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Jive will not function with this version of Internet Explorer. Please consider upgrading to a more recent version of Internet Explorer, or trying another browser such as Firefox, Safari, or Google Chrome. (Please remember to honor your company's IT policies before installing new software!) • • • •. I can't get a standalone version of Adobe Acrobat DC Standard to activate. I have two Adobe ID's.one, my personal e-mail, has a Adobe CC subscription. That Acrobat DC is fine and working. At work, I have my work e-mail and we purchased a Standalone copy of Adobe Acrobat Standard DC. When I try to activate it, it says NO SUBSCRIPTION FOUND under my work e-mail. Which should be true.I do not have an Adobe CC SUBSRIPTION under that email. But this is a standalone copy of Acrobat DC. What it does, it finds my PERSONAL e-mail and says I've activated my CC on too many PC's. But I've never provided my personal email to Adobe on my work PC. When I select use a different Adobe ID, I enter my work ID and then it gives that NO SUBSCRIPTION FOUND. I've contacted Adobe but I keep getting transferred (via chatr) to different chat tech support people and they provide fixes that do not fix it. I'd love to just get on the phone with someone and resolve this. I am on Windows 10 and I do associate my personal Microsoft Account on my WORK PC so I am wondering if there is some kind of synced credential going on here. Some ideas I've not tried were to log in locally and install it with an account that has nothing to do with my personal Microsoft account. I did try the domain administrator account on this PC but it still pulled my personal adobe ID when it tried to activate it. I was hoping I could get some help from an Adobe rep here in Spiceworks. I'm patient but this is frustrating to say the least. Garak0410 wrote: ranhalt wrote: Garak0410 wrote: I'd love to just get on the phone with someone and resolve this. I was hoping I could get some help from an Adobe rep here in Spiceworks. I'm patient but this is frustrating to say the least. I don't think Adobe has any GGs on here. But this might be a start for a phone number. Thanks.I sure will give that a try.couldn't find a good number. Went through the whole phone tree.seems like if you don't have either CC or an Elements version, you can't get phone support.:(. Adam Gadoury wrote: Did you try an In Private browser session with IE? This will force it to login with your proper credentials and won't use any stored cached credentials. See if that works? Also was the license registered to your work email? If so how was it applied to that account? If this was a stand alone license are you trying to install from CC or did you use the stand alone download installed for Acrobat? Well, this pops up in a Window and even did so as the Administrator.I may try one more time with a different profile on this PC and see what happens. Adam Gadoury wrote: Not sure what you mean by 'This pops up'? Also are you trying to install from CC or using the stand alone installer? Is you purchased Acrobat using a stand alone license then you need to download the stand alone installer and install using the Key provided as this is different licensing compared to purchasing it as a single app license through Creative Cloud. That's why I'm trying to figure out what license version you purchased and how the license was applied. This is a stand alone installer. Purchased from Newegg.received key and downloaded it. Adobe even sent me to their website with the downloads of Adobe Acrobat Standard DC and used theirs with same results. Sorry, should have been clearer. The Adobe Installer will install and then pop up window (assuming it is a standard system window and not Edge or IE) and it will automatically detect my Adobe Cloud E-Mail when I never provided it on this PC.ever.I want to activate this stand alone and not be part of my CC, by using my work e-mail. Adam Gadoury wrote: Is the CC app installed as well? If so are you able to uninstall it as well as Acrobat and try just installing the Acrobat app? It sounds like it keeps trying to install from CC instead of the standalone app. No.CC has never been installed on this PC ever. Only my Surface Pro 3 and home PC. For some reason unknown to me, the Adobe installer immediately picks up my personal ID when trying to activate the strandalone Adobe Acrobat and as mentioned in the original post, when I do try to activate with work email, it says no subscription found. Which in fact is true, don't have one with work email.just need this stand alone version working. I still wonder if it has anything to do with Windows 10 synced profile/personalizations somehow? Sheena: I think the bigger issue here (the huge elephant in the room) is that Adobe is utterly tone deaf and inept. • there is ZERO support for 99% of the products, including even most paid products • when there is support, any meaning that it could have is lost in translation • the support 'forums' are a joke, manned mostly by 'MVP' talking heads • with each release, the weight of the licensing components increases and their stability decreases • Adobe continues to double down on the subscription model and further delve into forced data sharing for the purposes of mining and sale. You used to be able to purchase Adobe OEM products with a PC and they would simply activate via a code, or come already activated. With Acrobat DC, one MUST create an Adobe ID to activate an OEM product. So 20 PCs, 20 Adobe IDs that somebody needs to keep track of. For what purpose? Of course, so Adobe can count those as warm data points. The nitwits here that know nothing but larger enterprise IT, and the Adobe forum MVP nitwits will say 'That is what volume licensing is for.' Yet a Small Business can get OEM for $79 a copy or pay $299 for VLK. The math is not complicated. For those following along. You can't add an acrobat DC license to an existing Adobe ID. After WEEKS of dealing with support we figured this out. YOU MUST create a NEW Adobe ID for Acrobat DC OEM. We are told that once that is done, then MULTIPLE Acrobat DC OEM seats can be activated with this ID, but we had no luck. So for maybe a dozen customers we are now having to keep track of individual Adobe IDs for EACH user at each company. Worse, there is NOTHING that prevents an end user at a business from creating an ID in their own name with their OWN personal email address. At that point the product is registered to the END USER and NOT the business. Regardless of the 'reason' the BSA sees this as a license violation and WILL count he seat is illegal, even if it is OEM software that came with the PC. It is registered in the WRONG NAME and a violation. The truly ironic part is that Adobe is one of the core BSA companies. Sheena - your kidding right? Call that number - ADOBE DOES NOT PROVIDE SUPPORT almost EVERY SINGLE OPTION leads to a message saying that 'Adobe does not provide support for this product' I was going to type the ENTIRE IVR tree here to be a smartass, but honestly it is so laughable that it is a waste of time. How about this Sheena, before you send people to that utterly useless chat and phone number. DIAL IT YOURSELF and go through EVERY SINGLE tree option. Next, go through the option to get Adobe ID support and try to tell them that you can not get your Adobe Acrobat DC OEM to activate. They will not have ANY CLUE how to help you and instead will send you to chat, who in turn will send you back to support. I got so angry I called the corporate office and attempted to explain the issue. They simply had support call me back and the process started over. Here is a start: Option 1: Creative Cloud Option 2: Photo Plan and Stock Photos Option 3: Other products Option 4: All other products Each menu item leads to sub-menus, where each leads to a message indicating that Adobe does not offer phone support, or any support. In some cases you are asked to contact the reseller, others the forum or chat. But none of them provide you WITH SUPPORT. Let me remind you that your company lost some 50 to 150 million Adobe IDs along with SOURCE CODE, etc. Less than a year later your are FORCING all users of ALL of your products to create Adobe IDs and do so within a framework where THERE IS NO SUPPORT. The entire situation is pathetic. Damn.i wish I had found this 30 min ago. To late for me. Just needed to purchase a single copy of Adobe Acrobat DC for one PC. As I required the software quickly, I purchased it on-line. All good right? But when I purchased, I had to 'sign-in' for the purchase. That makes sense, confirmations, license keys etc. Get the software, download and installed it onto USERS PC. Give PC back to user. User tries to use Adobe Acrobat. It is asking for a sign-in. Sign-in to what, she doesn't have a damn Adobe account!! Apparently I need to give her and the 5 other people that sit at this position.MY Adobe Login. Not bloody likely. ADOBE.This is pathetic. Now looking for PDF programs that work without having to jump through a bunch of frigging hoops. What a waste of $400. They are morons, but they always have been. Adobe has a history of treating customers like criminals and imposing insane licensing verification models on them. The 'creative cloud' licensing crap will bring even the most robust PC to its performance knees and the 'Adobe Account' nonsense is out of hand. When ordering PCs for customers, an OEM copy of Acrobat was ALWAYS purchased. Office (as bad as it is) can export or save as PDF as can most other applications. The rest of the Adobe suite of products has become bloated and sluggish and most require an Adobe account even if a Desktop version is purchased. For example I purchased a desktop copy of LightRoom and the first thing it does is attach it self to your AdobeID for activcation and basically convert itself into the cloud based version, like it or not. So in any reasonable context I (and therefore my customers) are done buying Adobe products. They just are not worth the trouble.
