, both providing amazing results and more flexibility over the default Kontakt effect.
Generally, the library responds very well to your touch, especially the wonderful staccato patches. There is immense satisfaction when hammering down 10-finger chords
Sound designers and film composers will love the gritty nature of the library. Arpeggios are super-tight, and everything responds well to FX treatment. Creating a DAW template with a few dozen themes on call provides instant total control over this orchestra, perfect for freestyling cue ideas.
Due to its rather epic nature, I found overlaying heavy rock drums, guitar and bass tended to swallow up much of the mid-low range space The Orchestra loves to dominate, resulting in rather washy results unless dramatic EQ is applied. For very bass heavy urban or EDM music, The Orchestra feels right at home. The staccato main grooves work well will only slight EQ low-end roll off.
The library, in general, has a very aggressive and bitey sound. Not so much raw, but as if the players were asked to really dig in when playing. Perhaps the string players used a little more dark rosin on their bows, the brass aimed more directionally at the microphones and the wind players forced the notes a little more. It all sounds more intense, more red-blooded and militant.
This all makes for loads of fun out of the box, but somewhat frustrating to reign in when you don't need 80 players romping around ad infinitum throughout your arrangments.
Orchestral Manoeuvres
Ordinarily, there are a few ways you can try to avoid the tedious work arranging orchestral ostinatos, mostly using pre-recorded sample phrases in some kind of creative way to appear intentional. Of course, pre-recorded phrases means no matter how fantastic the scripted software is you are still fundamentally limited by the static recordings.
Though you could still consider The Orchestra a "Phrase" library, the phrasing comes from the clever step-sequencer and envelope curve engine, not pre-recordings.
Sonuscore's simplistically genius approach provides relatively small wave sample designed to work better as part of a sequence, ideally a multi-layered sequence. The step-sequencer triggers the wave samples in a specific order, providing similar phrase performances but with far greater flexibility for arranging.
The trade-off is as singular samples played outside the sequence as solo instruments don't stand up as well, mostly in the release tails.
The star feature is the core engine which allows up to five instruments to be played at once, each with a separate combination of mix, effect and rhythm or envelope curve generators. Though five slots might not sound like enough, thanks to the minimal system resource requirements (around 200meg per instance), you can comfortably load five, six or more instances as you need.
Each of the five instrument slots has an engine assign drop-down; staccato notes can choose from one of three arpeggiators, sustained notes have two curve envelopes available.
The arpeggiator engine has access to many preset rhythms and time signature patterns, or of course, create your own. This works only for short notes, so longs can choose an envelope curve which automates the crescendo of the chord over time, resulting in dynamic swells.
As an example, you perhaps might have violin one and two playing a tight staccato rhythm with arpeggiator one, the basses hitting pizzicato 8th notes using arpeggiator two, and the viola and cello playing sustained swells using envelope one.
Using this method, it is relatively painless to set up any number of passages running in sequence from your DAW. The software is smart enough to understand chord patterns too, so once the rhythm and envelope curve patterns are set, playing the actual notes is simple.
Unfortunately, there is no MIDI export option for further editing or even layering of other sample libraries.
To a certain extent, the system works better the more you layer on. This is not to mask the sample recording quality, more to aid the illusion of dynamics. Though the step-sequencer is clever, it is only 32 steps, so some degree of "computerness" is apparent when soloed, especially once a phrase loops a few times. Each subsequent instrument added helps to blur the performance, as long as you don't hold on to a phrase for more than a dozen repeats or so.
The excellent humanisation feature is well-hidden under the global controls (front page, tiny gear icon on the top right of the GUI, by the way). This adds both rhythmic and dynamic inconsistencies to the performance in turn for a more human feel. Unfortunately, this does throw the timing out which is problematic when using two instances in sync.
Though this is one of the better implementations I've heard of "humanising", you can't define what you want to be affected. Sometimes just the dynamics would be great, other times perhaps both.
As mentioned, the feel is very immediate and agile. Even the longs have a rather fast attack if the dynamics modulation wheel isn't utilised. For urgent, bombastic playstyle The Orchestra is perfectly set up. Due to no velocity scaling or curves, softer, more extended crescendos will require either a very keen manipulation of the mod wheel, or clever MIDI scaling with a plugin.
As expected from such a minuscule data footprint, performance is excellent. Mostly everything loads almost instantaneously within only the larger core patch taking four or five seconds to load all of the sample memory fully.
I found loading layered instances barely affected system performance at all. Even upwards of ten instances didn't hiccup our ageing PC system (i5 3200 with 16GB RAM).
The Orchestra tested flawlessly on all DAW platforms we use (Reaper, Studio One, Cubase), but some random clicking occurred while using Propellerhead Reason with a larger 12 track arrangement that required a reboot. Reason is still in the teething stage of VST support, so this will be most likely a DAW/Kontakt issue.
I mentioned earlier about using 3rd party reverbs, disabling the built-in reverb for each instance and using a single, global insert effect sounds more coherent and dramatically reduces system requirements on larger multi-instance setups.
The Orchestra is a perfect example of what can be achieved when the focus is shifted from girth to agility. And though the library lacks somewhat in finesse, it makes for substantial gains with simplicity and ease of use.
The core ensemble patch with its vast selection of presets and themes to start you going is fantastic. Building on the provided examples with your creations is intuitive and quite fun.
Composing veterans may poo-poo this library as some kind of "cheating", or perhaps composition easy-mode. But I urge you to look beyond the one-finger multi's and consider the benefits of quickly getting ideas into your DAW without the usual constraints of technology hindering your creativity.
Though The Orchestra won't hold up against some of its high-end competition as a solo instrument, it has an essential ace up its sleeve in the form of automation. Nothing else on the market will allow you to create a selection of templates you can call on to nearly instantaneously get ideas out of your head and safely onto your DAW.
I don't like to qualify statements by adding "for the price" or " considering it's small data size", because a product should stand up against others in its market sector, especially a flagship title at this price. It is clear some seriously clever thinking has gone into this platform, and it shows in the performance and flexibility of the arpeggiator and envelope engines.
Overall, a very impressive package. The Orchestra is intuitive to use, with excellent performance and a comprehensive selection of instruments on call.
More than just a one-trick pony, savvy users will immediately realise the potential to automate and streamline their composition processes. Though it certainly sounds amazing, the real success with The Orchestra is it removes the tech and allows you to quickly get ideas into your DAW, which at the end of the day, for me, is worth the retail price alone.
Jacko Andrews
Jacko has been involved in the music industry for over 25 years, from touring bands, sound engineering and musical theatre. Jacko's side project is Darkroom Photography - concert and studio photography.
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72 Children with Limb Differences
Facts About Limb Differences
The term, Limb Differences, is used in reference to the congenital (something a person is born with) absence or malformation of limbs. Some limb differences may be acquired as the result
of an injury or disease that requires amputation.
The causes of congenital Limb Differences are frequently unknown.
There are many families that have adopted a child with a missing limb, club foot, or other orthopedic difference. Please use our website to read family adoption stories, view children waiting to be adopted, and learn more about this and other medical conditions experienced by children living in institutions and orphanages.
Limb Differences Challenges
A child who has an acquired limb difference through surgical amputation is more likely to feel a profound and deeply personal sense of loss. The child must adjust to a different way of living. This takes emotional and physical adjustments. Just as different amputation levels place different demands on a person, the demands resulting from amputation or a congenital difference are different.
A child's emotional reaction to limb differences may vary. Some medical literature states that children who are born with a limb difference do not feel a sense of loss. Their body is the only body they have ever known. According to this point of view, it's rare in the early years for a child who has a congenital difference to grieve. Still, as the child grows and becomes more socially aware, there can be a sense of loss or of being physically "different" from those who have fully functional limbs. This can then lead to frustration ("Why me?") and some of the same feelings that occur while grieving.
Limb Differences Treatment
Infants and very young children with a lower-limb difference can better explore their world by wearing a prosthesis, as it will help that child get to a standing position more easily. Children limb differences affecting the arms often learn to compensate very early for the missing limb. With the love and support of a family, these children go on to live active, full lives.
Articles Related to Limb Differences
Hands are Overrated: Adopting a Son with Limb Differences
A Glimpse Beyond the Special Need
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Hand Picked For Us: Judah's Story


