![]() They offer free trials on each, and once or twice a year they are available on sale at half price. Likewise, the iPad version, which I also have, is a steal at $21.99 USD / $29.99 CAD. The Affinity Photo software is an unbelievable deal at $54.99 USD / $74.99 CAD. If I'm lucky enough to catch them on sale, half that! Amazing! Thank you, Serif! Purchase, Free Trial and Installation I could buy all three Affinity programs for $224.97 CAD ($164.97 USD) outright, a one-time purchase. So, in my case, for example, if I wanted an annual photography plan, $12.99 CAD x 12, plus three months of Illustrator because I needed it three times, $122.97 CAD, and the same for InDesign, $122.97 CAD (the cheapest way to get them), my total annual bill to Adobe would be $401.82 CAD (or $308.82 USD), and that's with ZERO extra Cloud storage. Monthly: $79.49 USD / $103.99 CAD month to month.Annual: $9.99 USD / $12.99 CAD paid monthly.‘Photographer’ Plan (Photoshop, Lightroom, and a very limited amount of Cloud storage): Monthly: $31.49 USD/ $40.99 CAD month to month.Just to show you how expensive it is, here is Adobe's pricing scheme: Photoshop alone: I’ve now been using Affinity Photo since about 2016, and here is my review of it, as well as a comparison to my memories of the last version of the more mainstream but more expensive Photoshop. On top of that, they also have the equivalent of Illustrator and InDesign available, and their prices are extremely reasonable. T hey have done a wonderful job on this, IMHO. They have completely revamped the interface and user experience of the product, retaining the stuff that worked and dump ing a whole bunch of stuff that didn’t. It actually does many things better, more conveniently, and certainly more logically than Photoshop ever did. My heroes!Īffinity Photo does everything that Photoshop in CS6 did as far as I can tell, with the notable exception of 3D, which I never used anyway. But then I heard about a wonderful little company in England called Serif, who were building a product called Affinity Photo. I was really mad and frustrated with Adobe, and I remain so to this day. What was I going to do? Pay Adobe’s monthly subscription fee, which initially was truly outrageous? And to top things off, what about users like me who needed Illustrator and InDesign two or three times a year, but didn’t use it all the time? Was I going to have to get a subscription for all of this? It was far beyond my ability to pay, and it still is, as initially they were on an annual subscription paid monthly fee schedule, so occasional users like me were disadvantaged. At the same time, however, Apple was gradually shifting to 64 bit architecture in all of their computers and software, and by about 2015-2016, CS6 no longer worked on my machine. I was OK for a while, in that I still had a fresh version of Creative Suite 6 that was still working, so I steadfastly refused to sign up. In 2013, the fear became a reality, and Adobe stopped issuing standalone software for Photoshop. It was pretty much the only game in town for a long time. I had grown very used to its cumbersome, arcane, buggy, and, at times, inane, user interface. ![]() I started using Photoshop when we were still scanning prints, slides, and negatives. Having been a Photoshop user since about 1996, and having spent literally thousands on Adobe software over the years, I had developed a good little side business doing photography and graphics which augmented my work as a musician. ![]() When Adobe first announced in 2011 that Photoshop, and all of its Creative Suite applications, would go to cloud-based monthly subscriptions, I was upset, like many users.
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![]() Select the hard drive that you created, macOS HDD, and then click on Continue.Click on Agree and then once again click on Agree. ![]() Again click on Continue to set up the installation of the same OS.Now, select Install macOS Ventura and press Continue.You will come once again to the macOS Recovery window.After configuring the partition, close the Disk Utility by clicking on the red dot at the top left corner.Enter a name, for example macOS HDD, and then click on Erase button.On the next page, select Disk Utility and press Continue.At the bottom right corner, click on the next arrow key.Just wait for some time until some line of codes and the Apple logo is gone.Open the VirtualBox application again and press Start at the top.Step 5: Start Clean Installation of macOS Ventura Then copy and paste the codes mentioned above to the command prompt.