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Tabtight professional, free when you need it, VPN service. Oct 14, 2013 - 71 min - Uploaded by DISCO FULL RAPLost Boyz -Legal Drug Money disfruta dale like descarga AQUI mediafire.com. Legal Drug Money covers the same themes that so many other hip-hop artists were covering in the mid-'90s. The Lost Boyz rap about getting high, being rich, and other topics typical of the genre. The best track on this album is easily 'Renee,' a song about a woman who fell in love with an MC but gets killed. It's a really good. $1,023,838 $1.5M Dear Internet Archive Supporter, I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Our work is powered by donations averaging about $41. If everyone chips in $5, we can keep this going for free. Right now, a generous supporter will match your donation 3-to-1. So your $5 donation becomes $20! For the cost of a used paperback, we can share a book online forever. 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Collect web pages? Who’d want to read a book on a screen? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. We’re dedicated to reader privacy. We never accept ads. But we still need to pay for servers and staff. If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive. Dear Internet Archive Supporter, I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Our work is powered by donations averaging about $41. If everyone chips in $5, we can keep this going for free. Right now, a generous supporter will match your donation 3-to-1. So your $5 donation becomes $20! For the cost of a used paperback, we can share a book online forever. When I started this, people called me crazy. Collect web pages? Who’d want to read a book on a screen? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. We’re dedicated to reader privacy. We never accept ads. But we still need to pay for servers and staff. If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive. A four-man squad from the NYC neighborhood of Jamaica, Queens, Lost Boyz were big for a minute in the mid-'90s thanks to their crossover smash hit: the spooky, caught-in-the-crossfire rap ballad 'Renee.' With members Mr. Cheeks, Freaky Tah, Pretty Lou, and Spigg Nice, Lost Boyz were especially popular in New York, where their thugged-out but down-to-party style was the flavor of the day. Originally released in 1996, this set features 'Renee' as well as their other key singles, 'Lifestyles of the Rich and Shameless,' 'Get Up,' and 'Jeeps, Lex Coups, Bimaz and Benz.' Tragically, Freaky Tah was murdered the following year, and Lost Boyz' two subsequent albums ( Love, Peace & Nappiness and LB IV Life) didn't make much of an impact. While not a classic on par with some of the era's other game-changing hip-hop, this is still a great album from a group that never quite got the widespread props it deserved. A four-man squad from the NYC neighborhood of Jamaica, Queens, Lost Boyz were big for a minute in the mid-'90s thanks to their crossover smash hit: the spooky, caught-in-the-crossfire rap ballad 'Renee.' With members Mr. Cheeks, Freaky Tah, Pretty Lou, and Spigg Nice, Lost Boyz were especially popular in New York, where their thugged-out but down-to-party style was the flavor of the day. Originally released in 1996, this set features 'Renee' as well as their other key singles, 'Lifestyles of the Rich and Shameless,' 'Get Up,' and 'Jeeps, Lex Coups, Bimaz and Benz.' Tragically, Freaky Tah was murdered the following year, and Lost Boyz' two subsequent albums ( Love, Peace & Nappiness and LB IV Life) didn't make much of an impact. While not a classic on par with some of the era's other game-changing hip-hop, this is still a great album from a group that never quite got the widespread props it deserved. The Lost Boyz included Freaky Tah, Mr. Cheeks, Pretty Lou, and Spigg Nice. The rap quartet's first single -- 'Lifestyles of the Rich and Shameless' -- earned them a contract with Uptown Records, which released their second single, 'Jeeps, Lex Coups, Bimaz & Benz,' later in 1995. After the 'Renee' single (recorded for the Don't Be a Menace to South Central While You're Drinking Your Juice in the Hood soundtrack), the Lost Boyz released their debut album, Legal Drug Money. The LP hit the charts and was certified gold. Love, Peace & Nappiness followed in 1997. 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On January 24, 2008, Bell announced plans to officially discontinue its 427 line after current order commitments were fulfilled in 2010. Bell 427 cockpit The Bell 427 is powered by two turboshaft engines with. Like the Bell 407, the 427 uses a four-blade main rotor system with a rigid, composite rotor hub and a two-blade tail rotor. The Bell 427's cabin is 13 in (33 cm) longer than the 407, and consists primarily of composite construction. The cabin lacks the roof beam which obstructs the cabin on the 206/206L/407, and has an optional sliding main cabin door. The 427 offers eight-place seating including pilot in a two+three+three arrangement. Alternate layouts include four in the main cabin in a club configuration, or two stretchers and two medical attendants for medical evacuation duties. • Frawley, Gerard. The International Directory of Civil Aircraft, 2003-2004, p. Aerospace Publications Pty Ltd, 2003.. • ^ Frawley, Gerard. The International Directory of Civil Aircraft, 2003-2004, p. Aerospace Publications Pty Ltd, 2003.. • June 16, 2007, at the. Flug Revue, March 21, 2001. • July 20, 2011, at the. Vtol.org, July 2004. • Healey, Andrew. June 16, 2011, at the. Aviation International News online, September 1, 2004. • Jane's All the World's Aircraft, Jane's Information Group, 2009.. Aero-news.net, February 7, 2005 • December 30, 2010, at the. Bell Helicopter, 24 January 2008. Retrieved 2 February 2013. Demand media. Retrieved 2 February 2013. Archived from on 15 March 2013. Retrieved 2 February 2013. • October 1, 2009, at the. Bell Helicopter • ^ November 18, 2008, at the. Bell Helicopter, January 2006. [ ] External links [ ] Wikimedia Commons has media related to. 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No longer did you have to lust after professional studio time and that Moog – you could now buy software for a couple hundred dollars and no one would be able to tell the difference. Or so the narrative went. The truth of the matter is that there’s definitely a difference between a hardware synthesizer and a virtual version of the same. Lucky for us, we’re currently in the midst of a resurgence, and hardware synthesizers are a booming market once again - a second heyday has arrived. SO - that’s all well and good, but the question still remains - WHY a hardware synth? What’s the difference? The Hardware Synth Difference Now, let’s be clear - VSTs are great, and we’ll use them until the day we die, but Hardware is where the heart is. That doesn’t mean hardware is inherently better, each format is just different, and we generally think there are two main differences: 1. PERFORMANCE Going from a VST to a real, tangible instrument is like watching a concert on YouTube, versus being at the live show. There is a raw performance characteristic that fundamentally changes the experience - and this is very important, because creating good music requires emotion. Direct, flexible, tangible control is important when expressing emotion through sound and being tied to a computer screen forces our brains to think and perform in a different way. Studies have shown that when people read things on physical paper as opposed to on a digital display, they comprehend and retain much more of the content; We believe a similar study could be conducted with virtual and physical instruments and would bear the same results. Plus, nothing beats the workflow convenience - dealing with the generally fickle nature of computers can be a real big downer when you just want to jam. Reliability, lag, drivers not cooperating with your new OS, updates, registration keys, unlocks, DRM. The list goes on. There is something freeing about being able to walk away from the computer and feel like you’re making something with your hands in the real