Produced in six bright colors, the small, electric Nokia Asha 501 practically leaps off the shelf. Nokia is hoping to corner the entry-level smartphone market with its unlocked Asha line, which ranges from bare-bones QWERTY phones to the tiny touch-screen 501 model. The Asha 501 fits the bill of compact and budget-friendly feature phone that does what it sets out to do, although the trade-off between cost and hardware quality shows, especially in the screen and camera departments. Designed for emerging markets, the $99 Asha 501 will be easier to find in India, Latin America, and the Middle East. It launched June 2013 in parts of Europe, and will branch to the U.K. And other markets later. The Asha line isn't designed to sell in North America, so don't expect it to make its way to American carriers. ![]() Design and build One of the phone's most prominent features is its neon-bright colored back cover. I tested the electric red-orange model, but it also comes in loud green, yellow, and blue tones, and a more subdued black and white. The phone's polycarbonate matte finish doesn't pick up fingerprints and feels soft and smooth, but not slippery. About Download Camera360 Cho Laptop Dell. Meme illuminatifatlip meme songdavid kieferdavid howlettgif meme makerdavid hastertfracking memedevora daviddavid kidderdavid goodwinfunny bitch please memedavid muirlithp memesteph curry cheating memephysics test memegoilla alligator memecheating penguin. The next thing you'll notice about the Asha 501 is that it's tiny. Its squarish, compact design and rounded corners make the the device easy to slip into tight pants pockets or fit in small bag, so you can tote it with you everywhere. ![]() Since it's so small and light, you can comfortably sit on it, too. The Nokia Asha 501 is bright, bright, bright. Josh Miller/CNET Roughly the size of a deck of cards, this 501's straight sides and a flat back help make it comfortable to hold and grab. It also feels comfortable up at the ear. Just in case you're wondering, the Asha 501 measures 3.9 inches tall by 2.9 inches wide and is 0.47 inch thick (99mm x 58mm x 12mm) and weighs just 3.4 ounces (98 grams). A small phone, the 501 comes with an even smaller screen: a tiny 3-inch QVGA 320x240-pixel resolution display with a 133 pixels per inch ppi and support for 262,000 colors. The screen leaves a lot to be desired, and looks dim even at full brightness. Colors are also subdued. In full sunlight, the sun's bright rays and reflection makes the display hard to read. The Asha 501's screen looks dim and is hard to read in bright sunlight. Josh Miller/CNET Unfortunately, the 501's screen is also unresponsive at times, especially when I was trying to slide the lock screen icon to unlock the phone. Sometimes I had to try a couple of times to make that work. Even though it's a budget phone, I was still hoping for a brighter screen and more touch sensitivity. Although I have petite fingers, I also had some trouble typing on the virtual keyboard without making a lot of mistakes and tapping small targets, like a link on a website. The rest of the controls are predictably straightforward. There's a slim volume rocker and petite power/lock button on the right spine. Both are slightly raised from the surface and easy to press, but because the lock and volume-down buttons are so close together, it's easy to push the wrong one when you're in the middle of a call. On the top edge, you'll find a jack, and both a Micro-USB port and a proprietary charging port. Nokia says it included the two charging ports to give customers more options to power the phone, but it's strange that Nokia didn't just pick one port, the standard one. You can, of course, also use the USB port to transfer files from your phone to a computer. The Asha 501 can slip easily into pockets. Josh Miller/CNET Below the screen is a single button that's easy to find and press when you're not looking at the phone. Press it once, and it will go back one step or page in an app. Hold it down, and it will exit the current app. It's easy to tap the button to go back one step, though you have to hold it down for several seconds to close an app, which I didn't like. Behind the colorful back cover are the battery, SIM card slot, and SD card slot hidden on the side amidst the black material. The 501 comes with 128MB of internal memory, plus a 4GB microSD card to get you started (but the phone will take up to 32GB in external storage). You must remove the 501's back cover to get to the microSD card. Josh Miller/CNET Removing the back cover can be a struggle, since it wraps all the way around the sides of the device and there are no notches to pry the phone body and cover apart. It helps to hold the left and right sides of the phone while you separate the two pieces of the phone. The 501's only speaker is also tucked behind the back cover. Audio sounds clear and loud enough at the highest volumes to hear, even outside. OS and features The 501 runs Nokia's Asha 1.0 operating system, which looks different than Nokia's older Symbian OS, though you'll recognize the rounded app icons. To unlock the phone, press the side lock button and swipe left or right on the lock screen, where you'll