Įverything was done till here in VirtualBox with the new virtual machine is ready to install macOS Ventura.Next, open the Command Prompt and Run as administrator.VBoxManage setextradata “macOS Ventura” “VBoxInternal/Devices/smc/0/Config/GetKeyFromRealSMC” 1 VBoxManage setextradata “macOS Ventura” “VBoxInternal/Devices/smc/0/Config/DeviceKey” “ourhardworkbythesewordsguardedpleasedontsteal(c)AppleComputerInc” VBoxManage setextradata “macOS Ventura” “VBoxInternal/Devices/efi/0/Config/DmiBoardProduct” “Iloveapple” VBoxManage setextradata “macOS Ventura” “VBoxInternal/Devices/efi/0/Config/DmiSystemVersion” “1.0” VBoxManage setextradata “macOS Ventura” “VBoxInternal/Devices/efi/0/Config/DmiSystemProduct” “iMac11,3” Then, you should change the Virtual Machine name with your VM name, for example macOS Ventura in our case.Close the VirtualBox application to apply the code (given below) to the Command Prompt.Step 4: Run VirtualBox Code on Command Prompt Once you have created and customized your virtual machine, it is time to install macOS on VirtualBox. Click on USB and select USB 3.0 (xHCI) Controller.In the next window, click on the Display menu and then increase the Video Memory up to 128 MB. ![]()
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![]() Connecting an External Instrument/Effect.You can integrate external effect devices and external instruments, for example, hardware synthesizers, into the sequencer signal flow. From here, you can also activate/deactivate and open the Control Room. In the Audio Connections window, you can set up the busses that are used for monitoring. ![]() Group channels and FX channels allow you to group bus configurations. You must add input and output busses to establish the connection between your audio hardware and Nuendo.Ĭhild busses allow you to route tracks to particular channels within a bus.įor input and output bus configurations, you can use different kinds of presets. This allows you to transfer projects between different computers and setups. Renaming the Hardware Inputs and Outputsīefore you set up busses, you should rename the default inputs and outputs of your audio hardware.Furthermore, you can use this window to access and configure the Control Room. The Audio Connections window allows you to set up input and output busses, group and FX channels, external effects, and external instruments. Here, you can also set up group and FX channels, external effects, external instruments, and the Control Room. To play back and record in Nuendo, you must set up input and output busses in the Audio Connections window. To use Nuendo, you must set up your audio, and if required, your MIDI system. Here you will find detailed information about all the features and functions in the program. This is the Operation Manual for Steinberg’s Nuendo. The following list informs you about the most important improvements in Nuendo and provides links to the corresponding descriptions. This represents the balancing act between achieving a bokeh-filled background while retaining a sharp subject. On top of that, the softness using the Nikon 50mm extends to the subject as well, and overall the Fuji file looks more appealing. While there is an overall softness to the background of the full frame image, the actual size difference in the bokeh is minimal. Camera position and subject position stayed identical, there is a small difference from the slightly longer focal length of the Fuji lens.įujifilm X-T2 + 35mm have to say, the difference here is very faint. First I wanted to look at a standard image, so I had my wife pose for a quick image, using the Nikon 50mm 1.4 and the Fuji 35mm (52mm equivalent) 1.4. ![]() While there is plenty of math to explain the difference, I wondered what type of difference I would see on my images. This means to emulate an 85mm at f/2.8 on full frame, a crop body user would shoot at 56mm f/2. In order to create similar depth of field and bokeh, an APS-C body will need to be set at 1 full stop wider aperture than it’s full frame equivalent. F/1.2 is a bit of an outlier, because it lies on the less common ½ stop scale, whereas we are typically speaking in ⅓ stop measurements (1.4, 1.6, 1.8, 2 and so on). This is about what you can expect to be the general equivalent apertures between full frame and APS-C sensors. This means the Canon will drift out of focus much quicker, and everything outside the depth of field will have a softer focus, culminating in larger bokeh.