world. Think about it this way - if you’re a guitar player the idea of replicating a guitar on a computer, instead of holding one in your hands seems absurd. Would you rather strum a guitar string or drag your mouse? Therefore, in our mind, performance is the biggest difference. Not only how the synthesizer itself performs, but also how the user interacts with it. SOUND The power you can coax out of a hardware synthesizer must be experienced to be fully appreciated. Like tapping something with your finger and setting off an atomic explosion, playing a hardware synth can be a surprisingly visceral experience (especially with analog synths). Manipulating raw energy through circuits lets us all be Dr. Frankenstein, harnessing electricity and breathing life into our various monsters. Virtual synths have made fantastic strides in the past ten years or so; they sound better than ever and do what they do well - however, we’ve yet to play one that comes close to approximating the intuitive ferocity that is so easily achieved with hardware. An excellent example to demonstrate this difference would be to do a filter sweep on your VST then do one on a hardware synth. You should notice a subtlety and depth in the hardware that is subdued, or that is obviously not as organic as the analog counterpart is. This expressiveness is a singular experience, unique to your particular piece of hardware at any given moment - how warm it is, how accurately it is tuned, and the millimeter precise positioning of each pot, fader and control point on the instrument will provide you with a totally unique experience every time you touch it. OK, I’m Convinced. Well, what kind of synth do you want? All synthesizers follow a basic signal path: Oscillator > Filter > Amp The Oscillator is where you generate your base waveform, a Sine, Square, Triangle, Saw, etc. These different types of waveforms are heard as tones and have different aural characteristics depending on the shape of the wave. So then, you take this generated tone and you send it into a Filter. There are a myriad of different filter types but they all serve the same purpose: to either cut or boost frequencies within the waveform. This is how you begin to shape your sound. We now arrive at the Amp section. Commonly referred to by the ADSR - an acronym for the various types of envelopes to further contour your sound Attack, Delay, Sustain, Release. In addition to these basic features, you will usually have some sort of modulation control over it all. So, while all synths basically do the same thing, each possess unique performance characteristics from one another. By mixing the simple ingredients around, and adding more parts and options you can go from straightforward and inexpensive to complex and your first born. The most common types of synths you’ll run into are: • Analog: This is where it all began. You take an electric signal through an oscillator generate a tone and then run it through various types of filters to shape your sound. No digital trickery here, this is the controlled chaos of fluctuating voltage. Make sure you keep yours in tune! • Digital: The same idea of an analog synth, but recreated in the digital realm. No tubes here, and all the sounds you’ll ever make are stored as 1’s and 0’s on a computer chip. You can however, gain an ease of use and a stability that you do not necessarily find in the analog world. • FM: Most commonly a type of digital synthesis, FM (Frequency modulation) takes the basic idea of shaping a waveform and does it in a more complex way, by layering multiple waveforms on top of one another. This leads to a unique, “dark and gritty” sound that FMs are known for. • Eurorack Modular: Warning: modular synths aren’t for the beginner. Take a complete synth and break it apart into separate components, then rearrange them, or have as many of them in the signal path as you’d like. Think of a highly technical version of synth Legos and you’re on the right track. You can buy synths that look like a traditional keyboard, or you could go after what is known as a synth module. Popular contemporary synth modules like the Waldorf Blofeld and the Roland Boutique lines fall into this category. This is just a synth with the keyboard component ripped out of it, which means you save some money and can use any MIDI controller you may already have as the keyboard. Now that you have a basic grasp of what kinds of synths are out there, the next step is to determine what exactly works best for your specific setup. What do you want to accomplish by adding a synth to your production arsenal? Do you play many gigs? If so, you’ll probably want to go for something small, light and durable. Do you produce a certain genre of music? Well, some synths lend themselves to certain styles much more readily than others. Ambient, Techno, Industrial - whatever your preference there is a synth out there geared toward your musical tastes. The main thing to consider when buying your first hardware synth is the price/performance ratio. How much bang do you get for your buck? You can get a lot of great hardware synths for amazing prices today, but there is always a give and take. The price/performance ratio really comes down to how complex you want/need your synth to be. What about polyphony? Polyphony is how many notes you can simultaneously play on the keyboard. For instance, if you hit every key on an acoustic piano at the same time, every note would sound. That being the case, a traditional, full-size piano has 88-note polyphony. When it comes to the synths, analog or not, increased polyphony gets very expensive. Every time you add another note of polyphony to a synthesizer’s capabilities, you need a new set of internal, electrical components. This raises the cost considerably. That’s why Monosynths are popular, and a great place for price-conscious beginners to start. A mono synth, as the name implies, only allows one note to be played at a time. This lends itself toward a particular style of playing, detached from chord progressions. A good Polyphonic will run you well over a thousand dollars in most cases, so it’s probably best to start with an analog monosynth if you want analog, or a good low-poly digital synth. Do you want multiple oscillators, filters, effects and in/out options? Well, all of those things will cost you. What sort of onboard control and routing do you need? Do you want to send/receive clock data, do you need MIDI sync, USB, an onboard sequencer, CV In/Out, the ability to store and quickly recall custom patches? Do you want to exclusively use knobs, or are you a menu-diver who needs some sort of digital display? Top 5 Synthesizers We hope the above info helps to clear some of the fog away and make the process of joining the hardware synth world a little less confusing. We’ve covered all the basics here and at this point there should be nothing holding you back. Before you can jump in, have fun and make some beautiful music you need a synth! So, how about some recommendations? Let’s cover the 5 best hardware synthesizers - we say best because not only are these 5 synths that stand out as very well-reviewed and well-regarded synthesizers in their own right, but we also chose them with the criteria that they would make perfect starter hardware synths. Moog Sub Phatty Bob Moog was both an engineer and electronic music pioneer, and you probably know him best as being the inventor of the Moog synthesizer. Today, the words Moog and synthesizer are all but synonymous. For any musician, owning a Moog synth is special, since the Moog sound is something that has been often imitated, but never quite replicated. Books have been written on the Moog legacy, so we’ll stop here with the history and cut to the chase. In the modern hardware synth renaissance, Moog is a force to be reckoned with, with a lineup of synths that are visually and sonically drool-worthy. One particular synth stands out amongst the rest when it comes to the most recommended “starter” Moog, and one of the most recommended starter synths in general - the Moog Sub Phatty. So, what exactly is the Sub Phatty? It’s a 25-key, fully analog, monophonic synthesizer (a.k.a. Monosynth, meaning it only produces one note at a time). Don’t be let down about the fact that it’s monophonic; Considering it’s under $1000 and an extremely well built all-analog Moog synth, that’s par for the course. Besides, its strength is not playing chords. The Sub Phatty is an absolute monster (in a good way) when it comes to basses and leads, for which one note at a time is fully sufficient. We’ll talk more about the sound later. First, let’s get into the features. After a straightforward unboxing, you’re looking at a compact 25-key (i.e. 2 octave) synth with a small footprint, which is great for carrying to and from gigs or if desk space is at a premium. Because it’s a Moog, the build quality, fit, and finish is outstanding. The unit just feels solid, and nothing seems to have been compromised. The most striking thing about the Sub Phatty is its layout. Every single knob and button is right there, waiting to be tweaked (the knobs feel great to turn, by the way). There are no LED screens or menus to have to wade through. While some users say this is limiting, it’s almost intentionally so; it’s the quintessential reason why getting a hardware analog synth is so cool. Synth experts will instantly be familiar with the layout of the knobs and sections, but the best thing is that people new to synths and synthesis will quickly come to terms with how to work the Sub Phatty, and what it takes to conjure up awesome sounds. There’s really no other feeling like that of building a patch from nothing, simply by experimenting and starting to understand how things work together. The panel design is intuitive. It’s broken up into vertically divided sections, and you kind of just move through them left-to-right. The leftmost section, PRESETS, lets you pick 4 banks with 4 presets each, for a total of 16 different sounds that you can save on your Sub Phatty. 