Immortal Cities Children of the Nile Enhanced Edition

Immortal Cities Children of the Nile Enhanced Edition

Children of the Nile. is a unique gem of a city building game,
unparalleled in both grandeur and attention to detail.

As Pharaoh you will guide your people through thousands of years of
history: from simple hunter gatherers to the creation of an immortal
civilization. Guide your people well and you will build breathtaking
pyramids, explore the ancient world and wage war against your enemies.

Every inhabitant of your city is a fully developed, living person .
part of an individual family and household with wants and needs. From
priests to entertainers, scribes to laborers, even the royal family.
everyone will need to eat and that.s just the beginning. Every block
of stone that is hauled to your pyramid will be pulled by people who
pray to the gods in temples of your choosing. Under your supervision,
local economies will thrive as goods from reed baskets to gold jewelry
will be created, purchased and enjoyed by the inhabitants of your city.

To achieve immortality a Pharaoh must look outside his city.s borders
and make an impact on the world. Explore and open trade with foreign
neighbors and you will have reason to build commemorative wonders that
will tell the tale of your dynasty for all time. As your prestige
rises so too will your ability to draw more people to your ambitious
endeavors and build cities that are truly epic.

How will your dynasty be remembered

Enhanced Edition features:

Vista Compatibility

Travel accelerated on roads

Priests are more effective

Pyramid construction tweaked smoothed and accelerated

Reduced barter times during shopping making everyones life a little
easier

Temples made more effective relative to shrines

Papyrus easier to make and more effective Scribes and Priests

Lessened the effect of Hapis "No Flood" event

Added Brickyard

Quickstart Tutorial Scenario

Resources more visible on map mini map

New Plazas

New fountains and shrubberies

New statues

New shrine variants

New bricklayer home variant

Contextual Feedback

"No Problems" indicator

Right click orders are available on a new button

WASD controls added previously these opened and closed several menus
which now use different keys


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Global Mapper 10 02

Global Mapper 10 02

Global Mapper is more than just a viewer capable of displaying the most
popular raster, elevation and vector datasets. It converts, edits,
prints, tracks GPS and allows you to utilize GIS functionality on your
datasets in one low cost and easy to use software package.

Global Mapper also includes the ability to directly access multiple
online sources of imagery, topographic maps, and gridded terrain data.
This includes access to worldwide high resolution color imagery from
DigitalGlobe watermarked access for free and access to the entire
TerraServer USA database of USGS satellite imagery and topographic maps
free of charge. Global Mapper also has the ability to easily access WMS
data sources, including built in access to elevation data and color
imagery for the entire world, and to view elevation data in true 3D with
any loaded raster imagery and vector data draped on top of it!


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Genuine Soundware ZD6 1 1 VSTi AU MAC OSX UB

Genuine Soundware ZD6 1 1 VSTi AU MAC OSX UB

Instrument Background

It was back in the fifties when German inventor Est Zacharias
invented one of the funkiest keyboards of all times. At first the
intention was to make a portable version of a cembalo, but it soon
tued into one of the most used keyboards in rock and pop music. You
will certainly recognize it in the famous pop song "Superstition", and
in many other funky tunes of the seventies. Many police and
investigation story movies and TV shows of the 70s and the early 80s
had music themes based on funky accompaniments made with the D6, a
slap bass and drums. This instrument can reproduce the sound of an
electric guitar and can be treated with the same effects used by
guitarists wahwah, distortion, phaser, chorus, etc. for both
rhythmic and melodic textures, since it is actually based on a set of
60 strings and two humbucker pickups very similar to those used in
electric guitars.



Plugin Description



ZD6 is a physical modeling simulation of a vintage "D6" stringed
electric piano.



