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HOME ON THE RANGE ANXIETY
The Z takes home the Nissan LEAF
Published on Wed, Jul 16, 2014
The Z takes home a Nissan LEAF
By Zoran Segina "You'll be okay with it?" The query by the press fleet manager is touching. He just he handed me the keys to the 2014 Nissan LEAF, and the 120-volt charging cable. I appreciate his concern for my well-being, but I have reviewed cars for years and the LEAF (also known as Nissan's Leading, Environmentally friendly, Affordable Family car) is just a car. Of course I'll be okay with it. It is after 10:00 that evening and I am definitely not okay with it. A twenty mile trip to my house reduced the available range by about half, leaving me with roughly 47 miles. I took out the extension cord which powered last Christmas decorations, ran it along the house, and plugged the charger in. The green blinking light on the charger must mean I have power. I plugged the nozzle (is it called a nozzle on the electric car?) into the charging receptacle on the hood, walked into the house and closed the door. Several hours later I got into the LEAF just to see how everything is coming along. And it is not. The range has not changed which means that the charger does not work. I am frantically leafing through a thick manual learning about kilowatt hours, charging times, and three blue lights on the dashboard that blink when LEAF is charging properly. My dashboard is ominously dark. I must get to work in the morning, and if the twenty mile trip reduced the battery capacity by half, additional seventeen mile commute may end up badly. What if I cannot charge the LEAF at work? Do I call AAA? Can they charge my car? I know they carry gas, but electricity? In a frantic midnight call to the service manager I am explaining that the charger does not work. They use 240-volt wall-mounted powerful chargers for the LEAF, so perhaps they did not check mine.
Fortunately I live next to Santa Monica, a city renowned for its environmental involvement. An internet search reveals that the closest charging station is at the Whole Foods Market on Wilshire Blvd., less than a mile away. They do have 240-volt Level 2 chargers. If I get up early, I can buy some groceries, plug the LEAF in, and after a brief delay, be on my way. My keychain even has a Charge Point - a waivable credit card to activate the chargers, if needed. Except that the chargers at the Whole Foods belong to the "blink" network which remains un-phased by my frantic waving of the Charge Point card. The screen is inviting me to join their network, but pressing the required buttons disconnects the system. Ten minutes later I am back at the charging station with Doug, the store manager. He also cannot get the "blink" to blink, which brings an interesting question. Why can I get all of my groceries at the Whole Foods, but cannot purchase two dollars-worth of electricity. Since Doug is entrusted with running a large grocery store, couldn't he carry a "blink" card and be allowed to sell the electricity to his customers? But indomitable Doug remembers that the compressor room at the far end the underground parking may have a wall outlet. Doug cracks open the door, I drive the LEAF next to it, we plug her in, and this time everything works! Except that, according to the dashboard display, it will take seven hours of 120-volt charging to get the full tank. After a slow shopping, and a very leisurely cup of large cappuccino, I have to get going. Down the road an LA Car Guy dealer on Santa Monica Boulevard has the 240V fast chargers. For free. I have always known that anything with the name LA Car in it must be first rate. I pull into the lot, and spend ten minutes charging. The range increases somewhat. Before heading to work I have to stop at the OSH hardware store on Bundy in West LA to buy a thicker extension cord. This time I am determined to test the whole system, which causes the sales staff at OSH to cast nervous glances at the sweaty guy who is dragging large electric cables around the store looking for outlets. The test, however, is a resounding success.
The view from the rear
The LEAF is left with enough juice to get me to work, and - even better - my assigned parking spot has two outlets next to it. I plug the car in. Five hours later, I am back in the garage just to see if everything is okay. I turn the key. The range indicator shows I gained fifteen miles. All this time spent sucking electrical power for only fifteen miles? At least it will get me back home. Usually when coming home from work, I park my car on the street, and do not look at it until next morning. But this evening is different. I have to re-position the Tall Girl's car in the driveway (oh how sweet the sound of an internal combustion engine!), bring the LEAF next to it, and commence search for a suitable plug. The stuff from my high school tech education classes is coming back. Thickness of the cable is related to resistance. Multiply amperes with voltage to get wattage. I am checking circuit breakers. If I plug the extension cord into a garage outlet I can close the door, run the cord by the side of house and plug the LEAF in. I am tired. I haven't hauled so many electrical cables since my days in the band on the Croatian coast many decades ago. But next morning the lights are gone and the LEAF is fully charged. Off to work, plug the car, unplug in the evening, drive home, do some errands and plug her again. Ed Begley Jr.'s house in Studio City for sure has several solar-powered high-efficiency 240V chargers ready to be used. But the 120V electrical outlets at the Segina's abode in West LA are designed to power Christmas lights in winter as opposed to feeding lithium ion batteries on midsummer nights.
EPA rates the electric range of the 2014 model at 84 miles
Several days later, however, the LEAF is beginning to grow on me. I enjoy almost eerie silence when I drive the car. Sitting in freeway traffic does not bother me because I use no energy. The LEAF has pleasing lines, and well-appointed interior. Low center of gravity (because of the battery pack) combined with the competent architecture, and 17-inch low profile Michelins turn the car a sporty performer ready - and willing - to be thrown around. And when I push on the button which brings the LEAF out of Eco mode, and summons all available power, makes me feel I am using similar system on the 900 hp Formula 1 car made by the same manufacturer. Ah, the glory of a flat torque curve! Acceleration is instant and surprising because there is no engine noise. I have to monitor the speedometer since there is no aural reminder once I press the accelerator (cannot call it a gas pedal.) It is true that manual seat adjustments are only on the driver's side, and that the body panels seem hollow thin. But the LEAF comfortably sits four, and the trunk space can be enlarged by simply pulling a couple of levers. It will swallow a folded nine-foot rubber dinghy together with bunch of other stuff. After several days, I am audacious enough to leave the LEAF unplugged overnight. I discover that crawling at 20 mph in heavy street traffic uses little or no power. A freeway jaunt is a kilowatt guzzler because of air resistance. After a week with the LEAF, I firmly believe that there is a future in electric cars, but it depends on a portable source of generating power built within the system. A small gasoline, diesel, or natural gas powered engine (perhaps a turbine) should be powerful enough for a let's say a three-kilowatt generator to recharge the batteries. With a plug-in option available, I would spend most of my days driving around on electricity alone, yet still have a back-up source of energy to avoid range anxiety (in my case more of a full-blown panic attack.) A breakfast meeting with a friend who is into cars and engineering broaches an interesting subject: What if we welded a towing hitch on the LEAF. We could tow a small trailer with a portable 240Vdiesel generator. If we re-routed the charging connector from the hood to the trunk, and perhaps installed the remote start button for the generator. We'll discuss this at the next breakfast.
Your mileage will vary, depending on how you drive
GOING ELECTRIC - A New LEAF on Life A former Silicon Valley engineer retired, moved to Hawaii, built a house, installed solar panels, bought a Nissan LEAF, produced enough energy to power his house and car—and even enough to give back to the electric company to help power the rest of the town. Read the full story by the late Benno Wang, in LA Car's GOING ELECTRIC – A New LEAF on Life. For more information about Nissan products, go to nissanusa.com. SPECIFICATIONS Name of vehicle: 2014 Nissan LEAF SL Price: $28,980 (base model) $35,020.00 (SL model) $37,090.00 (SL model as tested) Subtract $10,000 for Federal tax credit and California cash rebate EPA miles per gallon equivalent estimates 126 City/101 Highway/114 Combined MPGe EPA estimated electric range: 84 miles LA Car observed: 3.6 miles per kilowatt/hour Engine type: 80 kilowatt AC synchronous motor Horsepower: 80 kW = 107 HP Torque: 187 pound-feet at 0 rpm
Transmission type: Single speed reduction gear. Automatic with D, N, R, and P positions Drive configuration: Front wheel drive Steering: Speed-sensitive electric power steering Suspension Front: Independent strut with coil springs, stabilizer bars Rear: Torsion bar axle with coil springs, stabilizer bars Wheels and tires: 17-inch aluminum alloy wheels, with P215/50R17 Michelin Energy tires. Brakes Front: vented discs, regenerative braking system, electronic brake distribution Rear: vented discs, regenerative braking system Dimensions Overall length: 175 inches Overall width: 69.7 inches Overall height: 61 inches Curb weight: 3326 pounds Performance 0-60 mph in 9.7 seconds; 93 mph top speed