16 is certainly not a lot, but just think of the presets as starting points to whatever sound you’re going to create. The remaining sections all relate to actually building your sound or patch, and should be familiar if you know anything about synths: PITCH, MODULATION, OSCILLATORS, MIXER, FILTER, ENVELOPES, and OUTPUT. In terms of what you start with, you get 2 oscillators, a SUB OSC (a square wave one full octave below OSC 1), and a pink noise generator. The oscillators are unique in that aside from the usual suspects (triangle/saw/etc.), you get some in-between waveshapes which leads to interesting results. We won’t explain every single knob in this overview, but if you look at the control panel you can plainly see what you have to work with. The famed Moog CUTOFF filter (20Hz to 20kHz range) is a huge knob, which is good because you’ll be reaching for it often. Below the Cutoff filter you’ll find the MULTIDRIVE which basically adds dirt and grit. One more feature to touch on is the keyboard. The Sub Phatty has a 2-octave, 25-key semi-weighted keyboard which feels nice, but some users of the synth find the number of keys a little limiting and cramped. The control panel has OCTAVE buttons which let you shift +/- 2 octaves, which helps. Still, some argue that having more octaves available helps bring more out of this synth. If you get it and feel the same way, you can always use its MIDI I/O and play it using a larger. And now for the most important question: How does the Moog Sub Phatty sound? This won’t surprise you since it’s widely regarded as one of the best synthesizers out there, but it sounds absolutely excellent. First and foremost, there’s the mystical “Moog thing.” In terms of sound the Sub Phatty is nothing that hasn’t been done before, but it delivers sound in a way that only Moog can (“more human than many other synthesizers” is a quote we love from Sound On Sound). This synth excels at leads and basses. The sub oscillator helps make some thundering basses, but make no mistake - this synth is not restricted to aggressive sounds. To quote MusicRadar: “Fat bottomed basses, quavering Geddy Lee-ish lead lines or Moogy flutes are all there for the twiddling once you find your way around the instrument.” You can achieve some very soft, warm, rounded pads; ethereal and atmospheric sounds are a few knob turns away. There is no effects section on this synth, and the prospect to running the dry sound through some effects ( for instance) gets us very excited. By all accounts the Sub Phatty responds to effects quite well. Where the Sub Phatty becomes more versatile and breaks out of its hardware boundaries is with the. To quote Moog, it’s a standalone software for “preset library management, preset sharing, real time editing, and host DAW integration.” Connect your Sub Phatty to your computer via USB, fire up the editor, and voila - it now acts like a VST plugin, with the “brains” still being your hardware Sub Phatty, of course. The editor makes creating, managing, and saving patches easier, since the knobs on the editor and your synth stay synchronized with each other. We’re happy to report the Sub Phatty sends and receives MIDI continuous controller info for every single one of its knobs, so you can record that automation in your DAW. Furthermore, the Sub Phatty has a Shift Mode that lets you access a lot more parameters and controls - it’s almost like a hidden menu. It’s rather complicated however, so beginners might want to steer clear. That said, the software editor makes accessing and adjusting Shift Mode settings much easier. To give you an idea of both the ease of use and sonic power of the Sub Phatty, have a look at this 5 minute video where producer Kurt Kesedar makes a sound suitable for an electronic dance track: Who else likes it? In short, nearly everyone. MusicRadar gives is 4.5 stars out of 5, and says it’s a “truly stimulating instrument that punches above its weight to live up to the Moog legacy.” Sound On Sound touches on that special quality that nobody does quite like Moog: “The Sub Phatty is not cheap, and you can buy two Arturia MiniBrutes for the same cost, or a Korg MS20 Mini and a MiniBrute for little more. But neither of these alternatives sounds like a Moog and, for many players, that may outweigh all other considerations.” A reviewer from KeyboardMag says: “This synth is actually better than my beloved. The price-to-performance ratio should make it absolutely irresistible, even for current Phatty owners. We’re blown away by it. You will be too.” The Sub Phatty also has numerous pro artists singing its praises. Artists like deadmau5, Flying Lotus, AN21, and The Chainsmokers all use it. Bottom Line: It’s nearly impossible to call any one hardware synthesizer the best one, but there’s a strong case to be made for recommending the Moog Sub Phatty over anything else to someone looking to get into their first hardware synth. It’s a very approachable synth, and is laid out so logically that it makes it easy to get the hang of synthesis and sound design. Sound-wise, while it’s a monosynth, its two oscillators + sub-oscillator allow you to create some deep, complex, and powerful sounds. Its Achilles heel might be its hefty price tag - some of the other synths we recommend cost half of what this one does. However, it’s an undeniably awesome synth. If we were searching for our next catchy lead hook or bassline and we had all the synths we recommend in the same room, we would not hesitate to reach for the Sub Phatty first. Best of the Best. Novation Bass Station II The market for low-cost hardware synths has grown tremendously, making the number of choices almost too many to count. Some options are better than others though, particularly those that strike a strong balance between cost, functionality, and usability. Enter the Novation Bass Station II. The Bass Station II is a digitally-controlled, fully analog monophonic synthesizer. This means it has that coveted analog sound with all the stability and benefits of modern day technology. Those benefits include 127 slots of patch memory, USB/MIDI control over almost every parameter, and a robust arpeggiator and step sequencer. On the back it has a USB port, MIDI in and out (no thru, sadly), a 1/4” headphone jack, a single 1/4” mono line out, a sustain pedal input, and an external line in for running other signals through the Bass Station’s filter. The case is completely plastic and lightweight but feels quite sturdy, and the front panel components can take a beating without sustaining damage. The keyboard contains full-sized keys, supports velocity and aftertouch, and feels quality given the size and price. This synth is practically overflowing with features but manages to maintain an intuitive, one-knob-per-function interface that’s simple enough to get the hang of easily while still being deep enough to keep you interested. We could sit here and write an entire essay on the features alone, but we’ll stick to the specs that really set this synth apart from the sea of entry-level synthesizers out there. The Bass Station II features an oscillator section with all the controls you’d find on just about any other modern analog synth worth its salt. However, unlike the average budget analog synth, the Bass Station sports a sine waveform, pulse width modulation through an envelope and LFO, and, most importantly, two identical oscillators. Multiple oscillators on a monophonic synth can be a godsend when trying to create thick and textured sounds. Next to the oscillators, we’ve got a quick and easy little MIXER section that packs quite a bit more punch than it may seem. The sub oscillator can be mixed in one or two octaves below the pitch of the first oscillator, and can be a sine, square, or pulse wave. The last knob in the mix section controls a noise source, the external input volume, and the output of a ring modulator. The Bass Station’s FILTER section is actually two different filter circuits bundled into one. If you get bored of Novation’s “Classic Filter” you can switch over to the acid filter for a completely different style low pass filter similar to