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Cambridge City take striker on loan from League Two neighbours
Jan 27, 2017 | More News
Cambridge United have agreed an initial one-month loan deal with Cambridge City that will see Youth Team centre forward Matt Foy gain his first experience of senior men's football.
Foy becomes the U's second Under 18's player to go out on loan with the aim of gaining valuable senior experience, following last week's move to Bishop's Stortford for Youth Team captain Harry Darling.
Foy, from Chatteris, has been with the Club from the age of seven and first joined the Academy at Under 9 level, having been spotted by Tom Pell playing at Wisbech.
His impressive ability allowed him to regularly play up an age group during his years in the Academy as a schoolboy, and he signed his first professional contract with the Club in November as a result of his excellent goal-scoring form for the Youth Team.
Foy's goals in the FA Youth Cup this season helped contribute towards the U's excellent run in which they reached the Fourth Round for the first time since 2006/07, whilst the 18-year old also made his professional debut for Cambridge United against Scunthorpe United in late 2016.
Cambridge United Head of Football Operations, Ben Strang commented: "Matt has continually scored goals at the Club through all age groups from our Under 9's through to the Youth Team. We are confident that he can go to Cambridge City and make a positive impression.
"As with Harry Darling's loan move last week, the Club recognises that it's vital our young professionals now play in senior football as the next stage of their development.
"City have enquired regarding Matt's availability for a while and shown a keen interest in taking him on loan. With eight games during this loan spell it is an ideal time for him to make this move."
Source: www.cambridge-united.co.uk