see the time and date, plus notifications from text messages and missed calls, among others. You can swipe them away from the lock screen, or tap them to go straight to the corresponding app. The lock screen shows the time and notifications. Josh Miller/CNET The Asha 501 has only two home screens; one with all of your apps and another named Fastlane, which shows reminders, notifications, and an activity log of recently opened apps and other phone activity. In this Fastlane home screen, you can quickly open recent apps or respond to notifications. Calendar events stay pinned to the top of Fastlane, but you can dismiss everything else at once by tapping and holding anywhere on the screen. If you swipe from the edge of the phone body (not just the display) toward the screen in either direction, the phone will go back to the home screen from any app. I occasionally accidentally swiped back to the home screen instead of swiping around in an app, which was annoying. Similar to Android, you can swipe down from the top of the screen anywhere in the phone to show a notifications bar and controls to toggle Wi-Fi, data, sound, and Bluetooth.
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Here's my attempt to make a cartoon image.I used various Photoshop filters on the original image at right.The end result is on the left. They generally take several hundred hours of classroom instruction and are contracted to follow apprenticeship standards for a period of between three and six years, during which time they are paid as a percentage of the Journeyman's pay. Journeymen are electricians who have completed their Apprenticeship and who have been found by the local, State, or National licensing body to be competent in the electrical trade. Master Electricians have performed well in the trade for a period of time, often seven to ten years, and have passed an exam to demonstrate superior knowledge of the National Electrical Code, or NEC. Service electricians are tasked to respond to requests for isolated repairs and upgrades. They have skills troubleshooting wiring problems, installing wiring in existing buildings, and making repairs. 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Arada is a winter child and she is cold and never to be warm. She was born on the worst winter freeze anyone (in the book) could remember. Fire dragons attacked a farm, which was Adaras home, the ice dragon would save her from destruction. The ice dragon loved her. The fire dragons were killed and so were their riders. Eventually the ice dragon died and her home was saved. ![]() This book was fantastic. I loved how they made an unrealistic creature love a human. Ice Dragon by George R R Martin at OnRead.com - the best online ebook storage. Download and read online for free Ice Dragon by George R R Martin. I like this book because of how the story goes, from when she first meets the dragon to when the dragon dies to save her home. I love fiction books and this is a good one. I only gave it four stars because I didnt like how the ice dragon seemed to die at the end. It was kind of sad because the only sound she ever heard it make was when it died. I didnt like that part. Also it could have made it more interesting, but all in all it was a awesome book, and I would read it again anyday. ![]() A fine children's story from the writer of the much more adult Game of Thrones books. I picked this up not only because George R. Martin is a natural storyteller – he manages the knack here of writing more simply for an audience of children without dumbing it down – but because of recent developments in his famous series (thanks, HBO Spain!) I thought there might be a clue or two for where things are headed in The Ice Dragon. There wasn't, but it was interesting to read the story in light of what came later (it was written in 1980, sixteen years before the first book of A Song of Ice and Fire was published). There are differences, but with talk of 'the North', dragons, a land at war, the king's road and long winters, one can see the genesis of Martin's later world of Westeros. Appraising the story itself, it is rather conventional (think a more violent and fantasy-driven The Snowman) and it probably wouldn't have been (re-)published if not for Martin's later success and the fact that it can easily be remarketed in Game of Thrones drapery. But it is well-written and I imagine it would be a great book if one wanted to get a young child interested in reading. Yes, there's violence, but kids are fascinated by gruesomeness, and in young Adara there is an easily-relatable protagonist. The imagination of young minds will also be sparked by the fantastic illustrations by Luis Royo. They are even more praiseworthy than Martin's prose and elevate the book – as a complete package – from a 3-star rating to a 4-star. I am a sucker for books with these sort of illustrations (Martin's Duck and Egg stories also had them, from a different illustrator, when repackaged as A Knight of the Seven Kingdoms) and if they can warm my cynical, bitter heart with trappings of good old-fashioned storytelling then they could do wonders for a child. The ice dragon was a creature of legend and fear, for no man