that found on a Roland TB303. These filters can be controlled with the LFOs and envelopes on the synth, and can also be overdriven with the Overdrive knob. Finally, the Bass Station II has a built in distortion circuit to add some bite to your tone and an oscillator frequency modulation knob for creating some truly chaotic sounds. Additionally, several other routing options and configurations can be selected with the Function button and the keyboard. One of the mistakes beginners looking for a first synth make is getting tied up in the specs of a synth. It’s easy to get enveloped in all the wacky features some synthesizers sport, without really taking into account the part of the synth that matters the most: The Sound. So we’ve already seen that the Bass Station II has more tools on its panel than keys on its keyboard, but how does the thing sound? The answer is, well, it sounds pretty nice. The oscillators definitely have that warm and crisp analog tone, but they also have an almost digital precision that makes them sound just a bit sterile for an analog. This synth won’t immediately produce that huge drifting analog sound like a Moog or an Oberheim, but considering the two oscillators, the pulse width modulation, the distortion, and the sub oscillator, it gets pretty darn close. The classic filter is a fairly standard and quite versatile filter that can perform a lot of different styles pretty well, especially due to its customizability via the 2 to 4 pole filter switch. The resonance on the filter can get vicious and out of control if you want it to, but we’ve found it’s best at subtle little blips and beeps. The filter is naturally quite expressive and musical, especially when overdriven. The Acid filter, on the other hand, provides an entirely different sound. This filter is quite tame and meaty, with a resonance that doesn’t get nearly as out of hand as the Classic version. We personally haven’t found a need to use it over the classic filter in most situations, but it’s a fantastic way to add more character to your sound. The envelopes are nice and snappy with a broad range, and the LFOs can get ridiculously fast to add some fun texture to the oscillators. Overall, the sound of this synth is not quite as gritty or recognizable as something like the Arturia MicroBrute, but it’s versatile enough to produce a huge range of sounds, from soft plucks to thick basses to absolutely wild FX. Bottom Line: All in all, the Novation Bass Station II is an excellent first synthesizer that we would definitely recommend to anyone looking for a versatile analog monophonic synth that’s simple enough to learn from while still being powerful enough to stay useful down the road. The Bass Station II is a complex machine that almost seems to grow with your abilities. On the surface, it contains just enough information to get you started in synthesis with an easily understood interface littered with knobs. And as you progress and become more confident in your synthesis skills, it presents you with more and more complex tools to play with through the multitude of buttons and switches scattered throughout the front panel. And for the amount of power this synth packs in its sturdy case, the price tag is quite a bargain compared to some similar synths in this price range. So although it may not sound quite as powerful as the iconic analog synth greats of the old days, the Novation Bass Station II is an impressively capable synth with the ability to create some beautifully complex sounds with very little effort. Korg MS-20 Mini The Korg MS-20 Mini is a modern recreation of Korg’s classic analog monophonic synth, the MS-20. Don’t let that fool you though - this is a real analog synthesizer through and through, and the main circuitry remains totally faithful to the 1970s original. This time around, Korg have added some nice extras that make the MS-20 Mini interface more easily with today’s technology - and at such an affordable price it makes for a fantastic first hardware synth for beginners or seasoned professionals alike. We’re going to go through what makes it great, but first a little history. The Korg MS-20 was originally made from 1978-1983. In the decades following it has been used on countless records in varying genres due to its unique tweakable sound. When stores ran out of stock after 1983, you could only buy one second hand - and because it was so highly regarded prices were out of reach for many musicians. Then, seemingly out of the blue Korg announced the MS-20 Mini in 2013 and changed the game for affordable serious hardware synths. This has brought about a trend of great affordable instruments like the ones we discuss in this guide, which are all fantastic pieces of gear for the price. There are now so many lower-cost hardware synth options for budding producers wanting to get their music “out of the box,” and that can only be a good thing in the modern world of stock sounds and infinite computer automation. Korg has introduced some new features to the MS-20 Mini that make it more user-friendly. First of all, it’s smaller - that saves on desk space! Many people have complained about mini keys on other units - this synth doesn’t have that problem, it’s somewhere in between mini and regular sized so adult hands can play no problem. Another new major implementation is MIDI functionality. The MS-20 Mini can receive information through a MIDI in port, which means you can use your DAW to sequence it or just play over a bigger octave range using a MIDI controller keyboard. It also has a USB port that sends MIDI in/out info so you can use it as a basic MIDI controller over USB to control software synths. Be aware the only information sent across MIDI is note on/off. All of the knobs and other features are totally manual. This might be a turnoff for some people - but the original didn’t have MIDI at all, and hands-on tweaking makes for a more fun approach anyway. You’ll have to record your automation in real time like they used to do it! There are two audio outputs, like the original - a main signal out and a headphone out. These use 1/8” inch jacks, so they are a little more fragile than the bigger 1/4” ones from the old MS-20 - however they feel solid enough for general use. The unit ships with a good supply of 1/8” patch cables as well; These are yellow and look great plugged in against the black of the front panel. The build quality is fair for the price. The sides are molded plastic, but the front panel is an attractively solid feeling metal. The graphics and overall design are the same as the original - classic and cool. It looks like something you’d see on the spaceship set from Alien. One of the huge strengths of the MS-20 Mini (apart from the great sound) is that all of the controls are tweakable by hand. This might not seem like a big deal to older generations of musicians, but for anyone who grew up in the internet age it’s a different experience that lets you play the unit like a real instrument beyond just the keyboard. Of course this is no different from other hardware, but it’s worth mentioning because tweaking knobs in real time really does feel way more satisfying than the click-and-drag of software synths. This arrangement makes for more creative sound choices (there are no presets, you have to learn how to program it yourself!). This might seem a little daunting for synth newcomers - there are a lot of knobs and jacks on the front panel - but it’s easier than it looks. Once you get the hang of the basics you’ll be making amazing sounds in no time. And that brings us to the main selling point of the MS-20 Mini - the sound. This is a classic for a reason, and Korg have not skimped on what made the original great. This thing is an MS-20, period. It’s a mono machine for making epic bass and lead sounds, drum sounds, crazy noise effects, you name it. The possibilities are literally endless, but it feels so intuitive that getting lost in making new sounds is actually a lot of fun. If you’ve been following along our reviews of the Moog Sub Phatty and Novation Bass Station 2, synthesis on the MS-20 Mini follows suit. There are two oscillators that can be set to different waveforms. These are combinable via a mixer section to get different basic sounds. These are then sent through the filter section. There are two analog filters: a high pass (which actually cuts out low frequencies) and a low pass, which does the opposite. When you combine the two together, you get some really interesting tones to play with. You can make the filters self oscillate too - one of our favorite tricks is to bring the High Pass filter into self-oscillation near a bass note played on the keyboard. This can make for some Subwoofer-crunching low frequency sounds. We won’t go into the patch panel here (because that requires a little bit more in-depth learning) but suffice to say it makes things a lot more interesting. You’ll be making tasty cable spaghetti all the time with this synth. Bottom Line: The MS-20 Mini really is a fantastic options for an affordable first hardware synth. It’s analog, it’s a