Ĭomparing the Fuji 56mm again at 1.2, to the Nikon 85mm at f/1.8, we see that we have an almost identical depth of field (.45 ft to. 45 ft, while the Canon + 85mm has a total depth of field of. If we use both lenses at f/1.2, shooting a stationary subject 10 feet away, from the same camera position, the only significant difference will be the depth of field.Īs you can see in the example above (using ), the Fuji + 56mm at 1.2 has a total depth of field of. Lets consider using a Fuji body with the 56mm f/1.2 lens, and a full-frame Canon with the equivalent focal length 85mm f/1.2 L lens. This sensor size difference (when all other things are equal) is what will dictate the amount of area in focus, as well as the size of the bokeh in the out of focus area. This not only affects the Depth of Field, but the focal length of APS-C being a 1.5x it’s 35mm equivalent. This translates to the crop sensor having 43% of the area of its bigger brother. The Difference On PaperĪ full frame sensor is 24x36mm, whereas the APS-C sensor is roughly 16x24mm. ![]() So what type of bokeh changes can we expect when switching from full frame to the APS-C sensor of the Fuji. While the sharpness and noise difference is negligible (read: non-existent), I know for certain that I would have more bokehlicious backgrounds. Even after using the X-T2 system for months, I still often find myself wondering what an image would look like had I used a full frame camera instead. I hesitated for a while, but it only took one BBQ lunch with Fuji fanatic Jeffrey Lewis Bennett ( ) before I too had a full Fujifilm lineup on the way. Lighter weight, smaller lenses, quiet shutters and, oh…a cropped sensor. I began researching, and found the same list of benefits that had others jumping ship. Somewhere in the comments was the recurring explanation, “I switched to Fuji”. ![]() Sale forums were quickly becoming littered with listings of complete sets of gear. ![]() Then there was a rumble in the photography industry, one that had no clunky mirrors. I spent 5 years accustomed to the benefits, and internally scoffed at the idea of using a lowly APS-C body for any work. I rather blindly made the leap, quickly falling in love with the expanded capabilities. I was promised sharper images, less noise, and smeary backgrounds that would help isolate subjects. I remember my first photography mentor explaining to me the “necessity” of a full frame sensor. ![]() However, media outlets have been critical of the changes to operating system behaviors, including mandatory update installation, privacy concerns over data collection performed by the OS for Microsoft and its partners, and adware-like tactics used to promote the operating system on its release. Critics also praised the improvements to Windows 10's bundled software over Windows 8.1, Xbox Live integration, as well as the functionality and capabilities of the Cortana personal assistant and the replacement of Internet Explorer with Microsoft Edge. ![]() Critics praised Microsoft's decision to provide the desktop-oriented interface in line with previous versions of Windows, contrasting the tablet-oriented approach of Windows 8, although Windows 10's touch-oriented user interface mode was criticized for containing regressions upon the touch-oriented interface of its predecessor. Windows 10 received generally positive reviews upon its original release. In June 2021, Microsoft announced that support for Windows 10 editions which are not in the Long-Term Servicing Channel (LTSC) will end on October 14, 2025. Devices in enterprise environments can receive these updates at a slower pace, or use long-term support milestones that only receive critical updates, such as security patches, over their ten-year lifespan of extended support. ![]() Windows 10 receives new builds on an ongoing basis, which are available at no additional cost to users, in addition to additional test builds of Windows 10, which are available to Windows Insiders. Windows 10 was made available for download via MSDN and TechNet, as a free upgrade for retail copies of Windows 8 and Windows 8.1 users via the Windows Store, and to Windows 7 users via Windows Update. It was released to manufacturing on July 