had ever tamed one. When it flew overhead, it left in its wake desolate cold and frozen land. But Adara was not afraid. For Adara was a winter child, born during the worst freeze that anyone, even the Old Ones, could remember. Adara could not remember the first time she had seen the ice dragon. It seemed that it had always been in her life, glimpsed from afar as she played in the frigid snow long after the other children had fled the cold. In her fourth year she touched it, and in her fifth year she rode upon its broad, chilled back for the first time. Then, in her seventh year, on a calm summer day, fiery dragons from the North swooped down upon the peaceful farm that was Adara's home. And only a winter child--and the ice dragon who loved her--could save her world from utter destruction. An enchanting tale of courage and sacrifice for young readers and adults by the wildly popular George R.R. Martin, author of A Song of Ice and Fire, the series that inspired HBO's Emmy Award-winning GAME OF THRONES. Lavish illustrations by acclaimed artist Luis Royo enrich this captivating and heartwarming story of a young girl and her dragon.From ancient times, the ice dragon was a creature of legend and fear, for no man had ever tamed one. When it flew overhead, it left in its wake desolate cold and frozen land. But Adara was not afraid. For Adara was a winter child, born during the worst freeze that anyone, even the Old Ones, could remember.Adara could not remember the first time she had seen the ice dragon. It seemed that it had always been in her life, glimpsed from afar as she played in the frigid snow long after the other children had fled the cold. In her fourth year she touched it, and in her fifth year she rode upon its broad, chilled back for the first time. Then, in her seventh year, on a calm summer day, fiery dragons from the North swooped down upon the peaceful farm that was Adara's home. And only a winter child-and the ice dragon who loved her-could save her world from utter destruction. Customer support is a local variable It is almost equal to buy Agilent or Bruker. Although I dislike CMOS detectors (my first choice would be HPAD detector because of absent taper and extremely low noise - it is even fluorescence-proof! ![]() - and it is directly supported by Agilent's software, although I am pretty sure they would be opposed to such request initially however their CCDs are pretty good also, but Bruker's Apex2 was maybe even better because of almost eliminated taper. However it is discontinued now). Rigaku has good hardware but awful software. For example, when you change cell setting in 'normal' software, it will be immediately re-indexed. In CrystalClear, cell parameters will be changed indeed, but the reflections will not be reindexed it is a pooh pooh, mainly because Rigaku outsourced the software package to people which have no idea about workflow. But I have only one structure measured on Rigaku, there are other Rigaku users here much more experienced than me (johnewarren for example). They have good mechanic (and HPAD!) but software is not so good like Agilent or Bruker (AFAIK at least some parts of this software are based on Kuma's old KM4CCD/KM4RED - predecessor of CrysAlis - by Mathias M. From Agilent). Although my direct experience is rather limited and outdated. ![]() Software Downloads. Software updates can be included as part of a service contract or purchased regularly. A download service is available for selected software and patch releases. Please see → Downloads & Patches (please login to access this page). Please contact us for more information Home Contact Imprint.Missing. When considering IP detector due to lower maintenance costs, I heard about some problems with Rigaku (imperfect erase), so I'd buy Stoe then (and Stoe's SW is still better than Rigaku). However using the IP has some limitations e.g. With non-merohedral twins (because you must use narrow, CCD-like scans instead of several degrees wide IP scans and it costs a lot of time). My personal choice is Agilent, but it is because I am using it for years, I am able to repair most of problems by myself and I can continue using a new system without learning anything. I'd avoid any 'benchtop systems'. At all, only Rigaku is still producing one - Bruker discontinued its benchtop system and nowadays is selling 'ECO' built of their 3-circle system instead. I agree with the previous poster, that it is a toss-up between Agilent and Bruker. Software: CrysAlis Pro (Agilent) is superior to APEX2 (Bruker). X-ray source: Probably goes to Bruker (at least for microfocus tubes), as theirs is/can be air-cooled, and has a longer lifetime, although performances are comparable. Detector: Probably Agilent, as CCD's are a mature technology, whereas CMOS aren't, and probably need to be further developed before they are a competitive technology. Of course Pilatus-type detectors will eventually become the industry standard, once the manufacturing cost comes down, and a few other technical issues are fixed. Support: Agilent are fairly responsive (usually same day email reply, next day at worst), whereas Bruker have been worse than that for us in the past. The Agilent systems have