Many people find their homes messy and cluttered after a holiday or birthday. It's important to consider recycling when deciding how to clean up. Recycling centers vary in what they have the capacity to accept and process. Call your local provider to ask what you can do to recycle.
Wrapping paper is a big item that people want to recycle after the holidays. Most wrapping paper can be recycled as long as it's not the foil type. Tissue paper cannot be recycled. Check with your local provider to confirm that they recycle wrapping paper.
Paper plates from parties can be recycled if they do not have food bits on them. This also applies to pizza boxes or other cardboard food containers. If possible, cut out the soiled parts, throw those away and recycle only the clean parts of paper plates or pizza boxes.
Christmas trees are recyclable in most places — some cities take them to a bioreactor landfill. Any type of yard waste is good for that system as methane produced is used to generate electricity from this renewable energy source. You can also take the trees to the city's mulch sites for processing into mulch.
Plastic and glass bottles are both great items to recycle. Check with your local provider to find out which plastic bottles are accepted for recycling. Remember to remove the lids from all bottles as they can cause a number of problems in the recycling process. The lids may prevent bottles from being compressed on the truck so the bottles then take up more space. This means the collection trucks have to make more trips to empty themselves. In addition, some lids are made of plastics that are not recyclable, and some lids are too small and can jam a recycling center's equipment.
The website Earth911.com has a lot of information about what is recyclable. For more information about what you can recycle in your area, enter the type of item you want to recycle and your zip code in the search box.


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Exhibit Honoring World Series Champion Red Sox Now Open at Hall of Fame
(COOPERSTOWN, NY) – Cooperstown is turning red to celebrate Boston's latest World Series title.
The Museum will celebrate the Red Sox's 2018 World Series championship through Autumn Glory, the annual tribute to the World Series Champions in Cooperstown. The exhibit is now open, and entrance to Autumn Glory is included with Museum admission.
Following Boston's World Series-clinching win on Oct. 28, the Museum acquired several artifacts from the Red Sox, who notched the franchise's ninth Fall Classic crown – and fourth in 15 seasons – with their victory over the Los Angeles Dodgers in the 114th World Series. Artifacts donated by the Red Sox and featured in the exhibit celebrating the 2018 postseason include:
-	Bat used by World Series MVP Steve Pearce in Game 4
-	A jersey worn by David Price in Game 5 of the World Series
-	Game-worn glasses used by Red Sox reliever Joe Kelly in Game 5
-	Cap and spikes worn by Red Sox pitcher Nathan Eovaldi throughout the World Series
-	Ball/strike indicator used by home plate umpire Ted Barrett during Game 3, which was the longest game in World Series history
-	Hoodie worn by Red Sox manager Alex Cora in Game 5
-	Helmet worn by Brock Holt throughout the postseason, including in his Oct. 8 cycle against the Yankees
The 2018 World Series exhibit in Autumn Glory will be on display through the conclusion of the 2019 Major League Baseball postseason.
In 2019, the Museum will continue its salute to the Red Sox World Championship of 2018 with special programming to be announced in the spring.
The Museum collections contain many artifacts documenting the entire history of World Series and postseason play, including Don Larsen's cap and Yogi Berra's mitt from Larsen's 1956 perfect game; Joe Carter's bat from his Series-ending blast in 1993; the jersey David Freese wore when he hit his game-winning home run in Game 6 in 2011; and World Series rings from the last century of Fall Classic competition.

redpajama_set_name: RedPajamaCommonCrawl


text:
La Friedrich-Ebert-Halle est un hall omnisports situé à Ludwigshafen, en Rhénanie-Palatinat, où évolue le club de handball du TSG Ludwigshafen Friesenheim, club de Bundesliga.

Notes et références

Équipement sportif achevé en 1965
Salle de handball en Allemagne
Stade portant le nom d'une personnalité politique
Équipement sportif en Rhénanie-Palatinat
TSG Ludwigshafen Friesenheim
Ludwigshafen

redpajama_set_name: RedPajamaWikipedia


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A firefighter from East Wellington Fire Department hauls hose as crews attack a structure fire on Webster Road in the early-morning hours Wednesday. GREG SAKAKI/The News Bulletin
House burns down in the middle of the night in Nanaimo
Home destroyed in East Wellington, residents and dog make it out safely
Greg Sakaki
Mar. 7, 2018 5:15 a.m.
A house in Nanaimo's East Wellington area burned down in the early-morning hours Wednesday.
East Wellington Fire Department was called out at approximately 12:50 a.m. to Webster Road and found a fully involved structure fire.
The fire department responded with three engines and later received assistance from Nanaimo Fire Rescue, but the house was totally destroyed.
The homeowner told the News Bulletin that he and his wife were asleep and though they didn't hear any smoke alarm, they awoke and were able to make it out safely with their dog. The homeowner speculated that an electrical problem must have caused the fire.
Steve Ellis, East Wellington firefighter, said the homeowners are insured and the fire investigation will be turned over to their insurance company.
"Everybody's safe and sound, which is huge … I think the lady is still in hospital just for a precaution and the husband is fine," Ellis said.
He said the house is so heavily damaged it will take "a lot of probing" to determine a cause.
"I would be comfortable saying it's not suspicious, very comfortable," Ellis said. "The owners were in the house and, I mean, they basically escaped with their lives. They were very proud of their house. It's a tragedy. What can you say?"
More photos from a house fire early this morning on Webster Road in East Wellington… https://t.co/rH8I8iI40a #Nanaimo pic.twitter.com/nXu376Ac4B
— Nanaimo Bulletin (@NanaimoBulletin) March 7, 2018
Just got back from Webster Road in East Wellington where a home has been destroyed by fire. Residents got out OK. More to come… #Nanaimo pic.twitter.com/ULBASy75ec
Official calls Duncan animal cruelty case one of worst she's ever seen
Special prosecutor appointed in Burns Lake mayor sex assault case


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Notsensibles are a punk rock band from Burnley, England, who had their greatest success with their second single, the tongue-in-cheek "I'm in Love with Margaret Thatcher".

History
The band was formed in 1978 by Michael "Haggis" Hargreaves (vocals), Steven "Sage" Hartley (guitar), Roger "Rog Sensible" Rawlinson (keyboards), Gary Brown (bass), and Kevin "Ploppy" Hemingway (drums). The band explained their approach: "all we want to do is make silly records and play silly gigs".

After releasing the "Death to Disco" single in April 1979, they "celebrated" the election of Margaret Thatcher as Prime Minister later that year with the single "I'm in Love with Margaret Thatcher".  Initially self-released in a pressing of 1,000, but reissued on the Snotty Snail label due to continuing demand, the release gave them a No. 8 UK Indie Chart hit at the start of 1980, and the band also recorded a session for John Peel's BBC Radio 1 show.  According to one review, the song was: "Meant as neither a pro- nor anti-Thatcher song. It revolved around the idea that no-one was too sacred to get the piss taken out of."  Writer Simon Reynolds stated that it "...taps into the side of punk all about not taking anything seriously..."  At one performance in 2012 Hargreaves claimed that he had "great reverence for Thatcher"  The single's B-side included "Gary Bushell's Band of the Week", which poked fun at the journalist.

In March 1980, the band's only studio album, Instant Classic, was released, reaching No. 16 on the UK Indie Chart, and two singles followed, both indie hits, but not selling as well as their earlier single, before the band split up in March 1982.  Cherry Red subsidiary Anagram Records issued a compilation of the band's output, Instant Punk Classics, in 1994.