classic sounding unit also capable of modern sounds, and the tweakability makes for some serious fun even if you just want to mess around and make noise for a few hours. Best of all, in 2015 Korg announced a price-drop on the MS-20 Mini. This synthesizer has something for everyone and once you take some time to learn how it works, you’ll never want to be without one. If you’re weighing this one out versus the Novation Bass Station 2, the Bass Station is a little more practical, especially because you can save patches on it, and we would recommend it more for live use as well. The MS-20 Mini has a slightly steeper learning curve, but it’s capable of sounding more unique and crazy. Plus, it has the heritage of the original MS-20. If your primary concern is depth, complexity, and variety of sound, the slight edge goes to the MS-20 Mini. If you want something a bit more practical and immediate (and more optimized for bass), slight edge goes to the Bass Station 2. Arturia MicroBrute Arturia were one of the first to enter the resurging market of low-cost analog synths, and the small, feisty Arturia MicroBrute has staked its place as one of the most popular monosynths of this generation. The MicroBrute is the definition of compact. With a surface area similar to that of a shoebox, Arturia have done an excellent job with the layout. Sections are clearly divided and labelled, and spacing between the various knobs and parameter controls shouldn’t be a problem for the average user. As far as connectivity goes, there is a USB port, which allows integration with a DAW; this is also used to access the where further parameters can be changed. There is also a MIDI in port, audio in and standard line out and headphone out. Furthermore, the MicroBrute also features CV connectivity, with a gate in, gate out and pitch out. This makes the unit an excellent companion to a modular set up or other analog equipment. The MicroBrute is a multi-wave one-oscillator monosynth. This means that despite having just one oscillator, multiple waveforms can be mixed and blended to create interesting tones. Furthermore, each wave has its own dedicated waveshaping knob above it, which can be used to bring further harmonics into your patches. Like its predecessor, the Minibrute, the unit features a Steiner Parker filter, and gives us the option of low pass, high pass or band pass. While perfectly acceptable as a standard filter, cranking the resonance up can generate some really vicious sounds. Things get even wilder once the Brute Factor is brought into play, the overdrive and distortion this creates can reach near speaker-blowing levels of extremity. Beneath the filter section sits the envelope generator, which offers us the full ADSR range of control. The sliders feel responsive, and while not with the greatest scope, they can go from long decay and release times to short and fairly snappy with not much trouble. The single LFO is found to the bottom-left of the unit, and gives you the option of a triangle, sawtooth or square wave. Just the one LFO might not seem like much, and with only three waveforms to choose from and pitch being the only destination, it could be thought that the modulation options on the MicroBrute are limited at best. However, Arturia included an excellent feature in the unit which really opens up the sonic possibilities, the Modulation Matrix. The Mod Matrix is by far the most interesting characteristic of the MicroBrute. It contains two outputs, one for the LFO and one for the envelope, and each can be routed to one of six inputs with the handy patch cables provided. This is a fantastic addition from Arturia; sounds can be brought to life with subtle modulation or mangled beyond recognition. Plus, this feature also creates further integration opportunities for outboard modular gear. Arturia included another added bonus with the 64-step sequencer. Simple in its use and implementation, sequences can be recorded and saved into one of 8 slots. It’s great for getting ideas down quickly, but sometimes it feels limited in terms of control, with just a Rest button and a Rate knob available. Access to slides and accents would be great and would really improve the sequencing capabilities. Don’t let its size fool you; the MicroBrute packs a serious punch. The various controls and modulation options allow for the creation of a varied range of sounds. However, the unit’s real forte is in its ability to achieve nasty, distorted tones. Screeching leads and growling timbres can be achieved in the twisting of a few knobs, with sounds often getting nearly out of hand. The unit generally feels solid; knobs, sliders and buttons all sit firmly in place with minimal wiggle. The Mod Matrix connections feel snug and secure, as well as the main connections on the back. The keyboard, however, is perhaps not as solid as it could be. The keys feel somewhat delicate and appear as if they could be easily broken. Bottom Line: If a compact, great sounding and affordable analog synth is what you are after, you’d be hard pressed to find something more suitable than the MicroBrute. It’s simple design and functionality makes it perfect for beginners, but its depth and level of control mean it’s just as suitable for the more experienced user as well. It’s a rock solid bass synthesizer, and is also adept at leads and more melodic tones. If gritty and raw is what you’re looking for, the MicroBrute should be top of your list. It also has the lowest price tag of the top 5 synthesizers we recommend, leading us to name it the Best Bang for your Buck. Korg microKORG If you want a solid, portable, and flexible synth, you’d be remiss to not consider the modern classic, the Korg microKorg. Spawning a synth revolution in its own right and becoming a defining feature of 2000s synth music, it may be little but its mark is huge and its features keep it very relevant. To best introduce this synth, check out this 5 minute video of Austrian producer Dorian Concept showing off how great this little guy can sound: Let’s talk about some of the physical features of this guy. It has 7 main knobs which form a matrix to access all synth functions (once you get the hang of it it’s great), followed by a pitch wheel, modulation wheel and buttons for accessing patches, arpeggiator functions and octave. Of course these are all MIDI assignable so it doubles as a fine MIDI controller. The keyboard has 37 velocity sensitive keys, however they are the much maligned mini keys and lack aftertouch. Speaking of the keys, the microKorg “features” only 4 notes of polyphony (4 notes can be held at a time), which isn’t an issue if you don’t use large chords, but can be a deal-breaker for some. Moving to the back of the unit however there is the useful MIDI THRU/OUT/IN to connect to all your other gear, as well as an Audio Line in section and a section for Condenser and Dynamic microphones. There are also Stereo L/R outs and a headphone out, making this a professional level instrument. The microKorg features 2 digital oscillators with 7 waveforms, DWGS waves, Noise and a VOCODER. Our favorite is the DWGS waves which are a callback to earlier wave synths that Korg made, like the. These have a really nice vocal quality to them which are great for leads and trippy sounds. It would be great if those were modulatable, but oh well. The filter system is also pretty flexible giving you warm 24dB Low Pass/Band Pass/High Pass filters or the more gritty sounding 12dB filters. Of course there is also the 2 Low Frequency Oscillators (LFOs) that are assignable to just about anything you would want to easily give you vibrato/tremolo effects as well as much more interesting stuff, like assigning an LFO to another LFO creating poly-rhythmic effects. Finally, it features a 128 savable patch memory and comes with some usable patches right out of the box. It lacks a sequencer or way to loop phrases, which is definitely unfortunate given that all of Korg’s Volca range includes that. There is an arpeggiator with 8 steps and several functions (Up/Down/Up and Back, Random) but it lacks the in-depth control of a true sequencer. However, this synth really shines by focusing on performance and portability. It can find a quick and easy use in almost any situation, kind of like a Swiss Army Knife. As a starter synth it has almost everything you want right out of the box, and if you find yourself wanting another oscillator, or more modulation or fully analog sounds, it will help hone your ear for what you want down the road. With its 2 oscillators and modulation abilities it can make drones, organs, pads, strings and classic retro sounds. Want effects? No need to buy effect pedals. It has on-board effects such as Distortion, Flanger, Phaser, Chorus, Delay and EQ as well as the VOCODER. This is excellent when you are gigging or even in the studio if you want to avoid all those messy cables. The Vocoder is fun, and there’s hours of entertainment to be had talking like a robot. Bottom Line: Korg hit the sweet spot with the microKorg. If you’re a gigging musician and want something