Click the Link to Download 20-sim v4.1 Full Version Free Download Crack Patch Serial Keygen Key Cra. It's best if you avoid using common keywords when searching for 20 Sim 4.0. Words like: crack, serial, keygen, free, full, version, hacked, torrent, cracked. The Sims 4 ( 2017) Keygen, The Sims 4 is the highly anticipated life simulation game that lets you play with life like never before. Create new Sims with intelligence and emotion, whose every action is informed and affected by their interactions and emotional states. Experience all new intuitive and fun creative tools. Sculpt your Sims in Create A Sim and construct unique homes with the tactile room-based Build Mode. Control the mind, body, and heart of your Sims with dynamic, emotion-rich gameplay, and bring your stories to life. The Sims 4 Keygen Screenshoot The Sims 4 Keygen Stepsand Instructions • Applies to all languages. • First, click on the Update button • Then, click the Generate button. • Now the game’s serial number ready. • Enjoy.%100 Orginal Serial Number The Sims 4 Serial Key Generator 2017 Download. Sims 4 Keygen Update Hello friends, I have good news for fans of the Sims. Emails from our users of updates considering the flip ultra program. I have removed all the keys, which is problematic. Sims 4 Keygen we have updated your list. Have now been added to the list the original key without any problem. Google Search Terms: • sims 4 product code • sims 4 product key • sims 4 keygen • the sims 4 serial key • the sims 4 keygen • sims 4 key • sims 4 serial key • the sims 4 product code • the sims 4 product key • sims 4 key code • Sims 4 Key Generator • keygen sims 4 • Windows 8 Key sale outlet • Individual_key_The_Sims_4_for_license_number_331241 txt • sims 4 activation key 2014-12-24. 20 Sim 4 2 Keygen Software >>> Page: C7. Commsim 2001 v4.5H2. Controllab Products 20-Sim v4.1.0.5 Windows Server keygen by EMBRACE;. ConvertXtoDVD v 4 serial; ConvertXtoDVD v2.2.0.251 patch.Shop for PC and Mac software including downloads,.Fluid Sim 4.5 Serial Number Serial Numbers. Convert Fluid Sim 4.5 Serial Number trail version to full software.Found 7 results for Festo Fluid Sim 4.2. Festo Fluid Sim 4.2 Spanish Crack: 20. License code or registration number for a piece of software. A keygen is made.Software Downloads: Film Sim. Recover Sim Card 4.4.1.2 SIM card forensic data. 20sim Viewer 4.2.1.1 20-sim is a modeling and simulation software that.Found 7 results for Festo Fluid Sim 4.2. Festo Fluid Sim 4.2 Spanish Crack: 20. License code or registration number for a piece of software. A keygen is made.Keygen It. Keygens for all software are here. Please, submit your serial number to our site:. Copyright Keygen It,.festo fluidsim 4 2 hydraulique crack.. FluidSIM is a comprehensive software for the creation,. Fluid Sim 4.5 Crack Serial Keygen. Festo Fluid Sim.Free fluid sim 4.5 produck key download software at UpdateStar –. Intel Processor Graphics 21.. Adobe Shockwave Player 12.2.5.195.Bookmark us Set KeyGen As Homepage. Fluid Sim v4.2. Frauenhofer IIS easyDCP Creator Plus v1.4.2 by MESMERiZE sims 4 free download. Software; games; games simulation; the sims 4; Close. Relevance; Total Downloads;. Prev 1 2 3 4 5 Next.UNLOCK BASE CELL PHONE UNLOCKER SOFTWARE.. Added Fast Direct. No we dont offer unbranded version of UnlockBase Cell Phone Unlocker software.Look at most relevant Fluid sim 4.5 serial number websites out of 65.6 Thousand at MetricsKey.. #39 /search/fluidsim+pneumatik+v+4.2. #29 /s/fluidsim-4.5-keygenData Doctor Recovery – Sim Card Version – 4.4.1.2 Serial Numbers.. Sim Card Version – 4.4.1.2 trail version to full software. 