a smaller footprint as well! This is a how long is a piece of string question! What is the instrument for? How versatile do you want it to be.and in the end what is your budget. The other difficulties with responses on this kind of forum is that few of us have regular experience with more than one platform which limits our ability to comment on other instruments.equally service and support varies a bit from country to country. Finally, not many of us are likely to say 'I bought instrument X and it was the worst decision of my life.' So my experience.I am a user not a professional crystallographer. We had a Siemens SMART but abandoned it when the detector went belly up after seven years. I can't comment on what Bruker or Agilent support is like nowadays. For the past 14 years we have had Rigaku CCD equipment. Currently we have an FRX dual port Mo and an MM007HF dual port Cu both equipped with Pilatus detectors.We also have an SCX-Mini (the father of the Xtal lab mini) and a robotic system which we published about in JACS. Down the corridor we have protein crystallographers with MM007/CCD systems. In powder we have Panalytical, Stoes and benchtop Rigaku. We have a range of LT devices.Oxford DTC and Cobra, as well as Cryostreams. Rigaku hardware is excellent and their hardware support to us is very good indeed. We retired a 12 year old Mercury CCD and 20 year old AFC7 gonio last year and the final dataset gave an Rmerge of 2% and an R of less than 3. We have been very impressed with the Pilatus detectors and my impression is that for smallish aperture (P200) detectors the price is competitive with CCD. The P200 is kind of like having an area scintillation detector.the point spread is negligible and the noise non existent with a fanastic dynamic range.no overloads, a few milliseconds to read the images. Without external cooling etc. I think this is the future. Rigaku software was, back in their Serial detector days, brilliant.then it dipped at the start of the CCD time and was perceived as being more for protein than small molecule. They have made steady improvements - including recently a new integration routine which is very good. The transformation problem mentioned in one of the posts above is historical and fixed. BUT herein lies the problem in my comments.we have been using CrystalClear for 14 years.so maybe are immune to any eccentricities.- I would suggest this is true of many of us whatever platform we use - familarity means we all do things which are not in the manual without thinking. We do find that we can train students in half an hour to use the SCX-Mini and they don't struggle with the software - in fcat they like it. One downside on Rigaku integration software is that they have not yet sorted out integration for twins.it is promised but a bit slow in appearing- We don't often find this a problem but others might. So I would look carefully at all the options and go and try them. Soi entirely from a Rigaku perspective.If your budget is tight then an Xtal-Mini with an Oxford DTC would be excellent. This is not state of the art but would give you good datasets.sort of comparable to a Bruker SMart/Apex system. It will comfortably collect good quality data.but that is it.if you want to unusual experiments it will be limiting. The Oxford DTC is a neat little plug/play forget piece of kit.prividsed you only want to go down to -100 C it is great. The intermediate systems are going to be comparable from everyone.sealed tube/microsource + CCD or Rigaku will offer you the Pilatus detector. In this range the competition is fierce.personally I have reservations about CMOS detectors but I think the software will be a big part of the decision process. If you have a good chunk of money I would seriously consider an MM007HF dual wavelength system with a Dectris P200 and an Oxford Cobra. The 007 generators are rock solid.Rigaku make a lot of these and are good at it. We had two for over 10 years.we changed the filaments every few months had the anodes rebuilt when the seals went (variable 15 months to 2 years) and the only things we had to change were 1 turbo pump and one turbo pump controller over the whole time. I would say the running costs were comparable to a sealed tube generator. The Dual source 007 system (I think) is a single generator with a little switch to move something to flip you from Mo to Cu. Ok I have not answered your question.but thrown in my tuppence worth. Good luck whatever you do Best wishes Derek. APEX is great and Bruker instruments work really, really well. Now I believe Agilent has new microsources and these new ones are also very good (a few years ago, Agilent's microsource of X rays was weak and lost brightness FAST). In any case, I would buy a low T device from Oxford Cryosystems, never Bruker's own Kryoflex. Having said this, Bruker's customer support is bad, at least here in Spain but I also speak of interaction with the people at Bruker's main site in Karlsruhe. They have really messed up a few things with us. The low T Kryoflex system failed a year ago and it has not been fixed yet, we have had it on and off, but a lot of time off because of poor repair service by Bruker customer support. They have been