The St Vrain range has sustained more wind damage than usual. There are several stacks of bales down and some 3D targets have had antlers blown away.
At the sight in range the bales are down at the 100 yard and 80 yard positions. There is also some damage at the 20 yard position. The gray cover on the big round target at 80 yards was shredded and was removed. The target face is still shootable (for now).
At the broadhead range one of the block targets is down, but the frame had been damaged before. The white animal targets are well shot up.
At the NFAA target positions (north-south), the gray cover is damaged but still mostly intact. The target face is shootable. The target face on the stack was shredded and removed.
The range is operable where shooting positions are still intact. For those who may be out shooting, please pick up any antler pieces or other target pieces you find and place them near the target to which they belong. If you can make minor repairs feel free to do so.
As a result of the extra damage there will be at least two and probably three work days planned when the eagle hour restrictions are lifted. Restrictions have been lifted in early April in the last couple of years, so watch emails and the new web site for announcements.
Please try to attend one or more work days when scheduled.
You should not be at the range or anywhere on the property except from 9:00 am to 3:00 pm.
The Colorado Parks and Wildlife restricts this area because it is a bald eagle roosting and nesting area.
range outside these hours technically is consider trespassing.
These restrictions remain in effect until lifted next spring.


Welcome to Blue Sky Realty!
Our properties lease quickly because we are dedicated to providing you safe, quality housing at the most convenient locations in and around Morgantown; West Virginia's most desired place to live. Our excellent reputation has been built on being responsive to both our customer/tenants and our community. As life-long residents and also graduates of WVU, we understand the needs of university students, young professionals, and working adults. Our goal each day is to meet those needs.
Our properties are constantly updated to assure we are meeting or exceeding today's market demands. Our skilled and experienced maintenance department provides 24 hour, seven days a week urgent and emergency call response service. Every effort is made to respond to even your non-urgent service requests the same day you call. Your move-in will be less expensive and hassle free because we include your utilities in your rent.
Blue Sky Realty, LLC also offers several commercial properties in our thriving downtown for those looking to open a business or expand their current one.
Call our office today and let us show you what you are seeking!


text:
// Code generated by protoc-gen-gogo.
// source: k8s.io/kubernetes/pkg/runtime/generated.proto
// DO NOT EDIT!