The band reformed for a performance at the first Wasted/Holidays in the Sun festival in 1996, and reformed more permanently in 2005 with the original line-up.  The song "I'm In Love with Margaret Thatcher" was featured in the 2011 film The Iron Lady starring Meryl Streep.  The single was re-released on vinyl and download to celebrate its appearance in the film.

In 2013, after Margaret Thatcher's death, "I'm in Love with Margaret Thatcher" received additional publicity when there was an online campaign to boost the record's re-entry into the charts as a download, to counter the promotion of the song "Ding-Dong! The Witch Is Dead" by anti-Thatcher activists.  The campaign was initiated by Notsensibles' singer Mike Hargreaves and promoter Suzie Delooze by way of a Facebook page, and was endorsed by Thatcher supporters.  Although the Notsensibles' song was reportedly considered "more favourable to Baroness Thatcher", band member Steven Hartley commented that it had been written as a satirical swipe at her.  Hargreaves said: "I find it hilarious that Tories have adopted it.  The song is a sort-of tribute and sort-of not."  The song charted at number 35 on the UK Singles Chart on 12 April 2013.

At the time of the renewed success of the single in 2013, it was reported that Hartley had trained as a doctor and now worked in accident and emergency; Rawlinson was a tree surgeon working for the local council; Hargreaves worked as a nurse; Brown worked in IT; and Hemingway was a businessman.

Hargreaves was the Green Party candidate in Burnley at the 2015 general election.

The band will be performed at the 2016 & 2017 Rebellion Festival in Blackpool.

Discography
Chart placings shown are from the UK Indie Chart unless otherwise stated.

Singles
"Death to Disco" (1979) Bent
"I'm in Love with Margaret Thatcher" (1979) Redball (reissued (1980) Snotty Snail) (#8); re-promoted 2013 (#35, UK Singles Chart)
"I Thought You Were Dead" (1980) Snotty Snail (#29)
"I am the Bishop" (1981) Snotty Snail (#45) (as The Sensibles)
(I've Just Had Enough) Brother EP (2005) Snotty Snail

Albums
Instant Classic (1980) Bent/Snotty Snail (#16)
Instant Punk Classics (1994) Anagram

References

External links
Notsensibles Official Website 2014

English punk rock groups
Musical groups established in 1978


'Contessa' star, just like the others, had an unpleasant experience while processing her documents in government agencies, specifically in the Department of Foreign Affairs.
In a series of tweets, Lauren aired her frustration after a personnel from a window told her transfer to another window and waited for three hours only to be told to do the same.
Processing for documents in the Philippines makes me wanna pull my hair out, scream and have my eyes roll back. Basically an exorcism.
"Guy in window 1 told me I have to get a document but should verify with window 2 if it's necessary or if theres something they can do for me. Waited in line for 3 hours to get to window 2 only to be told the exact same thing. Salamat! #DFAHorrorStories," Lauren added.