15, 2015, and later to retail on July 29, 2015. It is the direct successor to Windows 8.1, which was released nearly two years earlier. Windows 10 is a major release of Microsoft's Windows NT operating system. ![]() Afrikaans, Albanian, Amharic, Arabic, Armenian, Assamese, Azerbaijani, Bangla (Bangladesh), Bangla (India), Basque, Belarusian, Bosnian, Bulgarian, Catalan, Central Kurdish, Cherokee, Chinese (Simplified), Chinese (Traditional), Croatian, Czech, Danish, Dari - Persian (Afghanistan), Dutch, German, Greek, English (United Kingdom), English (United States), Estonian, Finnish, Filipino, French (Canada), French (France), Galician, Georgian, Gujarati, Hausa, Hebrew, Hindi, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Japanese, Kannada, Kazakh, Khmer, K'iche', Kinyarwanda, Konkani, Korean, Kyrgyz, Lao, Latvian, Lithuanian, Luxembourgish, Macedonian, Malay, Malayalam, Maltese, Maori, Marathi, Mongolian, Nepali, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Odia, Persian (Iran), Punjabi (Arabic), Punjabi (Gurmukhi), Polish, Portuguese (Brazil), Portuguese (Portugal), Quechua, Romanian, Russian, Scottish Gaelic, Serbian (Cyrillic, Bosnia & Herzegovina), Serbian (Cyrillic, Serbia), Serbian (Latin), Sindhi (Arabic), Sinhala, Slovak, Slovenian, Spanish (Spain), Spanish (Mexico), Swahili, Swedish, Tajik, Tamil, Tatar, Telugu, Thai, Tigrinya, Tswana, Turkish, Turkmen, Ukrainian, Urdu, Uyghur, Uzbek, Valencian, Vietnamese, Welsh, Wolof, Xhosa, Yoruba, Zulu She posted on January 13 that she has coronavirus, telling fans that she’s “still recovering” but “doing good.” Grimes The Good Morning America host reportedly contracted COVID-19 in January 2021, sources tell TMZ. I was so lucky and had corona light□ as my momma called it □ but It floored me for 10 days in my bed.” Michael Strahan It effects everyone so completely differently. “There are so many strange elements to this sickness. “Reunited with my loves … what a wild 2 weeks □□□□,” she wrote on Instagram alongside an image with daughters Lula Rose and Sailor Gene. The former 9-1-1: Lone Star actor revealed she tested positive on New Year’s Eve. This content can also be viewed on the site it originates from. “I want to wish TEAM USA best of luck and a safe games for every Olympian and the entire Olympic family.” It has always been a dream of mine to represent the USA at the Olympics, and I hope there will be many more chances for me to make this come true in the future,” she wrote. “I am so disappointed to share the news that I have tested positive for COVID and won’t be able to play in the Olympic Games. Seventeen-year-old tennis star Gauff revealed on social media July 18 that a positive COVID test forced her to withdraw from the Tokyo Olympic Games. “That delta… she’s a little bitch,” Duff wrote in an Instagram Stories. On August 20, Hilary Duff revealed she had tested positive for COVID and is experiencing symptoms like loss of smell and taste and sinus pressure. ![]() ![]() Tom BradyĪccording to People on September 4, Brady confirmed in a recent interview that he tested positive for the virus shortly following the Tampa Bay Buccaneers’ celebratory Super Bowl boat parade in February. The game encourages players to think critically and find innovative ways to overcome obstacles. Evolution of Problem-Solving Skills: As players progress through the levels and face increasingly difficult challenges, "Death Incoming" helps enhance their problem-solving skills. The addictive nature of the game lies in its ability to constantly engage and challenge the player's intellect.Ģ. Players must anticipate characters' movements, manipulate the environment, and plan out precise sequences of events to achieve the desired outcome. Each level requires strategic thinking, problem-solving, and attention to detail. Challenging Your Brain: It's a brain-teasing experience that keeps players on the edge of their seats. This sense of progression keeps players motivated to continue playing and discovering new challenges. As players progress through the game, they unlock new characters, objects, and locations, adding depth to the gameplay and providing a sense of accomplishment. Exploration and Unlockable Content: The game offers a variety of levels and creative environments for players to explore and conquer. The puzzles progressively become more challenging, ensuring players remain engaged and motivated to solve them.