/*
	Package runtime is a generated protocol buffer package.

	It is generated from these files:
		k8s.io/kubernetes/pkg/runtime/generated.proto

	It has these top-level messages:
		RawExtension
		TypeMeta
		Unknown
*/
package runtime

import proto "github.com/gogo/protobuf/proto"
import fmt "fmt"
import math "math"
import _ "github.com/gogo/protobuf/gogoproto"
import _ "k8s.io/kubernetes/pkg/api/resource"
import _ "k8s.io/kubernetes/pkg/util/intstr"

import io "io"

// Reference imports to suppress errors if they are not otherwise used.
var _ = proto.Marshal
var _ = fmt.Errorf
var _ = math.Inf

func (m *RawExtension) Reset()         { *m = RawExtension{} }
func (m *RawExtension) String() string { return proto.CompactTextString(m) }
func (*RawExtension) ProtoMessage()    {}

func (m *TypeMeta) Reset()         { *m = TypeMeta{} }
func (m *TypeMeta) String() string { return proto.CompactTextString(m) }
func (*TypeMeta) ProtoMessage()    {}

func (m *Unknown) Reset()         { *m = Unknown{} }
func (m *Unknown) String() string { return proto.CompactTextString(m) }
func (*Unknown) ProtoMessage()    {}

func init() {
	proto.RegisterType((*RawExtension)(nil), "k8s.io.kubernetes.pkg.runtime.RawExtension")
	proto.RegisterType((*TypeMeta)(nil), "k8s.io.kubernetes.pkg.runtime.TypeMeta")
	proto.RegisterType((*Unknown)(nil), "k8s.io.kubernetes.pkg.runtime.Unknown")
}
func (m *RawExtension) Marshal() (data []byte, err error) {
	size := m.Size()
	data = make([]byte, size)
	n, err := m.MarshalTo(data)
	if err != nil {
		return nil, err
	}
	return data[:n], nil
}

func (m *RawExtension) MarshalTo(data []byte) (int, error) {
	var i int
	_ = i
	var l int
	_ = l
	if m.Raw != nil {
		data[i] = 0xa
		i++
		i = encodeVarintGenerated(data, i, uint64(len(m.Raw)))
		i += copy(data[i:], m.Raw)
	}
	return i, nil
}

func (m *TypeMeta) Marshal() (data []byte, err error) {
	size := m.Size()
	data = make([]byte, size)
	n, err := m.MarshalTo(data)
	if err != nil {
		return nil, err
	}
	return data[:n], nil
}

func (m *TypeMeta) MarshalTo(data []byte) (int, error) {
	var i int
	_ = i
	var l int
	_ = l
	data[i] = 0xa
	i++
	i = encodeVarintGenerated(data, i, uint64(len(m.APIVersion)))
	i += copy(data[i:], m.APIVersion)
	data[i] = 0x12
	i++
	i = encodeVarintGenerated(data, i, uint64(len(m.Kind)))
	i += copy(data[i:], m.Kind)
	return i, nil
}

func (m *Unknown) Marshal() (data []byte, err error) {
	size := m.Size()
	data = make([]byte, size)
	n, err := m.MarshalTo(data)
	if err != nil {
		return nil, err
	}
	return data[:n], nil
}

func (m *Unknown) MarshalTo(data []byte) (int, error) {
	var i int
	_ = i
	var l int
	_ = l
	data[i] = 0xa
	i++
	i = encodeVarintGenerated(data, i, uint64(m.TypeMeta.Size()))
	n1, err := m.TypeMeta.MarshalTo(data[i:])
	if err != nil {
		return 0, err
	}
	i += n1
	if m.Raw != nil {
		data[i] = 0x12
		i++
		i = encodeVarintGenerated(data, i, uint64(len(m.Raw)))
		i += copy(data[i:], m.Raw)
	}
	data[i] = 0x1a
	i++
	i = encodeVarintGenerated(data, i, uint64(len(m.ContentEncoding)))
	i += copy(data[i:], m.ContentEncoding)
	data[i] = 0x22
	i++
	i = encodeVarintGenerated(data, i, uint64(len(m.ContentType)))
	i += copy(data[i:], m.ContentType)
	return i, nil
}