text:
Take A Bird's Eye View.
Perfect Storm 3.5
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Move Out Of Flatland. Take Precedence.
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overview features Quality Usability Reviews
Aether is an award-winning, ultimate quality, self-modulating algorithmic reverb. It is used daily in the worlds largest music, film, television, and game productions and is heard daily by millions of listeners around the world. It remains one of the industy's undisputed champions of traditional reverb design.
•	Effectively two plug-ins in one: ER Engine and LR Engine	•	Discrete Early Reflections engine with 33 Space Type Models	•	Unrivaled Late Reflections Engine with unique features	•	Attack & Sustain Envelope	•	Variable Q Damping Decay Curve	•	Proprietary Spectral Modulation
Sublime space, both classical and modern...
•	World-class GUI design that communicates critical information effortlessly	•	2x & 4x Oversampling	•	Double Precision 64bit DSP	•	64bit Host/OS Support	•	Band-limited Interpolation	•	Variable Quality Modes	•	Extreme Off-line Render Modes	•	Intelligent Space Type Macro Controls	•	Diverse Frequency Profile Macros	•	Comprehensive Preset Browser	•	Immediate Parameter Accessibility	•	Instant algorithm browsing	•	Mid-Side modes	•	Cascade Control	•	Complex Stereo Modes	•	Flexible EQ/Filter Routing	•	Huge Parameter Value Ranges	•	Comprehensive FX Presets	•	Complex & Clustered IRs	•	Late Reflections Coloration	•	0-Sample Latency
Let's face it: not everyone is going to become an expert in algorithmic reverb preset design no matter how easy we make it. Well don't despair, we've done most of the work for you. Let's run the stats:
• 1,334 Total Resources Currently Availble
• 451 Factory Presets in 20 classes
• 100 Frequency Profiles in 4 clases
• 33 Space-Type Macros in 6 classes
• 223 presets in the Precision Halls Expansion
• 217 presets in the Small Sublime Expansion
• 160 presets in the Integrity Expansion
• 150 presets in the Creativity Expansion
In addition to the stellar collection of presets in the factory installation and two expansion packs, several other features make designing and editing presets a quick and painless process:
• 6 macro control knobs on the preset browser page
• 2 display-based macro controls on the main page
• 3 parameter link and 6 paramater lock buttons
• Boundless inspiration and enjoyment: priceless
Aether 1.0 took the industry by storm in 2009, and established itself as the leading native algorithmic plugin on the market. Through its combination of quality, innovation, and usability it quickly rose to the top of market as the go-to reverb of 2009. It was awarded several prestigious industry awards along the way including, Electronic Musician's 2010 Editor's Choice Award, Computer Music's Editor's Choice & Performance Awards, Musician's Life Editor's Choice award, and others. Aether 1.5.0 rose the bar once again in April of 2010, and took native algorithmic reverb to a whole new level by offering a huge list of industry-first advances in terms of audio quality and functionality. Aether 1.5.1 expanded the market reach to the Pro Tools community, offered existing users a large number of new free presets, and provided other miscellaneous enhancements to raise raise the bar yet again. 2011 saw the launch of Breeze, Aether's eco conscious cousin. 2012 continued the legacy ever farther with the launch of B2, our modular dual-engine non-linear monster. Aether 1.6.0 was released in October 2013, and offers a completely modernized GUI and Systems code-base that brings many significant enhancements including: 64-bit OSX support, Pro Tools AAX support, a significantly enhanced preset browser, double-sized High Definition GUIs, and up to a 20% increase in efficiency on some systems. We hope and trust you will be just as excited about the whole family as we are.
Purchase Full Version
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Compatiblity
Aether is available for VST and AAX hosts under Windows 7, 8, or 10. Both 64-bit and 32-bit versions are provided for all formats.
Aether is available for AU, VST, and AAX hosts under Mac OSX.7 or higher. Both 64-bit and 32-bit versions are provided for all formats. An Intel-based CPU is required for Mac OSX. WE DO NOT SUPPORT PPC.
Aether has been tested in the current versions of the following hosts: Acid, Audition, Bitwig, Cubase, Digital Performer, Energy XT, FL Studio, Live, Logic, Max 5, Nuendo, Peak, Project 5, Pro Tools, Reaper, Sonar, Sound Forge, Soundtrack, Studio One, Wave Editor, Wavelab... Other Various VST and Audio Units hosts for Windows and OSX platforms should function normally as well and will be added to this list as they are tested and confirmed.
Legacy formats including RTAS and Windows-XP-capable versions are available upon request, but not officially supported.
" ...an engineer's wet dream. The outstanding sound quality, deep programmability and great price make Aether the reverb plug-in to beat!" "
- EM, US, 11/09
" The universe of native reverbs has a new gold standard. "
- Recording Mag, US, 10/09
" This is a damn fine reverb and 2Caudio should be very proud...	"
- Sound On Sound, UK, 09/09
" One of the best algorithmic Reverbs we've ever heard! "
- Computer Music, UK, 05/09
" Aether offers world-class reverb at a great price.. "
- Mix Magazine, US, 09/10
Organic Variance
Say no to static convolution processes...
Unlike convolution reverbs, Aether is not a static process, and no two instances of Aether are ever exactly the same. The same is true in real world acoustical spaces as well: a building's acoustical character may vary slightly depending on several factors such as its current occupancy, and even more subtle things such as the current temperature and humidity. Thus, acoustic space itself is alive in the real world and is constantly shifting, morphing, and evolving to produce a complex array of potential impulse responses. A sampled impulse response of a real acoustic space, can be quite accurate for that particular moment, but it tells only part of the story. It is like a picture of a lake, versus the lake itself. A lake in the real world is unlikely to spontaneously develop waves the size of those found in the ocean, but it is never quite as still as a picture either. Aether's approach does not simply sample one static picture in time, but rather captures the complete subtly of the dynamic chaotic processes found in life and it retains all the detail and organic feel of these processes. Aether is alive!
Non-Exponential Decay
Reverb energy in nature decays exponentially - that is to say that it decreases rapidly after the sound source has stopped emitting sound. This is probably a good thing in nature as we would not want to hear a thunder boom continue on for weeks after the lightning strike! In musical applications, however, often we would like the reverb to remain higher in volume for a little longer as to augment the sense of space around a particular instrument. When using traditional exponentially decaying reverb designs, producers and engineers often resort to raising the gain of the reverb to achieve this goal. They soon realize, however, that the rest of mix gets muddy very quickly, and so they reach for their gates to compensate for this problem. This of course results in its own set of complications, and in the words of the immortal Wesley Snipes, is a bit like trying to ice-skate uphill. Aether offers two controls, Spread and Sustain, to keep the energy in the reverb tail higher a little longer than normal without muddying the mix and still allowing a natural decay down to negative infinity. Aether also offers an Attack control to shape the reverb tail's attack envelope to allow for slower build-up as is found in larger buildings. These combine to provide the ultimate control over the time envelope of the Late Reflections. For more information on this topic, please download the Aether Manual available in the Links and Downloads section above and read the "Understanding Aether's Time Envelope Controls" section.
Ster-E-Oh-My-God
Most software reverbs on the market are effectively Mono-to-Stereo processes and even when they are inserted on a stereo track, the stereo input is first summed to mono and then fed into the reverb. This is fine for mono sources, such as lead vocals that are panned dead center, but it is generally not desirable for stereo sources or for use on send busses where several panned instruments share the same reverb. The problem with this is that the stereo image of the source is collapsed and lost in the diffusion of the omnidirectional reverb. In such cases the spatial information and panning of the source is disregarded and all sources are assumed to come from one point within the reverb. Ultra high-end hardware companies have known this for decades and offer advanced modes including True Stereo and Dual Mono. Aether offers the same modes in software form, and goes one step further by offering "Cross" and "Width" controls that allow the reverb to blend seamlessly from Dual Mono, to effectively a Summed Mono input, to Dual Mono with reversed channels, and anywhere in-between. Finally, Aether also offers the traditional Mono-to-Stereo mode to reduce CPU usage when needed. For more information on this topic, please download the Aether Manual available in the Links and Downloads section above and read the "Understanding Cross and Width" section.
Aether 1.5 now offers the choice of four stereo modes for both ERs and LRs. Furthermore, these modes can be set independently, which when used with the new Cascade control, can create an entire universe of interesting new spatial effects.
•	L-R Mono: A Mono-to-Stereo process where Cross controls the Left-Right input balance. For example, add reverb to only the Left channel input from a stereo input, or collapse the input to center and use this mode to save CPU usage.	•	L-R Stereo: A Stereo-to-Stereo process where Cross controls the relative input position of the source. This mode achieves true stereo, dual mono, reversed panning, partial mixing of channels to give variable degrees of source separation, and complex 3D dimensionality when used with Cascade. •	M-S Normal: A Mid-Side process where Cross controls the Mid-Side input balance! For example, add reverb to only the side signal from a stereo input, or the mid signal, or some mix of the two. This allows centered mono instruments to stay dry while adding extra reverb or ambience to the supporting instrumentation, and is excellent for mastering needs!	•	M-S Relative: A Mid-Side process where Cross controls the relative Width of the reverb signal and Width becomes an output panner! For example, feed Aether a mono signal, and receive a mono output. Feed it a wide stereo signal, and receive the same output. Or reverse the behavior! This mode is excellent on omni-directional sounds such as synth pads and ambiences or dense mixes which already contain complex spatial information, and is excellent for special FX use!