ģ. From manipulating objects and characters to timing events perfectly, every move counts. ![]() Each level presents a unique challenge that requires players to think outside the box. Mind-Bending Puzzles: One of the standout features of "Death Incoming" is its collection of mind-bending puzzles. The quirky graphics add a lighthearted touch to the somber theme, making it an entertaining and intriguing experience for players.Ģ. Dark Humor and Light-hearted Graphics: While the concept of causing accidents leading to death may seem gloomy, "Death Incoming" puts a captivating spin on it by infusing dark humor throughout the game. ![]() The game's mechanics allow players to discover and learn from their mistakes, encouraging experimentation and creativity in solving each puzzle. With intuitive controls, players can easily interact with the game's environment, manipulate objects, and trigger events that will set the stage for the ultimate doom. Engaging Gameplay: The game offers a visually appealing and user-friendly interface that enhances the overall gaming experience. It's not simply about causing chaos instead, players must consider the environment, objects, and characters' movements to create a chain reaction that ultimately leads to death.ģ. Each puzzle is carefully designed to require clever planning and strategizing to ensure that the characters meet their unfortunate fate. The Challenging Puzzles: Every level in "Death Incoming" presents players with a new puzzle to solve. The game embraces a dark sense of humor combined with strategic thinking, creating a captivating and intriguing experience.Ģ. Becoming the Master of Death: In "Death Incoming," players take on the role of a mischievous reaper, tasked with manipulating the environment to engineer accidents that cause characters to meet their untimely demise. Developed by Lion Studios, this game offers a unique and thrilling gameplay experience for gamers who enjoy testing their problem-solving skills and unconventional thinking. "Death Incoming" is a captivating puzzle game that challenges players to engineer accidents that ultimately lead to death. Play Death Incoming Game OnlineIn the world of mobile gaming, there's a fascinating genre that appeals to those who love strategic puzzles with a twist. ![]() Disabling stream management works as expected.So, if Client A comes back online, it won't receive any messages that were sent to it when it disconnected. During this phase, any messages sent by Client B will be lost, meaning it's not stored in mod_offline which can be referred to as dead messages. Let's say Client A 's network suddenly goes offline, due to the timeout, Client A will still appear as online to the server until the timer runs out. ![]() This happens when a client suddenly disconnects.Īssume Client A and Client B are in a 1:1 conversation. PS:- Earlier I had referred issue #3086 and configured eJabberd with the recommended configuration for mod_stream_mgmt and mod_mam Reconnect the app to server - Only the message2 is received.Ĭan anyone help me with the message drop issue.Send message2 - this gets inserted to spool table.Wait of the user session to become offline.Check the user presence in server is online. ![]() I am able to consistently reproduce this issue using the following steps: I am stll relying on spool for offline message retrieval. Previously (in eJabberd 20.04), this issue was not observed. I have upgraded recently from ejabberd 21.12. Once the user presence is removed from server, the messages received thereafter starts geting saved to spool table in DB and the user gets those messages on reconnect. If the user session is resumed within this window of resume_timeout, all offline messages are received by the user. During this period, any messages sent to the user is never gets stored to spool table. When the mobile app client (SMACK 4.4.5) goes offline, the user session remains in the server for 5 mins (resume_timeout). Access_max_user_messages: max_user_offline_messages In any case, MC appears to be taking the "unintentional" out of my hands and doing it automatically, which isn't so great. ![]() Might have done it with Audirvana at some point, too, but I'm not sure right now. I've unintentionally forced this odd static to happen while playing with PureMusic's settings. ![]() If MC is messing up those rates for you, like it is for me, it's probably going to create a DoP stream that's