func encodeFixed64Generated(data []byte, offset int, v uint64) int {
	data[offset] = uint8(v)
	data[offset+1] = uint8(v >> 8)
	data[offset+2] = uint8(v >> 16)
	data[offset+3] = uint8(v >> 24)
	data[offset+4] = uint8(v >> 32)
	data[offset+5] = uint8(v >> 40)
	data[offset+6] = uint8(v >> 48)
	data[offset+7] = uint8(v >> 56)
	return offset + 8
}
func encodeFixed32Generated(data []byte, offset int, v uint32) int {
	data[offset] = uint8(v)
	data[offset+1] = uint8(v >> 8)
	data[offset+2] = uint8(v >> 16)
	data[offset+3] = uint8(v >> 24)
	return offset + 4
}
func encodeVarintGenerated(data []byte, offset int, v uint64) int {
	for v >= 1<<7 {
		data[offset] = uint8(v&0x7f | 0x80)
		v >>= 7
		offset++
	}
	data[offset] = uint8(v)
	return offset + 1
}
func (m *RawExtension) Size() (n int) {
	var l int
	_ = l
	if m.Raw != nil {
		l = len(m.Raw)
		n += 1 + l + sovGenerated(uint64(l))
	}
	return n
}

func (m *TypeMeta) Size() (n int) {
	var l int
	_ = l
	l = len(m.APIVersion)
	n += 1 + l + sovGenerated(uint64(l))
	l = len(m.Kind)
	n += 1 + l + sovGenerated(uint64(l))
	return n
}

func (m *Unknown) Size() (n int) {
	var l int
	_ = l
	l = m.TypeMeta.Size()
	n += 1 + l + sovGenerated(uint64(l))
	if m.Raw != nil {
		l = len(m.Raw)
		n += 1 + l + sovGenerated(uint64(l))
	}
	l = len(m.ContentEncoding)
	n += 1 + l + sovGenerated(uint64(l))
	l = len(m.ContentType)
	n += 1 + l + sovGenerated(uint64(l))
	return n
}

func sovGenerated(x uint64) (n int) {
	for {
		n++
		x >>= 7
		if x == 0 {
			break
		}
	}
	return n
}
func sozGenerated(x uint64) (n int) {
	return sovGenerated(uint64((x << 1) ^ uint64((int64(x) >> 63))))
}
func (m *RawExtension) Unmarshal(data []byte) error {
	l := len(data)
	iNdEx := 0
	for iNdEx < l {
		preIndex := iNdEx
		var wire uint64
		for shift := uint(0); ; shift += 7 {
			if shift >= 64 {
				return ErrIntOverflowGenerated
			}
			if iNdEx >= l {
				return io.ErrUnexpectedEOF
			}
			b := data[iNdEx]
			iNdEx++
			wire |= (uint64(b) & 0x7F) << shift
			if b < 0x80 {
				break
			}
		}
		fieldNum := int32(wire >> 3)
		wireType := int(wire & 0x7)
		if wireType == 4 {
			return fmt.Errorf("proto: RawExtension: wiretype end group for non-group")
		}
		if fieldNum <= 0 {
			return fmt.Errorf("proto: RawExtension: illegal tag %d (wire type %d)", fieldNum, wire)
		}
		switch fieldNum {
		case 1:
			if wireType != 2 {
				return fmt.Errorf("proto: wrong wireType = %d for field Raw", wireType)
			}
			var byteLen int
			for shift := uint(0); ; shift += 7 {
				if shift >= 64 {
					return ErrIntOverflowGenerated
				}
				if iNdEx >= l {
					return io.ErrUnexpectedEOF
				}
				b := data[iNdEx]
				iNdEx++
				byteLen |= (int(b) & 0x7F) << shift
				if b < 0x80 {
					break
				}
			}
			if byteLen < 0 {
				return ErrInvalidLengthGenerated
			}
			postIndex := iNdEx + byteLen
			if postIndex > l {
				return io.ErrUnexpectedEOF
			}
			m.Raw = append(m.Raw[:0], data[iNdEx:postIndex]...)
			if m.Raw == nil {
				m.Raw = []byte{}
			}
			iNdEx = postIndex
		default:
			iNdEx = preIndex
			skippy, err := skipGenerated(data[iNdEx:])
			if err != nil {
				return err
			}
			if skippy < 0 {
				return ErrInvalidLengthGenerated
			}
			if (iNdEx + skippy) > l {
				return io.ErrUnexpectedEOF
			}
			iNdEx += skippy
		}
	}

