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![]() ![]() In that regard, Ride 3 is an extremely raw game - as you might expect of something that sets out to simulate the hairy-knuckled thrills of two wheels, but too often to its detriment. Also, at times like this, Ride 3 is far from the prettiest game - although on PS4 Pro and Xbox One X it does a fair job of keeping to 60fps. There's no dynamic weather, though there are different weather conditions. The bikes themselves look splendid, modelled with detail and, you sense, a fair amount of lusty enthusiasm, but the locales look limp, deadened by poor lighting and lack of detail. There's no escaping, though, that the polish you'd expect of a top-tier racing game - a genre that's more often than not been about flashy visuals - just isn't there. It does its very best to match the feature set of a marquee racer, though, with a fully featured and powerful livery editor making the cut, a deep selection of upgrades and accessories for each bike, plus a slim photo mode. Ride 3, in contrast, is something of a slog. The problem is they unlock a little too slowly, and while Milestone's taken inspiration from Forza it's the Forza from a generation ago it's looked to, rather than the one that mixed things up with a more quickfire selection of events and that more readily added invitationals. The career is a grid of themed series and events, unlocking slowly over time and imposing some order to your run through Ride 3's wealth of content. It's Forza-esque, essentially (complete with a rewind feature to scrub back the numerous highsides and lowsides you'll invariably speed into), and elsewhere Milestone takes more inspiration from Turn 10's series. They're not the most convincing part of the whole package. In amidst the time trials, point to point events and straight-up races are these CSR-like drag events. It's all engaging enough - and easy to get caught in a trance when chasing your own best times - though I'd have loved the option to truly unleash the fury of these machines, as too often they can feel like they're wrapped in cotton wool. Milestone opts to tame that with an approachable model to its bikes, although they're still able to buck under acceleration and squirrel under braking. There's an elegance asked of bikes that you don't really get on four wheels, with braking distances lengthened and racing lines a touch more malleable - and yet all the while there's a violence that's a key part of a bike's appeal. Ride 3 acquits itself well here, and I've lost a good half dozen hours just hotlapping on my own, pushing a superbike to its limits around the impossible climbs of Cadwell Park - Lincolnshire's own mini-Nürburgring. The measure of any racing game, though, isn't to be found in the sum of tracks, bikes and features, but rather how much you can extract from any single bike and any single track. Ride 3's multiplayer is fairly basic, though it's all lifted by the presence of weekly challenges and leaderboards. ![]() There's a lot of game here, and it's often stirring stuff. And what bikes they are - from cafe racers to vintage rides, and from waspish 2-stroke 250cc with a sting in their tail to the more bullish modern racers - and what tracks, from the North West 200 to the Nordschleife via Oulton Park and Sugo. ![]() This is a generously featured racing game, boasting some 230 bikes and 30 tracks. In those intervening years - and after a quickfire sequel released in 2016 - Milestone has put a lot of work in, and Ride 3 is evidence of that. ![]() To add some serious edge, adjust the filter saturation. A blend of the third oscillator and noise generator can serve as an audio modulation source for filter cut-off, producing distinctive electronic audio effects. Use the resonance dial to change the tone from a nasal sound to a ringing tone by emphasizing frequencies around the cut-off and generating self-oscillation. ![]() Then dial in the filter cut-off, velocity, and key tracking. Choose from an extensive collection of 23 modes. Use the revolutionary multimode filters to control the tone color of a part by removing or accenting certain frequencies. This sound filter brings the legendary soft and fat warmth of classic analog synth hardware filters to Hybrid 3.0. The vintage Voltage Controlled Filter (VCF) makes it easier than ever to achieve those fat, retro synth sounds of the ’70s and ’80s. Both of the filters offer your choice of DCF (Digitally Controlled Filter) or VCF models. In addition, the filters can be assigned one per channel to the stereo outputs, or set so that Oscillator 1 feeds Filter 1, with the remaining Oscillators being routed to Filter 2. Hybrid 3.0 features two multi-mode filters