wrong and will cause the DAC to do weird things, including play static (be it solo static or overlapping with music). I'm hoping that you have one/some DSD files that aren't genuinely 384kHz for the purposes of these questions, since I don't have any - so when my copy of MC is telling me that my DSD files are 384kHz, I know it's wrong. ![]() The sample rate should be 2.8MHz for DSDx1 and 5.6MHz for DSDx2, and bitrate is probably 176kHz, 192kHz, or 384kHz (I've only seen a very few DSD files as 96kHz though obviously it's technically possible for one to exist at any of the usual bitrates). Just out of curiosity, what's the correct sample/bit-rate on your DSD files (generally speaking)? What does MC claim for both rates when it's playing any of those files? What does it claim the sample rate is in the "panes" view for the track info? Are you able to play those same files with different software e.g., Audirvana or PureMusic, being the only other two players for OS X I know of that can handle DSD? If so, what does that software claim for sample/bit-rate? Although it could logically be related to the cause of the static, it's not clear at this time whether that's the case. That said, I should probably start a new thread on the topic. I installed MC 18.0.219 and it exhibits the same dsf-misreading behavior. This is reinforced by the ability to tell MC not to downsample the 384kHz stream, at which point it tries to send a 384kHz stream to the DAC and the DAC driver returns an error message stating that 384kHz isn't a supported rate (meaning, somehow MC is sending a 384kHz datastream even though the original source file on disk is only 192kHz). It seems like this misreading of critical information could plausibly cause the DSD data stream to be incorrectly modified and then sent to the DAC. The bigger concern now, for me anyway, is that MC is quite clearly not getting the sample/bit rate numbers correct on dsf files, and it's not just a cosmetic issue since I can see it causing MC to activate DSP downsampling when it thinks a file is 384kHz (it's really only 192kHz). If they could fix the issue in the driver, that'd be fine, though. And since no other software (Audirvana, PureMusic) exhibits the static problem, I don't (currently) believe it's an issue solely attributable to the Chordette's USB driver. I can avoid the configuration where the static occurs just by not using DoP for now. (Audirvana and PureMusic read these DSD files correctly, for what it's worth.) If MC isn't reading the sample/bit-rates correctly from the files, who knows what it's actually sending to the DAC. Unfortunately, downgrading MC doesn't seem to be a very straightforward process (or at least not an obvious one) as I'll either end up with a prematurely expired trial period or have to use up another restore credit.Īnyway, this might turn out to be an issue separate from the static problem, or maybe not. The first version of MC I installed, if I recall correctly, was 19.0.76, and I'm nearly certain it didn't have this DSD identification problem (although clearly my memory isn't playing fair). I suspect that bug is at least partially responsible for the static, at least on my setup.Ĭhecked my other computer running OS X 10.8.4 and MC 19.0.88 still in trial mode, with the same DSD files, and that system/version is misreading the sample- and bit-rates, too. What's up with that bit/sample rate doubling, I wonder. I requested, and got, a trial extension which I gave to MC's dialog box, it accepted it, the program quit on its own, and upon relaunch it was still in "demo expired" mode and no option to extend the trial period was given - only cancel, purchase, or recover license.) ![]() (I wasn't able to get MC working in demo mode again, however, since it decided that my trial period had expired. Removed all traces of MC from the computer and reinstalled MC, to no avail. Needless to say, this makes things behave oddly and kicks in MC's DSP engine (bleh) since my DAC can't process DSD128/384kHz. Once I registered, also today, and changed nothing else, now MC is incorrectly identifying the bitrate and samplerate of DSD files - doubling them, in fact e.g., a file known to be DSD64/192kHz is being shown by MC as DSD128/384kHz. The demo version of MC worked perfectly for me today prior to registering it. Chordette Qute DAC, OS X 10.9, MC Mac 19.0.88. |
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