	if iNdEx > l {
		return io.ErrUnexpectedEOF
	}
	return nil
}
func (m *TypeMeta) Unmarshal(data []byte) error {
	l := len(data)
	iNdEx := 0
	for iNdEx < l {
		preIndex := iNdEx
		var wire uint64
		for shift := uint(0); ; shift += 7 {
			if shift >= 64 {
				return ErrIntOverflowGenerated
			}
			if iNdEx >= l {
				return io.ErrUnexpectedEOF
			}
			b := data[iNdEx]
			iNdEx++
			wire |= (uint64(b) & 0x7F) << shift
			if b < 0x80 {
				break
			}
		}
		fieldNum := int32(wire >> 3)
		wireType := int(wire & 0x7)
		if wireType == 4 {
			return fmt.Errorf("proto: TypeMeta: wiretype end group for non-group")
		}
		if fieldNum <= 0 {
			return fmt.Errorf("proto: TypeMeta: illegal tag %d (wire type %d)", fieldNum, wire)
		}
		switch fieldNum {
		case 1:
			if wireType != 2 {
				return fmt.Errorf("proto: wrong wireType = %d for field APIVersion", wireType)
			}
			var stringLen uint64
			for shift := uint(0); ; shift += 7 {
				if shift >= 64 {
					return ErrIntOverflowGenerated
				}
				if iNdEx >= l {
					return io.ErrUnexpectedEOF
				}
				b := data[iNdEx]
				iNdEx++
				stringLen |= (uint64(b) & 0x7F) << shift
				if b < 0x80 {
					break
				}
			}
			intStringLen := int(stringLen)
			if intStringLen < 0 {
				return ErrInvalidLengthGenerated
			}
			postIndex := iNdEx + intStringLen
			if postIndex > l {
				return io.ErrUnexpectedEOF
			}
			m.APIVersion = string(data[iNdEx:postIndex])
			iNdEx = postIndex
		case 2:
			if wireType != 2 {
				return fmt.Errorf("proto: wrong wireType = %d for field Kind", wireType)
			}
			var stringLen uint64
			for shift := uint(0); ; shift += 7 {
				if shift >= 64 {
					return ErrIntOverflowGenerated
				}
				if iNdEx >= l {
					return io.ErrUnexpectedEOF
				}
				b := data[iNdEx]
				iNdEx++
				stringLen |= (uint64(b) & 0x7F) << shift
				if b < 0x80 {
					break
				}
			}
			intStringLen := int(stringLen)
			if intStringLen < 0 {
				return ErrInvalidLengthGenerated
			}
			postIndex := iNdEx + intStringLen
			if postIndex > l {
				return io.ErrUnexpectedEOF
			}
			m.Kind = string(data[iNdEx:postIndex])
			iNdEx = postIndex
		default:
			iNdEx = preIndex
			skippy, err := skipGenerated(data[iNdEx:])
			if err != nil {
				return err
			}
			if skippy < 0 {
				return ErrInvalidLengthGenerated
			}
			if (iNdEx + skippy) > l {
				return io.ErrUnexpectedEOF
			}
			iNdEx += skippy
		}
	}