Freq Out
And keep only what you want. Aether employs an industry first, advanced frequency dependent decay time scaling process that allows users to specifically sculpt and carve custom reverb damping curves with unprecedented flexibility. Aether divides the audio frequency range into three frequency ranges and allows each frequency range to have its own time scaling factor. To add further flexibility the "Q" or filter slope of both filter cut-off points is adjustable from 0.05 to 1.00 to allow extreme variance from gentle sloping curves to extremely steep ones. This allows the users to keep the mix clean in critical bands while allowing more space in others, and it allows preset designers to achieve both ultimate realism and intentional supernatural effects.
All frequency control settings in Aether 1.5 can be set at full frequency range from 8.00hz to 32,768.00hz. In other words, Aether 1.5.0 offers a twelve octave frequency response range. Infrasonic (<20hz) and ultrasonic (>20kHz) frequency cutoffs can be useful to achieve gentle roll-offs of extreme frequencies within the hearing range. Furthermore all filters have phase characteristics which are generally most severe at their cutoff points, so moving the cutoff outside the traditional range of human hearing can be desirable for those obsessive enough to care about such things. Additionally, Aether 1.5.0 allows filter routing to be reversed. In version 1.0, the EQ was always an input EQ and the HF Soft filters were always on the output. Aether 1.5 offers a button to reverse this behavior and put the HF Soft filters on the input and the EQ on the output. This can be useful for high pass and narrow-band needs.
Maximum Modulation
In addition to the intrinsic variance found at the very heart of the Aether algorithm, Aether also offers even more modulation possibilities to keep the verb from sounding dead and static. Two simple modulation controls are offered to invoke additional random LFO modulations in the Late Reflections section of the algorithm. The Modulation Rate and Period controls create musically-pleasing, randomly shifting resonances in the spectrum of the diffuse Late Reflections. Modulation period length extends to over eight minutes to allow for imperceivably slow shifts in the resonance of the reverb tail that guarantee the reverb sound will never be exactly the same over the course of an entire song. This completely eliminates the metallic sound which plagues many inferior reverb designs on the market. In Aether 1.5, the modulation Period range has been vastly expanded and the modulation rate is allowed to move into the audio range in the extreme setting which can make the it behave like chaotic FM synthesis. This can be very useful for novel special effects.
Beyond Reality
Don't be limited to only that which you can capture with a microphone. Why contract NASA to build you a $10 billion, 1000-meter geodesic dome made out of the latest nano-material buckyballs to provide a negative refractive index so that you can run your sine sweep impulse through it and capture a static IR? Instead, simply use Aether in some extreme settings to achieve the result you are after. Want a 120 second reverb that decays quickly in the mid range, but sustains more in the highs? Need a reverb that decays infinitely in a one octave mid-range band while all other frequencies fall always quickly, and at the same time reverses it's panning of the late reflections? No problem. Have it your way! You are limited only by your imagination.
Aether 1.5 offers ER Pre-Delay to allow ERs to be independently delayed from LRs. This is useful for creating "slap-back" type presets and special FX, and modeling large outdoor spaces which have distinct echoes late in the tails. Additionally, Many parameter ranges have been vastly increased to allow more extreme settings and explore new possibilities. For example, maximum ER Size has been changed from 100 meters to 250 meters and LR Size range is now also 1 to 250 meters, whereas previously the range was about 3 to 60 meters. This change thus represets a ten-fold increase in the Size range, is generally at least four or five times larger than the competition, and opens up a whole new universe of creative possibilities.
Cascade & Porter
As mentioned elsewhere, Aether is comprised of two separate and distinct stereo engines. In earlier versions of Aether and all other products on the market that we are aware of, these two engines alway operate in parallel. Aether 1.5 introduced the Cascade control. The Cascade control allows Aether to run in Serial modes where the output of ER Engine is fed into the LR Engine, or vice versa. The Cascade control does not simply force the user to choose between parallel or serial operation however. Instead, it allows the user to seamlessly morph between these two modes and create hybrid states whereby some of the output signal of a given Engine is fed into the other Engine, and some is fed directly into the master output. This allows for tremendously flexible signal routing which is all accessible from a single control. Cascade has several uses:
•	Perceptually recede the ER reflections back into the depth of the stereo field to deepen the sound stage perception. •	Glue the ERs and LRs together to some degree to function as a synergistic whole. •	Aid in the creation of 3D sound-fields via careful use of Stereo modes and Cross	•	Add additional density to the resulting composite system impulse response	•	Impart the coloration and characteristically uneven frequency response of the ER Engine into the LR Engine to various degrees to roughly model room modes in acoustical environments	•	Assist in creating very dense composite impulse responses which are useful for Non-Linear, Plate, and Ambience type of presets	•	Model large irregular and asymmetric acoustic spaces where there is a sense of semi-discrete, clustering, grain-like, or "chunky" behavior later on in the tails	•	Emulate Physical-Modeling-like behavior of highly chaotic small systems which exhibit strong comb filtering effects and resonances	•	Special FX creation. The Cascade control becomes even more powerful when one considers the other new Aether 1.5 features. With careful use of settings the user can allow Aether to function almost like a three engine device where it can provide a third ghost output signal component which is a sophisticated hybrid between the two existing engines.
Insanely Great
B2 offers the same advanced quality options that we introduced to the world in Aether 1.5. The features described below are designed to work synergistically to achieve a full frequency, perfectly band-limited, artifact-free system. To our knowledge, 2CAudio remains unique in the algorithmic reverb market in these areas. Algorithmic reverbs in the past employed modulation to hide moderate to severe artifacts in their processes, but these compromises in turn created their own side effects such as increased noise floor, unwanted high frequency decay, and the creation of aliasing. In comparison to previous competitive products, our previous generation algorithms had very few artifacts. At the highest offline quality settings, B2 effectively has none all the way down to our dither noise floor level, and can conceptually be thought of as an analog process within its band-limited frequency range. Numerically this translates to noise and alias suppression of significantly greater than 144dB and a perfectly flat frequency response to 21Khz at a 44.1 sample rate, and 36Khz at a 96K and higher sample rates! In raw technical audio specifications, we believe B2, together with Aether, are unrivaled in today's market.
Double Precision
All critical aspects of B2's internal DSP code are performed at 64bit "double precision" resolution. B2 employs a balanced approach in this area by using double precision only in the areas of the algorithm that would see appreciable benefit, while retaining single precision (32bit float) elsewhere to minimize CPU and memory requirements. This feature results in amazing clarity in B2's filters. Without the use of double-precision DSP, rounding errors can build up in the recursive structures of competitive algorithmic reverbs, and this can lead to a rapid increase in the noise and muddiness. This can be especially a problem with long reverb times and small sizes. B2 completely eliminates these issues and offers pristinely clear reverb tails over its entire huge decay time range.
Oversampling
B2 allows 1X, 2X, and 4X oversampling options. Oversampling allows B2 to internally run at a higher sample rate than the host sample rate. Oversampling increases filter quality, improves high frequency response, and reduces self-noise of the algorithm. Oversampling can also significantly increase the clarity in the high frequency range and help transient response. Furthermore, oversampling allows extremely flexible decay filter and EQ settings to be used which would otherwise not be possible at normal sample rates. B2's oversampling method is extremely high quality and does not add any artifacts or appreciable latency of its own, which we should note, is no easy task to achieve. In B2 oversampling may also be set "Per-Preset" which allows multi-instances to use different settings as needed to increase efficiency and allows presets to be optimized for a specific oversampling state.
Band-limited Interpolation
B2 offers three interpolation quality settings: Excellence, Perfection, and Obsession. Interpolation is used extensively in B2's modulation methods and allows non-integer sample delays. The "Excellence" mode offers the best compromise between quality and performance. The Perfection and Obsession modes employ highly advanced mathematical techniques to achieve completely artifact-free band-limited interpolation, which is free from unwanted high-frequency damping, and perfectly suppresses aliasing at the same time. Both of these modes are extremely heavy on the CPU and only available during offline bounces. The Perfection mode represents, just that for 95% of all musical needs. The Obsession mode goes beyond all reasonable performance bounds for users who are willing to wait for the ultimate fidelity for high resolution audio production and mastering needs. Be forewarned: it's not a fast process by any means, and is complete overkill for most needs. We offer the Obsession mode anyway as proof of concept, and for those of you out there who may be as obsessive--and patient--as we are.
Mathematically perfect analog reconstruction...
Offline Render Options