slow. The guys form Germany have been absolutely incompetent -they sent us a repaired system that belonged to someone else,, then they sent us our system, but they had not repaired it ). Sorry to intervene, but support seems to vary widely depending on region. I'm quite happy with Bruker support (via telephone, email can be a bit slow). But you should be able to run tests for them, keep notes and pick up a screwdriver from time to time. The Bruker technicians we had on site so far were all excellent. I cannot say the same for some other manufacturers. However their hours are expensive. You should have a yearly budget for repairs, some things just cannot be fixed alone. It should be considered already when planning your investment. The Kryoflex is ok if you know how to fix it, but lacks some features (ramping.) and has an unreliable autofill system. If you keep tabs on your storage dewar and refill it. ![]() Top 4 Download periodically updates software information of reaper full versions from the publishers, but some information may be slightly out-of-date. Using warez version, crack, warez passwords, patches, serial numbers, registration codes, key generator, pirate key, keymaker or keygen for reaper license key is illegal. Download links are directly from our mirrors or publisher's website, reaper torrent files or shared files from free file sharing and free upload services, including Rapidshare, MegaUpload, YouSendIt, Letitbit, DropSend, MediaMax, HellShare, HotFile, FileServe, LeapFile, MyOtherDrive or MediaFire, are not allowed! 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We've found just about everything now, but are currently stuck on these stupid txd files that this game uses. The tools I've found are only able to extract the images, not reinsert them. (lots of graphics in this game needs to be translated) Here are some wip screenshots from the translation so far: PS: I'm still trying to translate Tales of Rebirth (PSP), but I'm a little stuck on the compression algorithm used. ![]() So if anyone want to help with the compression in ToR or the txd files in Wars it will be much appreciated. I don't know if it will work for what you need but here are some things I have found that might work for the image problem. - It says it can save to and from raw ps2 image files and bmp, jpg etc. - For putting files into the Iso, Probably not what you need but included just in case. - A tutorial that isn't directly relevant but includes overwriting a file in an iso and links to the programs they used for it. Also inlcuded just in case. 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Pianoteq 5.4.2 PRO Download Full Cracked x86 x64 Pianoteq 5.4.2 PRO PC–Mac Pianoteq 5.4.2 PRO Download Crack. ![]() Especially so because as well as its two main grand pianos it also includes a surprisingly large array of 'add-on' sounds, which start off in a time-limited demo mode but can be unlocked after purchase in the Modartt online store. These include Rhodes and Wurlitzer electro-mechanical pianos, a Clavinet and a Yamaha rock piano sound, plus two vibraphones, xylophone, marimba, celesta, glockenspiel, steel drum, spacedrum, hand pan drums and a tank drum. There are free add-ons too: a cimbalom, two harpsichords, eight historical pianos, a Yamaha CP80 electro-acoustic, tubular bells and church bells. That little lot comes in the form of two downloads that run to a whopping (not) 12MB. Clearly, Pianoteq is more than just a virtual piano, and Pianoteq 4 offers quite a bit more than its earlier versions too. The headline improvement is the new main acoustic piano model, based on a German Steinway D, called 'D4'. There's also a brand new detachable effect section that includes a delay, chorus, flanger, wah, tremolo/autopan, amp modelling and a compressor. The reverb is now a convolution design, though the old computational reverb is still there for the sake of backwards compatibility, hidden away a bit. A Mallet Bounce section causes repeated triggering of sounds and, while not much use for pianos, is perfect for recreating playing styles of the steel drum and cimbalom sounds, amongst others. Of more utilitarian appeal is a keyboard calibration assistant, which looks at the key velocity and pedal behaviour of your MIDI controller, with the aim of giving the most natural playing experience. And, finally, the graphic interfaces of both the stand-alone application and plug-in are now resizable from between 50 percent and 250 percent of the previous norm. But I'm getting ahead of myself — so let's rewind through a few Pianoteq basics. The new effects section is highly configurable, sounds great, and includes a decent convolution reverb. If it's not already obvious from the tiny download and installation size, Pianoteq isn't a sample-based instrument. Instead, sounds are generated from complex mathematical models of a piano's strings, soundboard and action. Samples were involved at some stage, but by the time you're playing the plug-in or stand-alone application, it's all about cold, hard computation. The modelling approach allows Pianoteq to respond smoothly to all 127 velocity levels a controller keyboard can produce — even the best sample-based pianos