Main features:

Full Polyphony 60 notes

Sympathetic resonances

Realistic response to keyboard dynamics and aftertouch

Octave transpose 1 oct. up, 1 oct. down

Adjustable global tuning

Four dynamic curves available

Realistic control panel with switches for active EQ and pickup selection

Adjustable damper level and instrument volume

Wah Wah effect modeled after the famous JH 1 american Wah pedal

Manual wah, LFO wah, auto wah

Distortion effect

Eight stage Phaser effect

On screen help tips and readout values

Very low memory and CPU power needed

Easy MIDI Lea feature

FX version included


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Genuine Soundware VB3 1 2 2 VSTi AU MAC OSX UB

Genuine Soundware VB3 1 2 2 VSTi AU MAC OSX UB

Instrument Description


VB3 is a virtual tonewheel organ which simulates an american
electromagnetic organ of the old days, but its also capable of other
simulations like the italian transistor organs of the seventies or the
red tolex organs played by famous pop bands of the sixties.


Main features:

Full polyphony 147 notes

Virtual 91 modeled tonewheels generator with accurate phase
synchronization

Adjustable leakage noise and cross modulation between tonewheels

Three sets of waveforms: Set H American Electromagnetic, Set F
Italian Transistor, Set V Red Tolex Transistor

Three different organ models

Adjustable global tuning

Foldback on 16" deactivable

Realistic motor wow flutter

Busbars and 9 key contacts simulation

17 steps drawbars

Two separate sets of drawbars per manual

Full "inverted octave" presets

String Bass with adjustable release time

Dynamic pickup coil impedance loss

Adjustable generator filters scaling

Single triggered percussion with natural capacitor discharge/recharge

Adjustable global Percussion Level

Adjustable global Percussion Decay

Vibrato/Chorus virtual scanner

Adjustable Vibrato Scanner depth

Electronic vibrato simulation when Sets F or V are selected

Separated Upper and Lower V/C tablets with smooth switching

Dynamic tube overdrive simulation

Spring reverb derived from Type4

Smooth action volume pedal with adjustable MIDI response

Stereo wooden rotary speaker simulation with artificial environment
and microphones positioning

Five different rotary speaker algorithms with adjustable "character"

Tone Cabinet stationary speaker simulation

Rotors brake position

Adjustable background hum and noise

Very low CPU consumption

Midi controllable, supports VST automation

Easy MIDI Lea function

Up to four separated outputs

Upper and Lower manuals SPLIT with adjustable split point

Upper and Lower manuals octave transposers

Selectable output level


Changes in version 1.2.2:


VB3 is now available for MAC OSX in VST and AU format

New Spring Reverb algorithm derived from GSi Type4

The code has been enormously optimized and the CPU load is amost
halved

Fixed bugs with some hosts Sonar, Tracktion3, Receptor that caused a
crash when loading VB3

Added option "Output Level" with 5 different levels. Use this to
prevent VB3 from generating audio clips at high dynamics

Rotary speaker simualtor: improved control over rotors speeds;
improved algorithm "Jazz 122";

Keyclick: improved and optimized

Percussion: added the missing high pass filter that gives it more
punch and enforces the attack

Organ sound: the leakage factor, the whole balance between lows and
highs and the background noise have been noticeably improved

Functionality: no more need to recompute the inteal wavetables when
the plugin is set in standby by the host; improved the stereo widening
algorithm

Many other things have changed inteally that cant be explained in
few words, but your fine ears will be able to notice the difference
with previous versions.


Notes for the Mac version:



VB3 is known to function properly in Apple Logic, Ableton Live, Cubase
4, EnergyXT2, RAX, GarageBand and in many other VST and/or AU hosts.

There is a known and unresolved yet incompatibility with MOTU
Digital Performer.

Theres no guarantee for it to function in ProTools via its
VST to RTAS wrapper


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Genuine Soundware Type4 1 0 1 VST AU MAC OSX UB

Genuine Soundware Type4 1 0 1 VST AU MAC OSX UB

About Spring Reverb

A spring reverb is a system to obtain artificial reverberation
invented during the 40s by Laurens Hammond also inventor of the
Hammond Organ. In a Spring Reverb pan, the audio signal is coupled to
one end of the spring by a transducer a device that can convert
electrical energy into mechanical energy or viceversa. This creates
waves that propagate through the spring in both directions. At the
other end of the spring there is another transducer that converts the
motion in the spring into an electrical signal, which is then
amplified and added to the dry sound. Most spring reverb units use
several springs together, with each spring having its own
characteristics length, dimensions, tension, etc. resulting in a
natural reverberation by summing several delayed sounds at fixed or
random intervals. However, with real spring reverbs the user isnt
allowed to change these characteristics. A software simulation like
Type4, on the other hand, allows you to adjust parameters like "decay"
reverb duration, the dampening factor, the virtual spring tension
and other parameters that affect the overall timbre of the reverb
effect. Why should you want to use a spring reverb rather than a
precise and mode digital reverb? Spring reverbs have typical sonic
characteristics that, nowadays, make them desirable mostly as effects
on their own rather than simulations of an acoustic phenomena.


