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KOMPLETE 14 is our flagship collection of instruments, samples, effects, and preset packs, combining everything you need to craft and curate cutting edge sounds in any genre. Available at a range of price points to suit your unique studio setup, from the fully-loaded KOMPLETE ULTIMATE to the stripped back essentials of KOMPLETE SELECT. Native Instruments KOMPLETE instrument library and production suite includes our latest VSTs, such as MASSIVE, MONARK, REAKTOR, and KONTAKT, available as full versions or as free players.

On the other hand, the carefully thought-out user interface makes Vital a synthesizer that is enjoyable and easy to use. No matter how many crazy modulations are in a patch, you will never feel lost or confused by which source modulates which parameter.

Synth1 is a legendary freeware synthesizer plugin that has been around for ages. Ichiro Toda released the first version of the instrument back in 2002. According to Wikipedia, it is one of the most downloaded VST plugins of all time.

Yet, despite its age, Synth1 remains a relevant virtual instrument. The three things that make Synth1 stand out are its characteristic digital sound, incredibly low CPU hit, and the abundance of freely downloadable presets. Seriously, there are hundreds of Synth1 sound banks that you can download free of charge, some of which were crafted by well-known professional sound designers.

Bottle It! Lite is set in the hectic environment of a Scottishbottle factory and tests a player's skill and reflexes. This freeversion gives players a chance to sample the addictive gameplay ofBottle It! without having to spend a single penny! Very thrifty andvery Scottish!

Most of the soundtrack is non-lyrical ambient music composed by Kelly Bailey and Mike Morasky, somewhat dark and mysterious to match the mood of the environments. The closing credits song, "Still Alive", was written by Jonathan Coulton and sung by Ellen McLain (a classically-trained operatic soprano) as the GLaDOS character. A brief instrumental version of "Still Alive" is played in an uptempo Latin style over radios in-game. Wolpaw notes that Coulton was invited to Valve a year before the release of Portal, though it was not yet clear where Coulton would contribute. "Once Kim [Swift] and I met with him, it quickly became apparent that he had the perfect sensibility to write a song for GLaDOS."[26][36] The use of the song over the closing credits was based on a similar concept from the game God Hand, one of Wolpaw's favorite titles.[43] The song was released as a free downloadable song for the music video game Rock Band on April 1, 2008.[44][45][46] The soundtrack for Portal was released as a part of The Orange Box Original Soundtrack.[47]

Portal is the first Valve-developed game to be added to the OS X-compatible list of games available on the launch of the Steam client for Mac on May 12, 2010,[56] supporting Steam Play, in which buying the game on Macintosh or Windows computer makes it playable on both. As part of the promotion, Portal was offered as a free game for any Steam user during the two weeks following the Mac client's launch.[57] Within the first week of this offer, over 1.5 million copies of the game were downloaded through Steam.[58] A similar promotion was held in September 2011, near the start of a traditional school year, encouraging the use of the game as an educational tool for science and mathematics.[59][60] Valve wrote that they felt that Portal "makes physics, math, logic, spatial reasoning, probability, and problem-solving interesting, cool, and fun", a necessary feature to draw children into learning.[61] This was tied to Digital Promise, a United States Department of Education initiative to help develop new digital tools for education, and which Valve is part of.[62]

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If there\u2019s one thing my kids don\u2019t need help with, it\u2019s being louder. That\u2019s why requiring music classes at school has never made sense to me. I get that exposing them to the fine arts expands their minds and broadens their horizons. I just wish they were encouraged to spend more time appreciating it and less time attempting to create it themselves. Before kids make music, they make noise. That\u2019s the stage where most of them stop. If you\u2019ve never been to a middle schooler\u2019s first band concert, I recommend you try it once in your life. It sounds like a car crashed into a wind chime factory that\u2019s also full of angry geese. In the midst of that cacophony, you might just be able to make out the notes of Twinkle Twinkle Little Star, but only if you can tune out a lot of honking. I should know. I played in those concerts myself. It was a dark but deafening memory I thought I had left in my distant past\u2014until now. My ten-year-old, Mae, has officially decided to take band class next year. All that\u2019s left to do now is determine the instrument of our destruction.

Imagine walking into the grocery store on free sample day. A minimum-wage employee at a booth offers you a small bowl of Sugar Max Cereal. You eat the cereal. It\u2019s good. Then you notice that, behind the free samples of Sugar Max, there are also full boxes of it. The boxes aren\u2019t free, but you don\u2019t have to buy one. You can eat the free sample and walk away. You can even come back to the same booth and get another free sample. In fact, you could come back to the free sample booth every free sample day for the rest of your life and no one will ever force you to purchase a box. But that\u2019s not enough. You\u2019re enraged that buying a box is even an option. Cereal should only ever be free. A factory full of unpaid laborers should make it, unpaid drivers should ship it to the store, and unpaid grocery store employees should hand it to you without even the possibility of currency being exchanged. You fly into a rage and tip over the table like Jesus chasing money changers out of the temple. You feel good about your decision. Now there will be no cereal for anyone for free or for money. You taught the world a lesson about capitalism today. You won the internet.

That\u2019s the gist of the emails I\u2019ve been getting lately. I don\u2019t have a grocery store or a cereal factory, but I do have a Substack account. I send out completely free newsletters on Mondays and a paid newsletter with a free preview on Fridays. If you want, you can read just the free content and never pay me a dime. That\u2019s what literally ninety-nine percent of my subscribers do. I\u2019m good with that. One percent of a big number is still an okay number. That generous minority funds all the other content I put out for everybody else. All I ask is that, if you\u2019re a free subscriber and you want to leave after reading my content and never paying me anything, please don\u2019t send me an irate email explaining why I suck. When you decide not to attend free sample day, you don\u2019t send the grocery store an obscenity-laced letter listing all the reasons you\u2019re leaving. At least I hope you don\u2019t. Given the behavior of a few of you, I\u2019m not so sure any more.

Here\u2019s the hardest lesson I\u2019ve learned as a writer and reluctant salesman: Whether or not you\u2019ll pay for content has little to do with what I have to offer and everything to do with who you are. One morning, I woke up and my total number of paid Substack subscribers had jumped by a thousand. I stared in disbelief. Overnight, my writing income had doubled. I was two-thirds of the way to being a full-time writer. Then I looked at the numbers more closely. Those thousand new subscribers were comped, meaning free. Substack was running an experiment. For one month, they gave a thousand of my most engaged free subscribers a trial premium account to see if they\u2019d pay for it at the end of the thirty days. These were people who religiously read every single free email already. If anyone would convert from free to paid, surely it would be them.

There are some situations in my life where I\u2019m a free sample person, and there are others where I gladly fork over money. I won\u2019t pay for a subscription to Mega Corporation Newspaper. Two free articles a month are enough for me, and giving me a free thirty-day trial subscription wouldn\u2019t change that. It\u2019s not because of their content. It\u2019s because I\u2019m a former journalist who used to work at places like Mega Corporation, first as a full-time reporter straight out of college, and later, as a humor columnist after I built up an internet audience in my own right. Neither tenure ended well, and as a result, I\u2019m not going to become a paid subscriber, even for pennies a month.

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