	if iNdEx > l {
		return io.ErrUnexpectedEOF
	}
	return nil
}
func (m *Unknown) Unmarshal(data []byte) error {
	l := len(data)
	iNdEx := 0
	for iNdEx < l {
		preIndex := iNdEx
		var wire uint64
		for shift := uint(0); ; shift += 7 {
			if shift >= 64 {
				return ErrIntOverflowGenerated
			}
			if iNdEx >= l {
				return io.ErrUnexpectedEOF
			}
			b := data[iNdEx]
			iNdEx++
			wire |= (uint64(b) & 0x7F) << shift
			if b < 0x80 {
				break
			}
		}
		fieldNum := int32(wire >> 3)
		wireType := int(wire & 0x7)
		if wireType == 4 {
			return fmt.Errorf("proto: Unknown: wiretype end group for non-group")
		}
		if fieldNum <= 0 {
			return fmt.Errorf("proto: Unknown: illegal tag %d (wire type %d)", fieldNum, wire)
		}
		switch fieldNum {
		case 1:
			if wireType != 2 {
				return fmt.Errorf("proto: wrong wireType = %d for field TypeMeta", wireType)
			}
			var msglen int
			for shift := uint(0); ; shift += 7 {
				if shift >= 64 {
					return ErrIntOverflowGenerated
				}
				if iNdEx >= l {
					return io.ErrUnexpectedEOF
				}
				b := data[iNdEx]
				iNdEx++
				msglen |= (int(b) & 0x7F) << shift
				if b < 0x80 {
					break
				}
			}
			if msglen < 0 {
				return ErrInvalidLengthGenerated
			}
			postIndex := iNdEx + msglen
			if postIndex > l {
				return io.ErrUnexpectedEOF
			}
			if err := m.TypeMeta.Unmarshal(data[iNdEx:postIndex]); err != nil {
				return err
			}
			iNdEx = postIndex
		case 2:
			if wireType != 2 {
				return fmt.Errorf("proto: wrong wireType = %d for field Raw", wireType)
			}
			var byteLen int
			for shift := uint(0); ; shift += 7 {
				if shift >= 64 {
					return ErrIntOverflowGenerated
				}
				if iNdEx >= l {
					return io.ErrUnexpectedEOF
				}
				b := data[iNdEx]
				iNdEx++
				byteLen |= (int(b) & 0x7F) << shift
				if b < 0x80 {
					break
				}
			}
			if byteLen < 0 {
				return ErrInvalidLengthGenerated
			}
			postIndex := iNdEx + byteLen
			if postIndex > l {
				return io.ErrUnexpectedEOF
			}
			m.Raw = append(m.Raw[:0], data[iNdEx:postIndex]...)
			if m.Raw == nil {
				m.Raw = []byte{}
			}
			iNdEx = postIndex
		case 3:
			if wireType != 2 {
				return fmt.Errorf("proto: wrong wireType = %d for field ContentEncoding", wireType)
			}
			var stringLen uint64
			for shift := uint(0); ; shift += 7 {
				if shift >= 64 {
					return ErrIntOverflowGenerated
				}
				if iNdEx >= l {
					return io.ErrUnexpectedEOF
				}
				b := data[iNdEx]
				iNdEx++
				stringLen |= (uint64(b) & 0x7F) << shift
				if b < 0x80 {
					break
				}
			}
			intStringLen := int(stringLen)
			if intStringLen < 0 {
				return ErrInvalidLengthGenerated
			}
			postIndex := iNdEx + intStringLen
			if postIndex > l {
				return io.ErrUnexpectedEOF
			}
			m.ContentEncoding = string(data[iNdEx:postIndex])
			iNdEx = postIndex
		case 4:
			if wireType != 2 {
				return fmt.Errorf("proto: wrong wireType = %d for field ContentType", wireType)
			}
			var stringLen uint64
			for shift := uint(0); ; shift += 7 {
				if shift >= 64 {
					return ErrIntOverflowGenerated
				}
				if iNdEx >= l {
					return io.ErrUnexpectedEOF
				}
				b := data[iNdEx]
				iNdEx++
				stringLen |= (uint64(b) & 0x7F) << shift
				if b < 0x80 {
					break
				}
			}
			intStringLen := int(stringLen)
			if intStringLen < 0 {
				return ErrInvalidLengthGenerated
			}
			postIndex := iNdEx + intStringLen
			if postIndex > l {
				return io.ErrUnexpectedEOF
			}
			m.ContentType = string(data[iNdEx:postIndex])
			iNdEx = postIndex
		default:
			iNdEx = preIndex
			skippy, err := skipGenerated(data[iNdEx:])
			if err != nil {
				return err
			}
			if skippy < 0 {
				return ErrInvalidLengthGenerated
			}
			if (iNdEx + skippy) > l {
				return io.ErrUnexpectedEOF
			}
			iNdEx += skippy
		}
	}