Plugin Description


Type4 is a simulation of a vintage "Type4" spring reverb unit.


Main features:

Four virtual springs with variable tension
Variable decay length
Variable dampening factor
Adjustable pre and post filtering
Adjustable timbre
Very low memory and CPU power needed
Easy MIDI Lea feature

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Genuine Soundware MrRay Mark II 2 0 3 VSTi AU MAC OSX UB

Genuine Soundware MrRay Mark II 2 0 3 VSTi AU MAC OSX UB

Instrument Description


MrRay73 Mark II is a digital simulation of the famous american
electro mechanical piano of the seventies, invented during World War
II by a music teacher, Harold B. Rhodes 1910 2000, and widely used
in almost all musical genres ranging from soul/black music to jazz,
blues, mode and pop. This instrument has rapidly become a legend,
and is still used today, altough samples have replaced the real thing
so that very often music producers use huge sample libraries or
hardware keyboards / workstations to achieve this kind of sonority,
and often the result is a cold and dead sound, with no vitality, no
warmth, nothing that even compares to the unpredictability and
genuineness of the real thing.

In 2007 an enterprising and far seeing american businessman has
started a new Company with the aim to re manufacture the piano using
the same recipe of the old factory, employing the same ingredients and
offering the same "taste" of the vintage instrument. The new "Mark 7"
piano was presented at the NAMM show and it was a big success. Its on
the market again, after about 20 years, with the same name, same
"soul" but largely improved under many important technical aspects.



In a similar manner, MrRay73 Mark II is the second version of MrRay73,
after two years from its introduction to the public, but with a huge
difference in sound and functionality. While the old MrRay73 was one
of the first successfull simulations of such an instrument, capable of
offering similar vitality, warmth and richness of the real thing, the
new "Mark II" version brings many new improvements, first of all for
what conces "THE SOUND".

As opposite to sample libraries, a real time reproduction of a certain
sound has the ability to interact with the musician, producing
different behaviours from time to time. Hardly you will hear exactly
the same "waveform" twice. MrRay73 Mark II is a complete digital
reproduction of the real instrument, with all the moving parts that,
together, generate to the sound.



Summary of the main features:

Full Polyphony 73 notes E E

No note stealing

Adjustable single sound elements metal, wood, pedal and damper
noises

Sympathetic resonance and harp vibration

Sustain pedal re pedaling feature

Six stage vintage style Phaser effect

Dual mode Tremolo effect

Power amp simulation Suitcase model

Adjustable wear of mallets and other elements Piano Age

Stretch tuning or Equal Temperament

Four velocity curves plus an adjustable "Dynamic range" level

Fully Midi controllable with MIDI Lea function

Very Low CPU and memory usage

Some details about the sound generation:



Full Polyphony No note stealing: on the real vintage instrument
you have a single "generator" called "tone bar" for each single key,
so when you hit a key, the corresponding tine is put into vibration
thus producing the sound. When you hit it again holding your foot on
the sustain pedal, you add further energy to the vibrating tine, but
depending on the relationship of the tine and the hammer tip, you can
either add or remove energy with each key press. This causes subtle
variations with each note played.



Sympathetic resonance and harp vibration: when you hold the sustain
pedal, all damper felts leave the tines, so they all are free to
vibrate, but if you hit a single note, the surrounding tines also get
part of the mallets energy and produce a slight vibration. Also, when
the sound of a note decays completely but you are still holding the
key down, playing other notes may introduce whats known as
"sympathetic resonance". This is more evident on a classic piano, less
audible on the electric piano but still there. Part of the vibrations
is spread along the whole harp and captured by all pickups, giving the
overall tone a more "alive" sensation.