portable, powerful and with enough effects and features to potentially be the ONLY thing you need in a live performance, look no further. Of course the microKorg does have its limits, such as 4-note polyphony, digital sound (as opposed to pure analog like the Korg Minilogue), mini keys, and the lack of a proper sequencer. Its price tag is budget-friendly, and definitely justifiable for the level of features and options this synth has. If you can get past its limitations and want something that can be your only synth for gigging, or you want to add to your creative arsenal in the studio, you won’t go wrong with the little microKorg. Honorable Mentions It was extremely difficult to narrow down our top recommendations to just 5 synthesizers. We stand by our top 5 picks, as any of them would be a more than worthy choice as someone’s very first hardware synth, or complement to an existing synth arsenal. That said, there are a couple synths whose names come up time and time again, and these just narrowly missed out on being included in our 5 best. Roland JD-Xi The most gateway-like synth on this list, in a way. If you are looking for a jack-of-all-trades and master-of-none type synth, the Roland JD-Xi really is the way to go - and none of this is a bad thing. Let’s explain. You essentially have four parts to manipulate: two digital synths, a monologue analogue synth, and drums. Then there's also an arpeggiator and the built-in sequencer; with this, you are able to record and playback your tracks in real-time. The instrument samples are good and they don’t sound too digital or over-processed. There’s also basic effects: reverb, distortion, flanger, phaser, etc. What really makes the JD-Xi different from anything else on this list, especially in its price range, is the included hybrid analogue synth. If you feel like messing with waveforms and sculpting your own unique sound, you are able to do this with the JD-Xi. But if you just want to play some organs or pads, and not mess with any of the knobs, you can do that too. You are able to accomplish almost anything with the JD-Xi and it's a great learning tool for first-timers, as it presents several different options, allowing you to eventually discover the type of sound you like best (and this comes in handy for upgrading, later on, of course). Also, like the microKorg, this synth has a vocoder. Korg Volca Keys If you want to strip away everything and truly challenge your creative side, the Korg Volca Keys will interest you. Often cited as the best budget synth, this is an instrument that truly benefits from being portable. Boasting a true analogue sound, the thing with the Korg Volca Keys is that, though you may have a lot of fun playing the instrument all by itself, when incorporated with other instruments from the same line, namely: (for drums), (for bass), and (for samples and anything else you can imagine), everything changes. The appeal, most certainly, is the price, but if you decide to acquire all of the instruments in the Korg Volca line, then you end up spending almost as much, if not more, than some of the other synths on this list! It really boils down to whether or not you are fine owning several pieces of equipment. If, for example, you are after something that is more singular, then the Korg Volca line might not be for you. Sure, you can accomplish a lot of great things with just the Keys, but at the end of the day, it's made pretty apparent that for 100% efficacy, the entire set is where it’s. Explore Evelyn Titley's board 'Videos that makes me praise God more and more!' On Pinterest.| See more ideas about Praise god, Worship songs and Christian music videos. Piedra Turmalina Negra Donde Comprar Viagra discount. Us discount card for cialis finasteride tablets boots chemist cost of. Us discount card for cialis. 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Office 365 Business Essentials Office 365 Enterprise E1 Office 365 Education Office 365 Nonprofit Business Essentials Office 365 Nonprofit E1 Office 365 A.S. Kerajaan G1 Project Online Essentials Office 2016 atau 2013 versi lesen secara volum Office Professional Plus Pilih langkah-langkah untuk produk anda. Petua: Anda Akaun Microsoft ialah gabungan alamat e-mel dan kata laluan yang anda gunakan untuk mendaftar masuk ke perkhidmatan seperti Outlook.com, Hotmail.com, Xbox LIVE, OneDrive, atau Windows Phone. Jika anda menggunakan sebarang Perkhidmatan ini, anda sudah mempunyai Akaun Microsoft. Gunakan akaun ini sama apabila anda mendaftar masuk ke Office atau cipta yang baru. Untuk mencipta baru Akaun Microsoft, pada halaman Daftar Masuk pilih tiada akaun? Mencipta satu! Anda boleh menggunakan nombor telefon, akaun e-mel anda biasa menggunakan, atau mendapatkan alamat e-mel @outlook.com baru. Untuk maklumat lanjut tentang Akaun Microsofts, lihat. • Masukkan kunci produk anda dan ikuti baki Prom untuk menebus produk anda. Contoh kunci produk Office: XXXXX-XXXXX-XXXXX-XXXXX-XXXXX Langkah 1: Mendaftar masuk ke akaun Office saya untuk memulakan pemasangan Office • Pergi ke Akaun Office saya di. Jika anda belum lagi mendaftar dengan Akaun Microsoft dikaitkan dengan salinan Office buat demikian sekarang. Jika anda anda mendaftar masuk dengan akaun yang berlainan, mendaftar keluar dari yang dan kemudian Daftar Masuk sekali lagi dengan betul Akaun Microsoft. Nota: Untuk maklumat lanjut tentang mengubah bahasa jika anda telah memasang Office, lihat. Jika anda ingin memasang pek bahasa paparan tambahan, bantuan atau alat pruf, lihat. • Daripada senarai juntai bawah versi, pilih versi, seperti Office - 64 bit. • Pilih Pasang. 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Jika anda tidak pasti versi untuk dipasang, lihat. • Pilih Pasang. • Bergantung pada pelayar anda, klik jalankan (di pinggir atau Internet Explorer), persediaan (dalam Chrome) atau Simpan fail (dalam Firefox). Jika anda melihat prom kawalan akaun pengguna yang menyatakan, Adakah anda ingin membenarkan aplikasi ini untuk membuat perubahan pada peranti anda? Memulakan pemasangan. • Anda memasang Office 2016 selesai apabila anda melihat frasa, anda sudah bersedia! Office dipasang sekarang dan animasi dimainkan untuk menunjukkan tempat untuk mencari aplikasi Office pada komputer anda. Ikuti arahan dalam tetingkap, contohnya Klik Mula > Semua aplikasi untuk melihat lokasi aplikasi anda, dan pilih tutup. Office untuk rumah Jika produk anda adalah salah satu daripada langganan Office 365 yang berikut atau Office versi pembelian sekali, anda mempunyai produk Office untuk rumah. Produk ini biasanya dipautkan dengan akaun Microsoft peribadi. Langganan Office 365: Produk berikut termasuk aplikasi Office yang dipasang sepenuhnya. Office 365 Home Office 365 Personal Office 365 University Versi Office 2016 atau 2013 tersedia sebagai pembelian sekali: Produk berikut termasuk aplikasi Office yang dipasang sepenuhnya. Office Home & Student Office Home & Business Office Professional Office Professional Plus*. Office untuk perniagaan Jika produk anda adalah salah satu daripada langganan Office 365 yang berikut, anda mempunyai produk Office untuk perniagaan. Produk ini biasanya dihubungkan dengan akaun kerja atau sekolah dan lesen Office anda datang daripada pentadbir Office 365 organisasi anda. Langganan Office 365: Produk berikut termasuk aplikasi Office yang dipasang sepenuhnya. Office 365 Business Office 365 Business Premium Office 365 Education E5 Office 365 ProPlus Office 365 Enterprise E3 Office 365 Enterprise E4 Office 365 Enterprise E5 Office 365 Nonprofit Business Premium Office 365 Nonprofit E3 Office 365 Nonprofit E5 Office 365 A.S. Komuniti Kerajaan G3 Office 365 A.S. Komuniti Kerajaan G5 Project Online Professional Project Online Premium Visio Pro for Office 365 Langganan Office 365 tanpa aplikasi Office dipasang sepenuhnya. Petua: Dengan langganan Office 365 ini, anda tidak mempunyai apa-apa untuk dipasang, tetapi anda boleh mencapai dan menggunakan Office versi dalam talian dalam pelayar web anda. Ketahui cara untuk. Office 365 Business Essentials Office 365 Enterprise E1 Office 365 Education Office 365 Nonprofit Business Essentials Office 365 Nonprofit E1 Office 365 A.S. Kerajaan G1 Project Online Essentials Office 2016 atau 2013 versi lesen secara volum Office Professional Plus Pilih langkah-langkah untuk produk Office anda. Sebelum anda bermula: Adakah anda menebus kunci produk anda dan mengaitkan Office dengan akaun Microsoft? Tidak setiap pembelian Office disertakan dengan kunci, tetapi jika ini adalah salinan Office yang baru dan anda mempunyai kunci yang dihantar kepada anda secara elektronik atau ia termasuk dalam bungkusan anda, anda perlu menebus terlebih dahulu. (Jika anda belum berbuat demikian, pergi ke langkah 1: mendaftar masuk dan memasang Office.) • Pergi ke dan ikuti Prom untuk mendaftar masuk (atau mencipta baru Akaun Microsoft). Petua: Anda Akaun Microsoft ialah gabungan alamat e-mel dan kata laluan yang anda gunakan untuk mendaftar masuk ke perkhidmatan seperti Outlook.com, Hotmail.com, Xbox LIVE, OneDrive, atau Windows Phone. Jika anda menggunakan sebarang Perkhidmatan ini, anda