The perennial "Performance vs. Quality" trade-off has now become obsolete! B2 allows two independent sets of its various quality settings: one for Realtime use, and one for Offline bounces. As such users can set Realtime settings to a level appropriately matched to their project needs and available hardware power, while at the same time automatically invoking extreme quality standards during Offline bounces. This concept is quite similar to techniques used in video rendering applications where one has a Preview and a Render quality, except for the important point that B2's lowest Preview/Realtime quality is already at an award-winning level. Continuing then with the video rendering analogy, B2's lowest Realtime quality setting could be metaphorically thought of as roughly equivalent to Blu-Ray's 1920*1080 resolution, while its highest offline quality settings might be considered as something like 4K or 8K Digital 3D Cinema!
A Picture
Is worth 1000 words or in our case over 75 parameters. Aether's algorithm is conceptually divided into two parts: Early Reflections, and Late Reflections. The early reflections stage provides discrete delay patterns, which provide spatial cues that identify the nature of the given acoustic space. Aether mathematically calculates and subtly randomizes these ER delay patterns in pure floating point precision based on an incredibly complex algorithm that is designed to accurately mimic physical reality. This part of the algorithm consists of over 75 variable parameters which control the characteristics of the resulting ER patterns. In effort to maximize usability and user friendliness, this complexity is hidden from the user, and is instead wrapped into a single visual macro called Space Type. Thus the user does not have to deal with complex esoteric DSP parameters that only a physicist would understand and instead he simply chooses visually the type of environment he would like to use, and Aether makes the appropriate changes to the algorithm behind the scenes. 33 different default Space Types ship with Aether, and the interface provides five additional control knobs to customize their most important aspects. These controls allow adjustment of the size and geometrical shape of the Space Type default as well the positioning models used to determine where the sound source and listener are in the room.
In a real acoustic space there is no real distinction between Early and Late Reflections and the entire composite response of a real acoustic space consists of ERs, LRs, and frequency characteristics of the given environment. Thus in order to truly represent a given space accurately all three of these things should align to meet the characteristics of the acoustic environment. Aether offers an intuitive solution to this issue by providing a Link button that allows various parameters to be linked to the Space Type macro control. The additional ER controls, the LR controls, both set of controls, or none of the controls can be linked to Space Type. This way, when a user selects the "Telephone Booth" space for example, an appropriate size and reverb time can optionally be set automatically as well. Of course the linked parameters can then be adjusted by the user as desired and hybrid presets can also be developed by quickly combining the characteristics of two or more different space types. The end result is a balance of maximum ease of use and ultimate flexibility.
Freq Profile
No it's not an online dating term. Aether 1.5 implements a Frequency Profile menu system. This feature functions in a similar way to the pre-existing Space Type system used in the Early Reflections engine. It is effectively a macro control that allows the Input EQ, Damping Curve, and High Frequency Softening filters to be saved and recalled as a set in different fashions. Frequency Profiles consist of a total of 15 different parameters on the GUI, which can all be changed as a unified whole with a single click on the display of selection from the menu system. Furthermore, we employ a Link control to allow users to customize the recall behavior of the system. Aether 1.5 includes 100 Frequency Profile presets organized into different categories for maximum ease of use. The new Frequency Profile system works together with the Space Type system to create a very simple way for new users to try over 3,000 possible preset permutations simply by clicking on two controls. Furthermore it allows over 60,000 preset combinations when used together with the new preset expansions.
Engaging GUI
Simply take a look at our interface and then compare to the competition. Aether's engineering robustness, precision, and sound quality are second to none, but who is to say that a reverb interface must be cold, sterile, and unwelcoming? We did not get the memo. Most of our customers are musicians, not scientists, and so as such, we took the liberty to have a little fun and get a little creative. We use things like color coding, macro controls, and parameter linking to make things intuitive and painless. We think you will appreciate it, and will find our efforts welcoming and inspiring. At the same time, we did not sacrifice any degree of control for the power user. Consider as one simple example, that behind our sexy and good looking knobs, lies a floating-point parameter system whereby you may text-enter any value you choose in full floating-point precision and this is the value that will be used by the algorithm and saved in the preset. Want input gain to be -11.347841 dB for some reason? Simply text enter it and that is what will be used. Or just move the knob by feel like a normal human. You decide. It's up to you.
Extreme Efficiency
Audio quality is the number one design goal of Aether, and we have taken a no compromise approach to achieve that goal. Having said that, we recognize that most users do not have a supercomputer in their basement and we are very well aware of the need to run the plugin on real-world systems of varying degrees of processing power. Aether's core DSP engine is highly optimized. Most of the processing code is written in low level assembly language and is manually tuned to squeeze the maximum power out of your existing system. Our development is Intel-only and this allows us to focus our energies on doing one thing very well instead of spreading our resources thin by trying to support too many obsolete platforms. SSE media acceleration instructions are used extensively throughout the algorithm. Additionally, the ER and LR sections of the algorithm may also be independently turned on or off to save CPU power when one is not needed. We've gone to great lengths to ensure that the plug-in takes as few cycles as possible so you can load more instances without sacrificing quality.
Pick a Preset
If you have just read all of the past three pages full of detail and are left thinking "I just want a great verb sound! What do all these details mean to me? Do they really matter?" The honest answer: maybe not to you. For you, we have two things to say: First, as stated above, we believe Aether is one of the best sounding reverbs on the market. Period. Second, did we mention the preset browser page? The preset browser page displays approximately 200 world class, professionally designed factory presets which are only a single click away and load instantly. When we say instantly, we really mean it--there is no waiting for an impulse response to load from your hard-drive. A quick scan through these presets will allow you to quickly find exactly the right sound you need for your application and using the browser page instead of the main page will keep you protected from becoming a Space-Time-Freq like the rest of us here at 2CAudio!
" 2010 Editors Choice Award! 5/5 Review Score! Aether is a reverb plug-in like no other. Offering over 40 adjustable parameter controls, many of them unique to Aether, it may be the most programmable reverb plug-in on the planet. But that wouldn't mean much if this processor didn't also sound good. No worries, Aether sounds incredible! Aether is an engineer's wet dream. The outstanding sound quality, deep programmability and great price make Aether the reverb plug-in to beat! "
" For anyone with at least a fast dual-core computer, I can recommend Aether without reservation. It's powerful beyond just about anything else out there, and gobs of fun to mess with. The universe of native reverbs has a new gold standard. "
" Overall I was deeply impressed by Aether's rich and versatile sound and it's the best sounding native plug-in reverb i've heard to date by a long chalk. This is a damn fine reverb and 2Caudio should be very proud of their first baby. "
" 10/10! Editors Choice Award! Performance Award! One of the best algorithmic Reverbs we've ever heard! Fantastic Sound quality. Great for both mixing and sound design. Highly useful tail envelope controls. Excellent categorized presets. ER Space presets system is very cool. "
" I've been a big fan of 2CAudio's Aether algorithmic reverb since its introduction last year. Version 1.5 boasts improved sound quality and terrific new features.. Using Aether's highest quality modulation setting and enabling 4x OverSampling, the sound quality went from great to superb yet demanded only about 5 percent of my Mac Pro's resources with a single instantiation. Aether offers world-class reverb at a great price. "
"	Aether blew my mind. It is really the best algorithmic reverb out there. I will be using it on pretty much everything. "
- Sascha Dikiciyan, LA, CA, www.sonicmayhem.com
" Aether is stunning. A true work of art. It has completely blown me away in terms of depth, and sound quality. Highly recommended if your looking for something totally unique and out of the ordinary for reverbs. Simply Love It!" "
- Richard Devine, Atlanta, www.richard-devine.com
" Aether has a sculptural quality to it that makes it instantly pleasing to hear. It allows you to perfectly shape the space around your sound, giving it an incredible and convincing ambience. It has given me extremely detailed and warm sounding reverbs that are hard to find this good, even from some of the best hardware and software reverbs available. Simply first class. "
- Barry Jamieson, Invol2ver, www.djsasha.com
" For those of you that are considering the purchase, here are my two cents worth: I like many other professionals, make decisions as engineer, producer and musician every day. Often it involves the purchase of products to serve our clients or our compositions. I personally will never make a quality compromise in the gear that I choose in this service. We currently use a pair of the Lexicon hardware reverbs valued at several thousand dollars each. I was not aware of 2cAudio and Aether until I read a review in Sound On Sound magazine, which the studio subscribes to. I checked out the demo, was in full agreement with the S.O.S. review and bought it. (Version 1.01) The Version 1.5 upgrade has taken Aether to a new level. This is the best algorithmic reverb plugin that I have heard to date. It sits in perfect company with the expensive hardware alternatives, and competes directly with the new $1500 lexicon plugin. I love and trust the Lexicon product, and now have the same consideration for 2cAudio's Aether.