Sustain pedal re pedaling feature: when youre playing holding the
sustain pedal down, you may release it and depress it again
immediately. In this case, the dampers dont stop the tines
completely, but still leave a residual vibration. Sometimes, the
dampers can even introduce a further energy as if they were "picking"
the tines.



Six stage vintage style Phaser effect: MrRay73 Mark II also includes
a phaser effect. It is modeled after a vintage stomp box of the
sixties, sold in Europe under the name "Maestro PS 1". It was a
6 stage phase shifter, one of the first effects of this kind, with a
deep and "liquid" tone.



Dual mode Tremolo effect: the tremolo effect is an essential element
of the classic Electric Piano sound of the seventies. In MrRay73 Mark
II you can have the effect of the classical analogue tremolo driven by
the photo coupler element which gives you the smooth passage from one
channel to the other. As an alteative, you can have the monophonic
vibrato like the one found on the classic "Tweed" guitar amplifiers.



Power amp simulation Suitcase model: MrRay73 Mark II has a
built in FET power amplifier simulation with three degrees of "power",
to bring you the classic tone of the famous "Suitcase" electric piano
models. Tuing on the simulation, youll hear a darker tone with a
punchy low end, a slappy attack and a slight saturation on the high end.

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Genuine Soundware GS 201 1 1 3 VST AU MAC OSX UB

Genuine Soundware GS 201 1 1 3 VST AU MAC OSX UB

Basic Concepts

Tape echo effects were invented towards the end of the fifties.
Presumably the very first tape echo machine was invented by Charlie
Watkins of London, England, in 1958. It was based on a small loop of
1/4" tape onto which audio was recorded by a magnetic head and then
read by three separated heads. What was read from the tape was
amplified by the inteal all valve circuit and eventually recorded
back to the tape, creating the feedback or "sustaining" echo effect.
The delay time of the unit was determined by distance of the write
head from the read heads, in conjunction with the speed of the tape.
Many manufacturers of this era produced their versions of echo
machines, mostly based on the magnetic tape system. The famous Binson
Echorec was based on a circular drum head with a metallic magnetic
stripe. It was used by Pink Floyd at the time of their album "Echoes".
Another famous tape echo machine was the Maestro Echoplex, heavily
used by pianist Herbie Hancock. Other notable units were the Selmer
TruVoice Echo, the Dynacord Echocord, along one of the most famous and
widely used from 1973 to present day: the Roland RE 201. This
particular model has a tape loop about 4 meters long which is
recorded, read and erased continuously. It consists of one erase head,
one write head and three pick up heads, which when combined with the
variable speed DC capstan motor allows many different delay
configurations. This machine also offers a reverberation effect based
on a spring reverb tank. The combination of echo and reverb gives an
"ethereal" ambience effect which eventually inspired the engineers so
to name it "Space Echo".

Nowadays these machines are very sought after but quite rare to find
on the market, and their evaluation increases year after year. There
are many aspects that make the tape echo stand out from a mode
digital delay. Here are a few of the main features:

1 the unpredictability. A capstan motor is never perfect like a
digital clock signal, resulting in slight variations of the delay
times and pitched sound.

2 the frequency response and dynamic range. A magnetic tape is not as
clean and flat as a digital recording. Especially a loop of tape which
is cyclically erased and re recorded many times in a short time lapse.


3 noise, hum, distortion. Defects that a digital system shouldnt
have, sometimes are wanted and can become "musically acceptable".



There is one way only to obtain all of this. To get the real thing.

Actually theres a much affordable and easy alteative: to use an
accurate digital simulation.



GS 201 is an accurate simulation of a japanese Tape Echo machine of
the early seventies, featuring:

Distinctive dynamic range and frequency response

Realistic response to the panel controls

Motor "wow and flutter"

Sound degradation and distortion at high feedback levels

Very natural hum and background tape noise

Three different kinds of magnetic tape models

Ultra low CPU usage

Easy "MIDI Lea" feature





Panel Controls


Input Left, Input Right: GS 201 is a monoaural effect but it works for
either mono or stereo buses or insert slots. With these two knobs you
can set the input volume of the two stereo channels separately.