that can run in series or in parallel. A third oscillator includes saw, square, or triangle waves, plus a noise generator and a sub oscillator for deep bass effects. Hybrid 3.0 offers 100 wavetables with up to 64 single-cycle waveforms each. ![]() As a result, users can choose from nine different modes, including the Multi-Square waveform, Saw Sync, Saw Cross Modulation (which modulates the pitch of a saw wave with the output of a triangle wave for complex tones), Saw Multi (a stack of seven saws in unison), Square Sync, Square Cross Modulation, Square Pulse Width Modulation (PWM), and Wavetable. In addition, these oscillators feature algorithms for digital wavetables. Two multifunctional oscillators can recreate the classic subtractive-synthesis waveforms for a dose of analog nostalgia. With three versatile oscillators and a sub oscillator per part, Hybrid 3.0 is capable of stacking multiple oscillators together for huge pads, leads, basses, and more. Plus, the simple patch browser makes it easy to find the preset you’re looking for and allows you to load two presets simultaneously, one into each part, for experimenting with rich timbres and playing multi-patch sounds. a powerful combination of two separate, 3-oscillator synthesizers), you can layer, split, or spread sounds to produce deep, complex, and wide patches. With support for two simultaneous parts (i.e. If you’re prone to tweaking, Hybrid 3.0 is loaded with a comprehensive set of user-adjustable parameters that let you create unique sounds and fine-tune them to taste. Hybrid veterans will be pleased to find that the familiar Hybrid 2.0 presets have been completely reworked, allowing users to experience their favorite sounds with all the sonic improvements of Hybrid 3.0. ![]() Over 200 new patches, designed by the acclaimed AIR sound designers, include everything from wobbles, synth pads, arpeggios, poly synths, basses, leads, sequences, and much more. Hybrid 3.0 comes with over 1,200 inspirational presets designed to jumpstart the creative process. The result is the best of both worlds - a virtual instrument with a comprehensive set of precisely adjustable parameters that can sound like a synth you remember or something no one has ever heard before. This high-definition virtual synthesizer combines the coveted warmth of analog synths with a full range of futuristic digital manipulation capabilities. Hybrid 3.0 is the next generation in synthesis. ![]() Overview Features System Requirements Updates ![]() ![]() For non-Supernatural people, the song “Carry On Wayward Son” is deeply associated with the show. That said, if there’s any source material that allows for lots of meta winking, it’s Supernatural. I am a little disappointed that there’s not a little more of it, since it’s in large part what made Carry On so great. There’s even a twist at the end that has a very Supernatural feel, so it’s not like there aren’t any similarities. Instead, the trio runs into vampires one chapter and then falls into an unrelated magical dead spot shortly after. There’s no Insidious Humdrum to act as a Big Bad. In Wayward Son, the heroes go to America and road trip cross-country, encountering various monsters. It does, a little (though I might think that because I was specifically looking for it). Because of the title and Simon Snow’s origins in fandom culture (via Fangirl), I expected Wayward Son to play off Supernaturalthe way that Carry On plays off Harry Potter. I understand that Simon Snow has grown beyond the meta experiment, which is fine, but I would be lying if I said I didn’t miss it some. I expected there to be more winking at the audience than there actually is. ![]() It reads more like a straight sequel (well, not a *straight* sequel lol). When book one parodies the end of a series, what comes next? More parody? Or would it read like a straight sequel? ![]() Simon, Baz, Penelope, and the rest are great characters who have a life of their own even beyond that as expies when I found out that Rowell was writing another book about them, I knew I was going to read it eagerly. Like, I definitely could see myself reading the Simon Snow series from start to end even without the meta. It’s a brilliant meta work, but also entertaining as a fantasy. ![]() Carry On lovingly parodies fantasy series like Harry Potter and acts as the final novel in an epic series, relying on the reader’s knowledge of fantasy tropes to provide the setup that leads to the given conclusion. I love that book, and I love Rainbow Rowell generally, but the possibility that there’d be a sequel never occurred to me. I never expected Rainbow Rowell’s Carry Onto have a sequel. ![]() |
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