	if iNdEx > l {
		return io.ErrUnexpectedEOF
	}
	return nil
}
func skipGenerated(data []byte) (n int, err error) {
	l := len(data)
	iNdEx := 0
	for iNdEx < l {
		var wire uint64
		for shift := uint(0); ; shift += 7 {
			if shift >= 64 {
				return 0, ErrIntOverflowGenerated
			}
			if iNdEx >= l {
				return 0, io.ErrUnexpectedEOF
			}
			b := data[iNdEx]
			iNdEx++
			wire |= (uint64(b) & 0x7F) << shift
			if b < 0x80 {
				break
			}
		}
		wireType := int(wire & 0x7)
		switch wireType {
		case 0:
			for shift := uint(0); ; shift += 7 {
				if shift >= 64 {
					return 0, ErrIntOverflowGenerated
				}
				if iNdEx >= l {
					return 0, io.ErrUnexpectedEOF
				}
				iNdEx++
				if data[iNdEx-1] < 0x80 {
					break
				}
			}
			return iNdEx, nil
		case 1:
			iNdEx += 8
			return iNdEx, nil
		case 2:
			var length int
			for shift := uint(0); ; shift += 7 {
				if shift >= 64 {
					return 0, ErrIntOverflowGenerated
				}
				if iNdEx >= l {
					return 0, io.ErrUnexpectedEOF
				}
				b := data[iNdEx]
				iNdEx++
				length |= (int(b) & 0x7F) << shift
				if b < 0x80 {
					break
				}
			}
			iNdEx += length
			if length < 0 {
				return 0, ErrInvalidLengthGenerated
			}
			return iNdEx, nil
		case 3:
			for {
				var innerWire uint64
				var start int = iNdEx
				for shift := uint(0); ; shift += 7 {
					if shift >= 64 {
						return 0, ErrIntOverflowGenerated
					}
					if iNdEx >= l {
						return 0, io.ErrUnexpectedEOF
					}
					b := data[iNdEx]
					iNdEx++
					innerWire |= (uint64(b) & 0x7F) << shift
					if b < 0x80 {
						break
					}
				}
				innerWireType := int(innerWire & 0x7)
				if innerWireType == 4 {
					break
				}
				next, err := skipGenerated(data[start:])
				if err != nil {
					return 0, err
				}
				iNdEx = start + next
			}
			return iNdEx, nil
		case 4:
			return iNdEx, nil
		case 5:
			iNdEx += 4
			return iNdEx, nil
		default:
			return 0, fmt.Errorf("proto: illegal wireType %d", wireType)
		}
	}
	panic("unreachable")
}

var (
	ErrInvalidLengthGenerated = fmt.Errorf("proto: negative length found during unmarshaling")
	ErrIntOverflowGenerated   = fmt.Errorf("proto: integer overflow")
)

redpajama_set_name: RedPajamaGithub