Direct Level, on/off: The input audio signal is copied to the output
unchanged. With this knob you can set its level. Use the little on/off
switch to tu on or off the dry signal. More generally, you should
tu off the dry signal when using GS 201 on an effect bus
send/retu, and leave it on when youre using GS 201 as an insert
effect.



Mode Selector: This 12 way rotary selector lets you choose among
various combinations of echoes and reverb.

Modes 1 to 4 exclude the reverb effect, and include the following
combinations:

1. First head shorter delay time

2. Second head medium delay time

3. Third head longer delay time

4. Two taps: Second + Third head.



Modes from 5 to 11 include both the echo and the reverb effect, and
are organized as follows:

5. First head like mode 1

6. Second head like mode 2

7. Third head like mode 3

8. Two taps: First + Second head

9. Two taps: Second + Third head like mode 4

10. Two taps: First + Third head

11. Three taps: First + Second + Third head



Mode 12 is "Reverb only" which excludes the echo effect.



Repeat Rate: This knob lets you vary the speed of the capstan motor
which leads the tape, consequently changing the overall delay time.
Tu it counterclockwise for longer delay times and clockwise for
shorter delay times. When moving this knob, a pop up window will show
the actual delay times in milliseconds for all three heads.

Please refer to the section Frequently Asked Questions for useful tips
about this control.



Intensity: With this knob you can choose the quantity of signal to be
reproduced and recorded back on the tape, thus affecting the delay
feedback level. At high feedback levels the tape echo could engage an
infinite feedback with drastic signal degradation.



Bass, Treble: With these two knobs you can adjust the frequency
response of the sound output from the tape.



Echo Volume, Reverb Volume: With these two knobs you can adjust the
volume of the two effects separately.



Power: This switch tus off or on the effect unit.



RT, 456, 468: This 3 way selector lets you choose between three
different kinds of tape used by the echo machine.

RT: this is the original tape model.

456: this is the famous "Grand Master" tape model, mostly used for
multitrack recorders and not so suitable for these machines. It has a
brighter response, a higher gain and less distortion than the original
tape.

468: this is the famous "Low Print" tape model, mostly used for hi fi
tape decks. Its characteristics are half way between the RT and the
456 tape models.

You wont notice huge differences between the three tape models in a
normal situation. The difference becomes more noticeable with longer
feedback levels, especially when the tape goes into the
self oscillation state.



In version 1.1, when you move a control on the User Interface, a small
display appears on the screen showing the current value of the active
control. When you move the "Mode Selector" knob, another display shows
the tape heads and reverb arrangement based on the active knob
position. Passing your mouse pointer over the controls, a pop up text
describes their function.


Tips on using the interface:

to reset a control to its default value, hold down CTRL and click it;

for "fine tuning" knob movements, hold down SHIFT while moving the knob;

all the knobs react to both vertical and horizontal movement;

hold down the ALT key to activate the circular control of the knobs.

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Genuine Soundware EG70 1 0 VSTi AU MAC OSX UB

Genuine Soundware EG70 1 0 VSTi AU MAC OSX UB

Instrument Background

The CP 70 was a portable electric piano invented during the seventies
by the japanese company Yamaha, also makers of renowned fine classic
grand pianos. It was made for the touring musician who wanted to take
an acoustic piano on the stage. Its a rock solid instrument that
splits into two parts for better transportability. The structure is
based on the keyboard and mechanics of a classic grandpiano but with a
smaller harp, less strings and shorter than a classic baby grand.
Theres no soundboard, and every note has its own piezoelectric
pickup. The main preamplifier offers a basic 3 band equalizer and a
tremolo effect. This piano had a significant role in the pop music of
the seventies and the eighties, featuring in songs by well known
musicians like Stevie Wonder, Genesis, George Duke, Simple Minds, etc.
It is now back on the stage thanks to the british band "Keane", you
can see it in the video of the song "Everybodys changing". Every
mode digital keyboard offering a wide variety of timbres has a patch
inspired to the sound of the CP piano, and sometimes its still
preferred in genres like rock and pop where the producers want a
brighter and more prominent piano sound.