20%: 2009-10-17 06:21:18.MidwayUSA is a privately held American retailer of various hunting and outdoor-related products.Free Premium Software With Crack, Patch, Keygen And. Free Software WinToHDD Enterprise Version 2.4 Size 9.10MB Release. Sandboxie 4 14 crack; sim aquarium.Downloads like 20 Sim 4.1 may often include a crack, keygen,. All retail software uses a serial number or key of some. Bitfonter 3 Screeny Pro 3.2.0.20-sim 4.1 Keygen Size:. A major question on everyones mind today is always a good thing, and video assists a strong software developer,.Free pakistan sim block. Pirated Software Hurts Software Developers. Using Pakistan Sim Block Free. Warez, serial, torrent, keygen, crack of Pakistan Sim. Look at most relevant Fluid sim 4.5 serial number websites out of 65.6 Thousand at MetricsKey.. #39 /search/fluidsim+pneumatik+v+4.2. #29 /s/fluidsim-4.5-keygen. Latest Patches for any software, Corel Draw Keygen, Adobe. Apowersoft Phone Manager PRO 2.8.4 Crack Apowersoft Phone Manager PRO 2.8.4 Crack that good with.Downloads like 20 Sim 4.1 may often include a crack, keygen,. All retail software uses a serial number or key of some. Bitfonter 3 Screeny Pro 3.2.0.sim Software – Free Download sim – page 2. Sim card SMS reader utility also helps you to know about sim card common information such as 20. Sim keygen or key.20-sim 4.4.0 Crack Keygen Patch Serial.. Stellar Phoenix Access Repair 4.2.. Shareware and unl ock the trial software free. Share and Like KGRSDOWN.ORG 2014.The Sims 4 Keygen [Free. Allows us to offer you free cd key every day via The Sims 4 Keygen Software.The Sims 4 Product. America on September 2,. Latest Patches for any software, Corel Draw Keygen, Adobe. Apowersoft Phone Manager PRO 2.8.4 Crack Apowersoft Phone Manager PRO 2.8.4 Crack that good with. Free pakistan sim block. Pirated Software Hurts Software Developers. Using Pakistan Sim Block Free. Warez, serial, torrent, keygen, crack of Pakistan Sim.keygen free download – Keygen, KeyGen,. This software is available to download from the publisher site.. WIFI PASSWORD KEYGEN 2016.Keygen It. Keygens for all software are here. Please, submit your serial number to our site:. Copyright Keygen It,.MidwayUSA is a privately held American retailer of various hunting and outdoor-related products.The Sims 3 Ambitions: Widen your Sims horizons with a bunch of killer new career. Paul on WinRAR 4.20. AOMEI Backupper Server 4.0.2 (FULL + Patch & Keygen)The Sims 4, free and safe download. The Sims 4 latest version:. Universe Sandbox 2.Free Premium Software With Crack, Patch, Keygen And. Free Software WinToHDD Enterprise Version 2.4 Size 9.10MB Release. Sandboxie 4 14 crack; sim aquarium.The Sims 4 Keygen [Free. Allows us to offer you free cd key every day via The Sims 4 Keygen Software.The Sims 4 Product. America on September 2,. 20-sim 4.4.0 Keygen: YES: 3085KB/s: 20-sim 4. 3031KB/s: 20-sim 4.4.0 Crack: YES: 2331KB/s: 20-sim 4.4. Register today, it’s completely free and won’t take.WinRAR provides the full RAR and ZIP file support, can decompress CAB,. Recommended software download (advertisement) Better compression, easier use,.20-sim 4.4.0 Keygen License Activation.. Your search term for 20-sim 4.4.0 will return. Cad+, Mongobooster 3.1.2, Magicfeatures Plugin For Magicjack 2. Home; About; Privacy; Contact; FluidSIM-P 4.2 + Crack Keygen/Serial Date added: Jan 2016. Download FluidSIM-P 4.2 + keygen crack.I just joined FileFortune today and I have downloaded all my favorite TV shows and a few software. Download, serial, keygen. Many downloads like 20 Sim 4.1.20-sim 4.4.0 + keygen crack. Or you may contact us if you have software that needs to be removed from our website. Latest Crack. RTF to XHTML Converter 2.0; Physio.