Is it worth $250? Well, in opinion, they certainly could have charged much more for it, given it's quality level in professional use. They chose to make it available at this price to make it affordable to a wider group of users. This was a great decision. Don't let the price fool you into thinking that paying more gets you more in this case.
It's a ridiculously good bargain from a company that has integrity, actually listens to it's user base and responds to their needs in a timely fashion. Congratulations in your achievement 2cAudio, and please keep up the great work with all the success you deserve. "
- Doug Blais, Juggling Reality Studios, Toronto
" The depth, density, and versatility of Aether is outstanding! The best i've heard so far from a plug-in reverb! "
- Simon Stockhausen, Berlin, www.simonstockhausen.com
" I've not been this happy over a plugin purchase in years. Now I can get rid of my old hardware units. "
- Carlos Boll, Atlanta
" Aether 1.5 is one of those additions you find yourself spending a lot of time with just because it does so much and inspires you to explore further than necessary because the results are so musical. In that sense it can be more like choosing the right instrument to play a part, than an effect only for the sound. It comes with so many really useful categorized presets, that you can also use it as a "point and shoot" plug in with minimal tweaking to give your sound an edge that I find can be lacking with many plugs available today. With so many plug ins available, it is not often I run into something I feel is a major departure and warrants the time to really dig into it and learn how it can improve my work/workflow. Aether immediately got my attention by adding an emotional depth to the part I was working on. It can bring more "intent" to a mix or track that makes the point of the song stronger in much the same way a great arrangement can. This one stays on my studio rig and my mobile unit." "
- Jack Hale, Nashville, recordproduction.com/jack-hale.html
" I know it's a wee bit nerdy to gush over a plugin, but after dropping 1.5 on a few projects and going nuts over the new options and the high-q rendering... all I can say is: wow. wow. wow. This is even better than I thought it'd be (ye of little faith). And it's not just that, the "cosmetic" update is a total winner, as well - the browser and frequency presets are a joy to use. And the new UI is groovy and clean. This is a 2.5 update at least... thanks so much for your efforts and generosity! Hope you reap lots of new sales, re- and awards for this. "
- Randolph Rueba, Germany, www.ariston.bandcamp.com
" Amazing sound!!! Really lively and unobtrusive when you want it too. It doesn't wash or mud my sound when using typical Halls and is very respectful of the material. I didn't hear any artifacts even on the long tails. The purest reverb I heard without being clinical. Most of all, it is one of the most musical reverb I've heard. It's the first time I got genuine shivers working with a plug-in on how it takes a raw sound and makes it shine and vibrate! And I'm a reverb addict! You did a marvelous job, it was worth the wait! " "
- Francois Jolin, Montreal, www.eonsounds.com
" Aether is my go to verb, and for realistic and creative purposes its the first on my effect sends! Now that 1.5 has been released I m blown away by it and can safely say i'd be lost without it. "
- Paul Sureno, UK www.sureno.co.uk
" Aether has a level of 'in the box' quality and refinement that just screams 'very expensive hardware' but it also seems to go beyond this. Aether has also got a wonderful and unique identity in a very swamped world of plug-in reverbs. Fabulous! " "
- Austin Noble, UK, www.austin-noble.com
" When I first tried Aether 1.5, I maxxed out the quality settings and put the mix at 100% effect. I was just playing a piano sound through the reverbs and for the first time ever for an algorithmic reverb I didn't turn the mix knob back. I just sat there for half an hour listening and I couldn't get over how nothing bothered me and how great it sounded. It was actually an emotional moment. I'm really curious to see where 2CAudio is going to take us in the future. Thank you again for this awesome gift, and by all means, keep up the inspired work! "
- Stephen Angelini, Montreal
" From the very first time I had the expreience of working with Galbanum creations with Metasynth, their 'quality' was what REALLY shone out. You can hear the care and precision in their work. Aether impov is awesome... not only as a 'standard' reverb but also as an incredible sound shaping/mangling tool.. And the QUALITY shines through. Is it worth the money? Well to me it is. Andrew is a very helpful guy too, not that that make the reverb sound any better.. but it's better to deal with good people.. isn't it? Top work kudos and a BIG thanks for this 1.5 free update!! WICKED! "
- Marcus Vandell, Spain, soundcloud.com/acrossdigital
" Yes, 2C Aether is worth it! You can make whole soundscapes with one VST preset and 2 notes playing an average preset. Andrew Souter is one of the 'support-your-product' legends. Support is everything for me. Support plus excellent software is super rare. "
- Edwin Lynch, Washington
" I'm really loving this new verb, infact all other verbs at my disposal are now a bit defunct, I certainly won't be using Convolution verb which I had some samples of the big hardware verbs for, they pale in comparison. Your reverb sounds, beautiful, smooth, very transparant and requires very little processing to get it to fit in a mix. It is also very versatile and works equally as well for small, medium and long reverb. You've done a great job at keeping cpu consumption down without comprimising sound quality. All in all I'm very happy with my purchase. Cheers... "
- Adam Fitzgerald, Oxford
" Fabulous reverb.....technical specs and formal applications aside. I find Aether is incredible for all sorts of maxed out creative atmospheres and other odd ball weirdness which I think it excels at, you can throw lots of stuff at it all at once and it keeps musical and coherent (or not)...dense, deep and with great perspective, you can make the sources just melt and bleed into the whole sound stage, I would even say it has the lush factor, warm and engaging, Aether can also generate a very intense and enveloping feeling to it depending what you are doing with it. "
- Richard Morris, UK
" I didn't even try the demo. It just looked great. I love Galbanum's Abstraction Sample Series so I knew it would be good. Aether looked so good and fitting for my current BBC TV project, "Kingdom" that I didn't really mind... So I bought it instantly. And now that I have it working, I can say, I love Aether. "
- Mark Russell, London
" Being somewhat a reverb junkie, I recently demoed and purchased Aether. In an ocean of VST plugins, and sea of reverb plugs, it can be very difficult to keep track of software that truly stands out. And in that sense, I would recommend anyone currently seeking out a reverb plugin, to take a look at Aether.I really appreciate its open, spacious, and smooth sound. Organic, breathing, and alive, with none of the metalicness found in many, if not most plugin reverbs on the market today. "
- Nexusdawn, KVR
" I've always wanted a nice Lexicon or Eventide, but I can't justify spending that much on a reverb, even if it is hardware. And, admittedly, the $250 price tag for Aether seemed pretty extravagant to me, considering that it is "just" software.... until I spent an evening with the demo! " "
- Cryophonik, KVR
" Brilliant! Thanks so much- i'm starting to feel Aether is the best software purchase i ever made! New version sounds fantastic! "
- Billy White, KVR
" I just want to say that I truly appreciate the amount of work, effort, passion and creativity that you've put into Aether 1.0 and 1.5. It's designers like you who incite change into the entire musical software industry for the better. As I am beginning to wrap my head around this incredibly deep plugin (instrument?), I can see myself growing with Aether for years to come and it becoming a staple in my aural arsenal. I look forward to learning even more about what is possible with this sublime piece of kit. "
- Evan Margol, Michigan
" Aether 1.5 is fantastic. What an incredible update. And free as well. I am simply blown away with all the new features, quality settings etc etc. One of the cleverest things I've ever done was getting in on this... "
- Fretwizz, KVR
" Aether can do it all. I don't think any reverb I own can be as transparent as Aether. It can have a really natural sound; something hard to come by in a algorithmic verb. Yet Aether can be colorful and dense too. It can do the spacey, ambient, super-duper long tail stuff. It can do the modulated EMT style sound. For me, where Aether sets itself apart are the tail shaping and spacial controls. I'm still getting my head around what I'm actually doing. I don't know what I'm doing, but I like the result. Hopefully I'll have it nailed soon. The latest update sealed the deal for me. I wasn't all to keen on the first Aether GUI. The new one is a massive improvement to me and now that it isn't as attention seeking I can see how it makes total sense from a design POV. Regarding oversampling: in most plugins I don't notice much of a difference when I turn oversampling on so I've never thought of it as much of a big deal. However, with Aether it seems to make a substantial difference. I can actually hear how it makes the tail smoother and clearer. At highest setting I don't think I've heard anything as smooth that doesn't (I tried to avoid saying this) come rack fitted, with a lexicon logo on the front. Aether is brilliant! "
- Johnathon Hilton, UK, www.audiosabre.com
" I was reading the KVR forum, thinking these guys are getting a bit carried away. It's just a VST after all. I'm getting a few Sax Fills together using SaxLab 2. While I was reading, I decided to stick the Aether Sax Hall presets on it and f*ck me, well it sounds fantastic. I literally jumped back from my Monitors. I wasn't expecting that!!! I would like to take this opportunity to say how very much I am enjoying Aether. It is a teriffic product. I feel very lucky and privileged to have a VST of this quality, available to me. "
- Daniel Hogan, Dublin, soundcloud.com/daniel-aloysius-hogan
" This is the best freakin reverb ever! "
- Yoko K, Washington DC
" Hi, just wanted to say hell yes! I am so happy to be one of the lucky ones who heard about Aether and picked it up. I used at least one instance on every song on my band's album which has been getting great reviews, especially on the "big budget" mix I managed to achieve in my project studio. I contribute much of that on the quality of Aether. The update is phenomenal and I would have paid for it, but genius move on Galbanum's part on the preset expansion packs. I instantly picked them up as soon as I heard about them. I may be done hunting for reverbs. If you are going to buy just one, this might be the most versatile and best sounding verb you can get on any budget. "
- Eric Matlock, Nevada, ericmatlock.com
designersound