typically only offer 16 velocity levels, albeit with some interpolation to smooth the changes between them. Sympathetic string resonance is implemented at a fundamental level, rather than as an additional 'layer' or effect. Similarly, complex pedal effects such as half or partial pedalling can be incorporated at the heart of the sound engine. The benefits of acoustic modelling don't stop there, though. Pianoteq allows you to tweak aspects of the piano models to subtly or wildly vary the sound and response. You can, for example, detune the pairs or groups of strings that constitute one note, or vary the hardness and strike-point for the hammers, producing strange and interesting harmonic variations. You can increase or eradicate string inharmonicity by making your virtual piano anything between 80cm and 10m long. Soundboards can be paper-thin and massively resonant, or thick, heavy and virtually inert. Want a piano with no dampers, or not-very-effective ones? It's all possible. All this is in addition to more familiar stuff like pitch, temperament, very precise EQ and control of dynamic range. It's not terribly sexy, but the calibration assistant helps get the best from your MIDI controller keyboard.These parameters are grouped together in several front-panel areas headed Tuning, Voicing and Design, and change slightly depending on the currently loaded piano model. Electro-mechanical pianos, for instance, quite rightly lose the String Length parameter, but gain Pickup Symmetry and Pickup Distance. Other parameters appear in user-selectable panels or as temporary graphical overlays; they include the Note Edit facilities, as well as EQ, effects and mic position editing. The Note Edit feature won't be for everyone — literally, because you have to pay the €150 premium for the Pro version to get it. It's also pretty intense, letting you adjust 24 core parameters for each note via graph-like displays. It lets you design pianos with unusual characteristics, and can introduce gradual changes between different pitch areas or abrupt alterations of individual notes. You can get lost (in a good way) in the possibilities. Microphone positioning options are there to produce different live recording-like perspectives, and reveal Pianoteq's five-channel, surround-ready audio architecture. There are no options to switch microphone type, but changing distance, vertical height and stereo configurations do make a clear difference to the sound. The output can also be set to emulate a binaural dummy-head type mic pickup, or to straight Stereophonic or Monophonic modes, both of which bypass the mic modelling. As a whole, Pianoteq 4's interface is a nice place to work, with important parameters readily accessible, boring configuration stuff hidden away, and helpful 'tool-tip' pop-ups available when you want them. A good number of presets are on offer via a pop-up menu, and they load (instantly, I might add) the associated piano models and all other settings. The interface backdrop colour and texture also changes according to the piano type loaded — cute. The mic positioning features let you find multiple audio perspectives for your pianos, but some settings seem to make the resulting sound a touch artificial. I'll cut to the chase: Pianoteq 4 is a good bit better-sounding than any previous version. The key to this is the new D4 Steinway-based grand. It's a much classier model than we've ever had in Pianoteq before, retaining the natural dynamic behaviour of its predecessors but combining it with a more commanding, complex and distinctly 'expensive' tone. There's also a 'K1' grand, notably smaller and brighter in character and, although less immediately impressive, probably a great choice for more aggressive pop and rock duties. The flagship C3 and M3 pianos of Pianoteq 3, incidentally, are gone for ever. If you have unfinished work that relies on them, you'll need to keep your old Pianoteq version around for a while longer. The commercial add-on sounds are really excellent. The electro-mechanical pianos represent the state of the virtual instrument art — really wonderful, rewarding, and greatly preferable to typical velocity-switched sampled versions. They're further enhanced by version 4's improved effects. Chromatic percussion sounds are superb as well, with outstanding harmonic complexity. The new Steel Pans add-on is unexpectedly useful, and the new Mallet Bounce feature works great with the Steel Drum sound, to produce a believable, quasi-sustained effect with an astonishing sense of realism. And if you were ever inspired by Cliff Martinez's soundtrack for the movie Solaris, you won't be disappointed with the Hand Pan sound, which is open and clangorous but responds in a remarkably subtle way to repetition and tiny velocity variations. These days, Pianoteq is a lot more than just acoustic pianos, as this preset pop-up menu shows. Modartt's paid-for add-ons are of excellent quality. I wonder what we'll see next. Gamelan instruments?The only thing wrong with the Pianoteq add-ons is that they're in danger of stealing the show. When I've summed up previous versions of Pianoteq, I've always maintained that whilst the playability and responsiveness of its