Plugin Description

EG70 is a physical modeling simulation of a CP 70 electroacoustic baby
grand touring piano.

Main features:

Full Polyphony 73 notes
Adjustable sympathetic resonances
Realistic response to keyboard dynamics
Adjustable global tuning
Four dynamic curves available
Realistic control panel with active EQ and Tremolo effect
Stereo tremolo mode auto pan
Adjustable note decay and release lengths
Built in stereo digital reverb
On screen help tips and readout values
Low memory and CPU power needed
Easy MIDI Lea feature


EG70 has a very natural response to keyboard dynamics and to players
style. Youll hear the benefits of physical modeling mostly when the
sustain pedal is in use. The sound is warm and metallic at the same
time, unpredictable, rich and natural like only a real piano can be.


About Physical Modeling


Although physical modeling synthesis is a well known concept nowadays,
its good to point out some of the differences that make a modeled
instrument, like a piano, preferred over a sampled one. As we all
know, physical modeling is a technique to recreate acoustic phenomena
in the digital world by means of math formulas and other complex
algorithms, but in practice it takes the musician to a compromise:
while samples offer true realism, being an actual photography of a
specific sound, just like a photography a sampled sound stays still,
never changes over time and doesnt react to exteal variations. On
the other hand, a modeled sound may lack of realism or may be somehow
imprecise regarding little details, but its alive, does react to
musicians playing style, adds color and vitality, is never static and
takes full advantage of the power of mode digital systems. Speaking
of a piano, which is one of the most expressive instruments ever
invented by humans, using samples is a bit of a contradiction. Can you
quantize the dynamics of a piano and establish a limit? You cant. Can
you consider all of the variables and combinations that may happen
with different numbers of notes played in as many different
situations? You cant. Can you create resonances using samples? You
cant. This is why, sometimes, physical modeling can be preferable
over sampling, so that the virtual gets closer and closer to the real.
Now lets have a look at how EG70 benefits from physical modeling.
First thing: the polyphony. In EG70 you have a full polyphony of 73
notes. One note available per each single key. This could seem obvious
but it isnt. Many times you see digital pianos with 88 keys but
offering 128 or even 256 notes of polyphony. So, whats the point of
having more notes than keys? Because with sampling you need a note per
each sample playback. If you press the sustain pedal and hit the same
key twice or more times, you employ a new voice each time, so you can
even use all the available voices for a single key, because samples
start playing one on top of another, summing phases and amplitudes,
resulting in an unnatural behaviour for a piano. In EG70, when you
hold the sustain pedal down and hit the same key more times, the
virtual hammer always strikes the same virtual strings adding or
subtracting vibrations according to the phase of the string in the
very moment when it gets struck by the hammer. One key, one voice.
This is exactly what happens in a real piano, and every time you hit
the key you can hear subtle differences from other strikes of the same
note. Also, this extends the limit of the 127 velocity values
available in the MIDI protocol. Another example: the resonances. A
baby grand piano like the CP 70 has no soundboard, so the actual
resonance is very limited, but still there are 131 strings that are
free to vibrate when the dampers are released, 15 of which are large
round wound strings that produce a high number or overtones, and the
last 8 keys for a total of 16 strings dont have dampers at all, and
are free to resonate all the times. So, when the player keeps a key
down when the note has reached a full decay, hes keeping the damper
away from the strings setting them free to resonate if other keys
are played. This is called .sympathetic resonance.. When the sustain
pedal is down, all dampers get away from the strings, so a single note
played may spread its resonances through the whole harp. This is what
happens in a real piano and in the CP 70 electric piano, and is
perfectly emulated by EG70.

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DAZ3D Boudouir Secrets for Poser psac2752

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Boudoir Secrets is a beautiful lingerie set for Victoria 4, Aiko 4 and Victoria Elite. It includes three different sets of night wear: A night gown and belt with long ribbons; a camisole with pants; and a corset with garters, panties, and stockings. The set also has a lovely pair of slippers. daz3d/i.x/shop/itemdetails/ /?item7508

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