text:
var Hacker = function (faker) {
  var self = this;

  self.abbreviation = function () {
    return faker.random.arrayElement(faker.definitions.hacker.abbreviation);
  };

  self.adjective = function () {
    return faker.random.arrayElement(faker.definitions.hacker.adjective);
  };

  self.noun = function () {
    return faker.random.arrayElement(faker.definitions.hacker.noun);
  };

  self.verb = function () {
    return faker.random.arrayElement(faker.definitions.hacker.verb);
  };

  self.ingverb = function () {
    return faker.random.arrayElement(faker.definitions.hacker.ingverb);
  };

  self.phrase = function () {

    var data = {
      abbreviation: self.abbreviation(),
      adjective: self.adjective(),
      ingverb: self.ingverb(),
      noun: self.noun(),
      verb: self.verb()
    };

    var phrase = faker.random.arrayElement([ "If we {{verb}} the {{noun}}, we can get to the {{abbreviation}} {{noun}} through the {{adjective}} {{abbreviation}} {{noun}}!",
      "We need to {{verb}} the {{adjective}} {{abbreviation}} {{noun}}!",
      "Try to {{verb}} the {{abbreviation}} {{noun}}, maybe it will {{verb}} the {{adjective}} {{noun}}!",
      "You can't {{verb}} the {{noun}} without {{ingverb}} the {{adjective}} {{abbreviation}} {{noun}}!",
      "Use the {{adjective}} {{abbreviation}} {{noun}}, then you can {{verb}} the {{adjective}} {{noun}}!",
      "The {{abbreviation}} {{noun}} is down, {{verb}} the {{adjective}} {{noun}} so we can {{verb}} the {{abbreviation}} {{noun}}!",
      "{{ingverb}} the {{noun}} won't do anything, we need to {{verb}} the {{adjective}} {{abbreviation}} {{noun}}!",
      "I'll {{verb}} the {{adjective}} {{abbreviation}} {{noun}}, that should {{noun}} the {{abbreviation}} {{noun}}!"
   ]);

   return faker.helpers.mustache(phrase, data);

  };

  return self;
};

module['exports'] = Hacker;

redpajama_set_name: RedPajamaGithub


Nope, I have certainly not given up on my Kindness Challenge. There has simply not been enough time in the day for me to get online with an update.
So for Day 11, we made another surprise trip on Tuesday. The boys and I decided to take a visit to London, to surprise my mum and dad.
They absolutely idolise the boys and as far as they were concerned, they wouldn't be seeing them until after Christmas.
The journey was a challenge in itself, thanks to half of London being affected by roadworks. The boys cried for the last hour of the journey and we was too late to meet mum at her place of work.
Instead, we made our way to their house, and waited… and waited… and waited.
We called mum to see if she wanted to do FaceTime (so I could find out where she was) and unfortunately, we disturbed her during a Christmas meal with friends.
Dammit! I really should have done my homework.
Anyhow, mum was home within 10 minutes (with cocktails in hand). There was no way she would not rush home to the boys.
She made it just before dad got home from work, we was all at the front door waiting for him.
We are staying with them for a few days in the run-up to Christmas, enjoying some festive fun and plenty of cuddles.
So, all was not lost and it's safe to say the boys made their day.
Aww that's the loveliest thing to do! I've always been of the opinion that the greatest gift is your presence and it sounds like it was definitely true in this case.


Healthcare professionals with the Niagara Health System are now booking speaking engagements for upcoming fall and winter club meetings. Through the free Speakers Bureau, physicians and healthcare professionals share their expertise with community or church groups, schools, service clubs, or businesses throughout Niagara.
Careers in Healthcare – Teenagers learn about the wide range of career opportunities in hospital healthcare.
Designing for the Future – The latest on construction of the new west St. Catharines healthcare complex.
Emergency and Urgent Care – Know the options about emergency and urgent care services.
Fundraising for Healthcare Improvements – Learn about supporting fundraising for healthcare and what hospital foundations are planning.
Hospital Improvement Plan – Charting a new course for care today, tomorrow and for generations to come.
Infection Prevention … Keeping Patients Safe – Learn about the many safety and handhygiene measures in place in our hospitals.
Nursing in the 21st Century – The role of nursing in a changing healthcare environment.
Stroke Care in Niagara – Learn about signs, symptoms, care and treatment of stroke.
Transitioning Care Needs as We Age – Helping families to understand the steps to take and what's available in Niagara as we age.


Congrats to Jake Gagne, BHS – Business Academy – Legal Studies Program student for being awarded Rotary Outstanding Student of the Month. Jake manages to work, is a tri-athlete and maintains excellent grades. He aspires to become a Maine Game Warden. Way to go Jake!!!
Engineering and Architecture student Will Durkin job-shadowing at Wright-Pierce Engineering. He is pictured here with GIS Analyst Tom Hamill. Will also spent time with Project Engineer Rebecca Saucier, Civil Engineer Steve Guerrette, and Chemical engineer Kattie Collins.
A sincere thanks goes to occupational therapist Sue Richardson for taking time out of her busy day to come to the Business Academy – Medical Assisting class and sharing her career with the students. The students all enjoyed the question and answer session and hearing about all the information that was shared.


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Anberlin - Cities
Anberlin returns with "Cities" after releasing two albums that showed this band has a lot of potential, but where they didn't reach their maximum potential. On "Cities" the band throws off its shell and transforms in the solid alternative rock band they are.
(Début)
The instrumental intro to "Cities" creates a mysterious atmosphere, leading into the first track. The chaotic sound with sirens and effects creates an interesting contrast with the rock songs that follow.
The intro is hardly over or lead single Godspeed kicks in. And Anberlin shows they haven't just been sitting around doing nothing. Godspeed is a catchy alternative rock song with some amazing hooks and splendid vocals. The band has grown into a tight rock collective with a lot of power.
Next up is one of the band's best songs, Adelaide. The fast-paced rock song has absolutely radio potential and both lyrically and musically it shows clever songwriting. The band's passionate performance adds extra emotion to the song and the powerful vocals and tight instrumentals make it a highlight on this strong album.
A Whisper & A Clamor
My favorite song off "Cities" is probably A Whisper & A Clamor. The subtle synthesizer has an interesting effect, while the lyrics are among the band's best. The incredible energy the band unleashes in this song is amazing and everything just clicks.
The Unwinding Cable Car
Starting with the melodic intro, The Unwinding Cable Car is another highlight on this album. The guitar is very melodic throughout the song and has some killer hooks, while the vocals are excellent (the echo is interesting). Anberlin passionately brings the words to life with a song that shows they've grown lightyears in their songs that aren't in overdrive tempos. There's definitely an emotional, sensitive side to the song that comes out beautifully.
There Is No Mathematics To Love And Loss
The synths are back in There Is No Mathematics.., which is another well-written song. The band turns up the tempo a couple notches again and gets the energetic juices flowing again. The synths might be slightly overdone but it doesn't really take away from the strength of the song.
Hello Alone
There are interesting contrasts in Hello Alone in loudness, tempo and the chorus is an instant hit in my opinion. One of the songs on this album that have the ability to dominate rock radio.
Alexithymia is a great song, probably the best vocally on this album. The drums are very important in this track that is both rhythmically & melodically complex. The very dynamic interaction between the different musicians are so well done that Alexithymia is definitely one of the best tracks on "Cities".
Reclusion
One of the best built up rock songs on the album is Reclusion. The angsty sound, enhanced by the synths, is one of the drives of this song, along with the tempo and energetic, passionate performance that shows this band is a great collective as well as strong musicians. The timing, which is quite complex at times, is picture perfect and Reclusion is yet another plus on this great album.
We then reach Anberlin's most emotionally laden song so far. The melodic, gentle Inevitable is the ultimate proof Anberlin can pull this off too. One of their best songs, lyrically & musically, and it speaks right to your heart. The band outdid itself in the songwriting department and with a rich and diverse sound (the strings are amazing), they created another powerful song.
Dismantle.Repair.
On Dismantle.Repair. the band varies in tempo, intensity, sound, loudness and lets out everything in their musical arsenal. We can see how complete this band has become musically and how well they can show it to the world.
(*Fin)
The album closer is appropriately titled (*Fin). It's a song that might become an instant classic among the fans. It's another slower-paced song with many melodic lines and great musical sophistication. Vocally it is very strong while the rest of the band is in absolutely perfect harmony with eachother. The song works to an ultimate climax where the loudness and tempo are cranked up. (*Fin) is a modern rock symphony!
With "Cities", Anberlin shows their true faces. There's not a weak song on this album. The band's songwriting has gotten stronger, the performances of the songs more passionate and powerful, and they still have the catchy, energetic and fast-paced rock sound that fits them like a glove. Anberlin truly is one of alternative rock's crown jewels!