core acoustic pianos has never been in doubt, there has been a certain lack of realism and believability in the sound when directly compared to big sample library counterparts. With Pianoteq 4, that criticism is less valid, but perhaps still not completely unreasonable. To my ears, a hint of an artificial 'twang' is still audible at times. It's difficult to describe — kind of like the audio equivalent of spotting CGI graphics on film — but it's there. And having spent some time with Pianoteq 4, I decided it's not just a characteristic of the acoustic models so much as the microphone placement modelling. All the acoustic piano presets have that enabled, and in general the roomier a sound was, the less I liked it. I often preferred to switch to Stereophonic output mode and go with the very fine-sounding convolution reverb to give a sense of space. Let's keep things in perspective, though: at their best, Pianoteq's virtual acoustics sound jolly good, and bear direct comparison with the sampled competition. Also, I have just as many reservations, though possibly of a slightly different nature, about the sample-based competition! Not to mention many real, physical pianos I come across too. Anyway, most of the time the expressivity and sound-design flexibility more than outweigh neurotic concerns about achieving virtual piano perfection. I've mentioned the convolution reverb already — and it's really good, as are the other effects, which can be loaded into up to three 'slots', in a serial configuration, before feeding into the reverb. I have a few tiny niggles, though. What Modartt term 'Auto-wah' is an LFO-driven wah. A wah that tracks the input level (which is what I've always thought of as an auto-wah) is possible to achieve but feels a bit under-cooked. Also, there's no ping-pong option on the delay, although channel phase can be reversed to provide a wide-sounding effect. Still, these are not deal-breakers, because you can so easily set up alternatives in your DAW, and otherwise the effects section is powerful but quick and easy to use. Version 4 keeps Pianoteq at the vanguard of virtual piano design, where it holds its own with any sample-based or hardware alternative. Two new acoustic piano models are generally very impressive, although there's a whiff of artificiality to the sound in certain situations. However, this can seem a trifling concern when you take into account the vast sound-design flexibility on offer, and the impressive roster of add-on instruments, which I admired almost unreservedly. And Pianoteq is just so bloomin' easy to live with — it has a tiny installation footprint, offers instantaneous loading of sounds as well as brilliant playability, and runs lean and light on modern processors. Get yourself the demo version and have a tinkle. You have to pay to unlock many of the add-on sounds for Pianoteq. There are actually three different versions of Pianoteq. All of them use the same piano models and essentially sound the same, but they differ in the degree of editing on offer: • Pianoteq Pro (€399): This is the full, completely unrestricted version of Pianoteq. • Pianoteq Standard (€249): This loses Pro's support for 192kHz audio playback and, probably more importantly, the capability to adjust parameters on a note-by-note basis. Detailed editing of the model using the main front-panel parameters is still very much possible, though. • Pianoteq Stage (€99): This was previously called Pianoteq Play. You get all the core sounds, add-on support, effects, and some editing (of velocity curve, EQ, dynamics and action), but no actual sound tweaking or microphone placement options at all. Stage's convolution reverb also lacks the ability to load external impulses. Upgrades to Standard and Pro from Stage and Standard are available through Modartt's online store, and there's no price penalty compared to buying a more expensive version in the first place. The upgrade to version 4 from any older version of Pianoteq costs €29. To run Pianoteq in Windows, you need XP, Vista, 7 or 8; for Mac, OS 10.5 or higher. There's also a Linux (x86) version for Jack and ALSA back ends. It comes in both 32- and 64 bit stand-alone, VST, Audio Units and RTAS versions. Modartt Pianoteq 4 €249 €249 pros • Musically inspiring and responsive. • Core acoustic pianos are markedly improved over previous versions. • Brilliant add-on instrument options, and not just pianos, either. • Ludicrously small installation size, ideal for laptop and SSD users. • Friendly, easy to use interface. Cons • To these ears, the raw sound of the acoustic pianos still doesn't quite match big sample libraries for sheer believability, but it's getting awfully close. • Equipping Pianoteq with all add-on sound options is a pricey business. Summary Pianoteq takes its next leap forward, as fast and lean as ever, but now better sounding and more flexible too. Useful on-board effects and additional performance options supplement a scope for piano sound design (in Standard and Pro versions) that sample-based pianos can only dream of. All contents copyright © SOS Publications Group and/or its licensors, 1985-2017. All rights reserved. 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