sudah mempunyai Akaun Microsoft. Gunakan akaun ini sama apabila anda mendaftar masuk ke Office atau cipta yang baru. Untuk mencipta baru Akaun Microsoft, pada halaman Daftar Masuk pilih tiada akaun? Mencipta satu! Anda boleh menggunakan nombor telefon, akaun e-mel anda biasa menggunakan, atau mendapatkan alamat e-mel @outlook.com baru. Untuk maklumat lanjut tentang Akaun Microsofts, lihat. • Masukkan kunci produk anda dan ikuti baki Prom untuk menebus produk anda. Contoh kunci produk Office: XXXXX-XXXXX-XXXXX-XXXXX-XXXXX Langkah 1: Daftar Masuk dan memasang Office • Pergi ke Akaun Office saya di. Jika anda belum lagi mendaftar dengan Akaun Microsoft dikaitkan dengan salinan Office buat demikian sekarang. Jika anda anda mendaftar masuk dengan akaun yang berlainan, mendaftar keluar dari yang dan kemudian Daftar Masuk sekali lagi dengan betul Akaun Microsoft. Nota: Anda mesti didaftar masuk dengan akaun ini untuk memasang atau memasang semula dan untuk menguruskan perisian Office anda. Jika anda Daftar Masuk tidak berjaya cuba mendaftar masuk sekali lagi dengan akaun yang betul, atau lihat. • Pada halaman Akaun Saya, di bawah nama langganan anda, pilih Pasang. • Pada halaman berikut, di bawah Maklumat Pemasangan, pilih Pasang untuk mula memuat turun pakej pemasangan. • Selepas muat turun telah selesai, buka pencari, pergi ke muat turundan dwiklik Microsoft_Office_2016_Installer.pkg (nama mungkin berbeza sedikit). Petua: Jika anda melihat ralat yang menyatakan Microsoft_Office_2016_Installer.pkg tidak boleh dibuka kerana ia adalah daripada pembangun yang dikenalpasti, tunggu 10 saat dan kemudian cuba mendwiklik pakej pemasang sekali lagi. Jika anda sedang terkandas bar kemajuan sahkan., tutup atau membatalkan bar kemajuan dan cuba lagi. • Pada skrin pemasangan pertama, pilih teruskan untuk memulakan proses pemasangan. • Semak semula perjanjian lesen perisian, dan kemudian klik teruskan. • Pilih setuju bersetuju dengan terma perjanjian lesen perisian. • Pilih cara anda ingin memasang Office dan klik teruskan. • Menyemak semula keperluan ruang cakera atau mengubah lokasi pemasangan anda dan kemudian klik Pasang. Nota: Jika anda ingin hanya memasang aplikasi Office yang khusus dan tidak suit seluruh, klik butang sesuaikan dan kosongkan program yang anda tidak ingin. • Masukkan log masuk kata laluan Mac anda, jika digesa, dan kemudian klik Pasang perisian. (Ini ialah kata laluan yang anda gunakan untuk log masuk Mac anda.) • Perisian bermula untuk memasang. Klik tutup apabila pemasangan selesai. Jika pemasangan Office gagal, lihat. Langkah 2: Lancarkan Office for Mac aplikasi dan memulakan proses pengaktifan • Klik ikon Launchpad dalam dok untuk memaparkan semua aplikasi anda. • Klik ikon Microsoft Word dalam Launchpad yang. • Tetingkap apa yang baru membuka secara automatik apabila anda melancarkan Word. Klik Mula untuk memulakan mengaktifkan. Jika anda memerlukan bantuan untuk mengaktifkan Office, lihat. Jika pengaktifan Office gagal, lihat. Nota pemasangan Bolehkah saya memasang Office 2016 for Mac dan Office for Mac 2011 pada komputer yang sama? Ya, anda boleh memasang dan menggunakan Office 2016 for Mac dan Office for Mac 2011 pada masa yang sama. Namun, kami mengesyorkan anda membuang pemasangan Office for Mac 2011 sebelum anda memasang versi baru untuk mengelakkan sebarang kekeliruan. Untuk membuang pemasangan Office for Mac 2011, ikuti langkah dalam. Bagaimanakah saya mengepin ikon aplikasi Office ke dok? • Pergi ke Pencari > Aplikasi dan buka aplikasi Office yang anda inginkan. • Dalam Dok, Control+klik atau klik kanan ikon aplikasi dan pilih Opsyen > Simpan dalam Dok. Bolehkah saya memasang Office pada iPhone atau iPad saya? Anda juga boleh. Nota: • Jika organisasi anda menggunakan Office 365 yang dikendalikan oleh 21Vianet di China, pendaftaran anda dalam lokasi adalah,. • Jika organisasi anda menggunakan Office 365 Jerman, Daftar Masuk dengan akaun kerja atau sekolah di. • Pada halaman halaman Office, di bawah memasang Office 2016 for Mac, pilih Pasang untuk mula memuat turun pakej pemasang. • Selepas muat turun telah selesai, buka pencari, pergi ke muat turundan dwiklik Microsoft_Office_2016_Installer.pkg. (Nama mungkin berbeza sedikit.). Petua: Jika anda melihat ralat yang menyatakan Microsoft_Office_2016_Installer.pkg tidak boleh dibuka kerana ia adalah daripada pembangun yang dikenalpasti, tunggu 10 saat dan kemudian cuba mendwiklik pakej pemasang sekali lagi. Jika anda sedang terkandas bar kemajuan sahkan., tutup atau membatalkan bar kemajuan dan cuba lagi. • Pada skrin pemasangan pertama, pilih teruskan untuk memulakan proses pemasangan. • Semak semula perjanjian lesen perisian, dan kemudian klik teruskan. • Pilih setuju bersetuju dengan terma perjanjian lesen perisian. • Pilih cara anda ingin memasang Office dan klik teruskan. • Menyemak semula keperluan ruang cakera atau mengubah lokasi pemasangan anda dan kemudian klik Pasang. Nota: Jika anda ingin hanya memasang aplikasi Office yang khusus dan tidak suit seluruh, klik butang sesuaikan dan kosongkan program yang anda tidak ingin. • Masukkan log masuk kata laluan Mac anda, jika digesa, dan kemudian klik Pasang perisian. (Ini ialah kata laluan yang anda gunakan untuk log masuk Mac anda.) • Perisian bermula untuk memasang. Klik tutup apabila pemasangan selesai. Jika pemasangan Office gagal, lihat. Langkah 2: Lancarkan Office for Mac aplikasi dan memulakan proses pengaktifan • Klik ikon Launchpad dalam dok untuk memaparkan semua aplikasi anda. • Klik ikon Microsoft Word dalam Launchpad yang. • Tetingkap apa yang baru membuka secara automatik apabila anda melancarkan Word. Klik Mula untuk memulakan mengaktifkan. Jika anda memerlukan bantuan untuk mengaktifkan Office, lihat. Jika pengaktifan Office gagal, lihat. Nota pemasangan Sentiasa ingat: • Anda mungkin perlu semak dengan pasukan sokongan teknikal organisasi anda sebelum memasang aplikasi. • Jika anda tidak pasti anda mempunyai lesen untuk memasang Office 2016 for Mac, lihat Bolehkah saya memasang Office 2016 for Mac dan Office for Mac 2011 pada komputer yang sama? Ya, anda boleh memasang dan menggunakan Office 2016 for Mac dan Office for Mac 2011 pada masa yang sama. Namun, kami mengesyorkan anda membuang pemasangan Office for Mac 2011 sebelum anda memasang versi baru untuk mengelakkan sebarang kekeliruan. Untuk membuang pemasangan Office for Mac 2011, ikuti langkah dalam. Bagaimanakah saya mengepin ikon aplikasi Office ke dok? • Pergi ke Pencari > Aplikasi dan buka aplikasi Office yang anda inginkan. • Dalam Dok, Control+klik atau klik kanan ikon aplikasi dan pilih Opsyen > Simpan dalam Dok. Bolehkah saya memasang Office pada iPhone atau iPad saya? Anda juga boleh. Selepas mendaftar masuk dengan kerja atau sekolah anda akaun anda tidak melihat opsyen untuk memasang aplikasi desktop pada halaman utama Office 365, pergi ke sebaliknya, kemudian ikuti baki langkah dalam 'Office for Seksyen perniagaan langkah demi langkah'pada untuk melengkapkan pemasangan. Jika anda masih tidak dapat melihat opsyen untuk memasang Office pada, ada kemungkinan pentadbir anda belum diberikan lesen untuk anda.. Jika anda pelajar atau guru dan institusi anda tidak memberikan lesen, Ketahui jika anda layak untuk. Jika anda membeli versi kendiri aplikasi Office, contohnya Visio 2016 atau Word 2016, dalam kebanyakan kes anda memasang aplikasi ini dengan cara yang sama anda memasang suit Office, dengan mendaftar masuk ke dengan anda Akaun Microsoft, atau akaun sekolah atau kerja dan memilih memasang untuk produk anda kendiri. Jika anda mempunyai langganan Project Online profesional, Project Online Premiumatau Visio Pro untuk Office 365, lihat atau untuk anak langkah untuk memasang aplikasi yang merupakan sebahagian daripada langganan tersebut. Office tidak dapat memasang: Komputer anda mesti menjalankan sistem pengendalian yang disokong untuk memasang Office. Anda boleh mencari senarai yang sistem yang disokong pada halaman. Contohnya, pemasangan anda tidak akan berjaya jika anda cuba memasang Office pada komputer yang menjalankan sistem pengendalian Windows Vista atau Windows XP atau pada Chromebook yang. Jika komputer anda tidak dapat memasang Office versi desktop lengkap, cuba percuma menggunakan pelayar desktop anda. Saya menerima mesej ralat: Jika anda mendapat mesej ralat semasa cuba memasang Office dan ia mempunyai pautan Ketahui lanjut, pilih untuk mendapatkan maklumat mengenai cara untuk menyelesaikan ralat yang tertentu. Jika terdapat tidak pautan, lihat. Membantu dengan aplikasi khusus dan membantu untuk pentadbir Office 365. Jika anda pelan, pengguna dalam organisasi anda hanya boleh memasang Office menggunakan langkah-langkah dalam topik ini selagi pelan anda termasuk dalam Office versi desktop, dan anda telah memberikan pengguna lesen kepada dan memberikan mereka keizinan untuk memasang Office (). Untuk maklumat mengenai cara untuk memperuntukkan lesen, lihat. Jika anda telah kehabisan lesen dan perlu membeli lebih lanjut, lihat. Hubungi Microsoft Jika anda tidak dapat menyelesaikan masalah anda, cuba menghubungi. |
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