1 Comment
HALion 5 Updates and Downloads. In case you consider setting up a new system or upgrading an existing one. Video tutorials. Results of halion one cubase 5 descargar: Free download software, Free Video dowloads, Free Music downloads, Free Movie downloads, Games. Since the Debut of HALion in 2001, Steinberg’s software sampler has repeatedly raised the bar for other virtual samplers. With HALion 3, you can load almost every sound library available on the market and use numerous tools to shape and even radically reinvent sounds. A clearly-arranged user interface, excellent performance, flexible routing options and the awesome sound quality of the sample engine and filters – all this makes HALion 3 a top-Flight software sampler and a welcome addition to every music production toolbox. Steinberg Cubase SX 3.0.2.623 DVDISO[PC]-H2O| 1.29GB Cubase SX3 – The Music Creation and Production System Works only for PC! Designed with the requirements and working methods of professional musicians, composers, audio engineers and producers in mind, Steinberg's flagship Cubase SX3 converges extraordinary sound quality, intuitive handling and a vast range of functions. Cubase SX3 provides creative tools that save you time at every link of the production chain, from the initial musical idea to final mastering. Steinberg Cubase SX 3.1.1.944 DVD *ISO* (2011/ENG) - KL Steinberg Cubase SX 3.1.1.944 DVD *ISO* (2011/ENG)| 2.27 GB Due to massive popular demand we completely reworked our old driver based dongle emulator to work together with our new SynsoEmu, we removed the driver and made it dll-based. All releases have been rebuild, repacked, updated and made compatible to run on modern operating systems like Windows Vista/Seven After 10 years of SyncroSoft ownage it's time we move on. We hope you enjoy this final RETRO summer release. Cubase Guru The Art Of PsyTrance Production DVDR English| 640 x 480| H264 1425kbs| AAC, 44.1kHz, stereo| 3.44 GB Genre: eLearning Creating brilliant Psy-Trance – or any music for that matter – takes more than a good ear and a dabble on Cubase. Even the most technically-minded of us need to invest in the real insight, experience and expert know-how needed to create those mesmerising, effortless, can’t-stop-dancing sounds of unforgettable nights (and mornings) out all over the world. That’s why we created the Psy-Trance Music Production Course – a comprehensive video tutorial that’ll take you and your Cubase skills from blank canvas to an explosion of colour, texture and depth. Tekniks Breakmatic Multiformat| 751 MBTekniks presents Breakmatic the 3rd instalment to the 'Matic' series. Let this exciting library captivate your imagination and fire up your creativity. 1 cd packed to the very limit with all the tools you'll need to make those club bangers. Presented in.wav format with Exs24, Halion, Kontakt and Reason Sample Instrument Settings. As a special bonus we have included over 100mb of Rexed files waiting to be fired up into your favorite sequencer. Formats included: WAV, Reason, HALiON, KONTAKT, EXS24, REX. Have a nice day and we all wish and hope Yogibear's mom will get well soon! 1983 Lode Runner (Broderbund) 1983 Q*Bert (Parker). Russian Mom Fuck Son Porno Tube Update_v.46.84.12.l. Serial Numbers. Convert Russian Mom Fuck Son Porno Tube Update_v.46.84.12.l. Trail version to full software. Formally, a computer game is a composed of a -controlled that may interact with in order to achieve a goal (or set of goals). A video game is a computer game where a is the primary feedback device. However, in common usage 'computer game' refers to games played on a, while 'video game' (or 'videogame') refers to games played on a. Both 'computer games' and 'video games' are frequently used as for interactive game software. To avoid ambiguity, this game software is referred to as ' computer and video games'. • For specific information regarding 'computer games', see.• For specific information regarding 'video games', see. Game Game may refer to either the virtual universe and all of its governing rules (' is a game'), or a particular instance of that game ('my game ended in yet another annoying death', '). Typically, a new instance of a game's universe is created by selection of a 'new game' option, while previous instances and player states are retrieved with 'load game' or 'continue'. A game is composed of a -controlled that interact with. Player input is taken through various types of controls, and output is usually given through a screen and sound devices. Video game consoles usually utilize an input device called a controller, which contains a number of buttons and one or two. Games played upon home computers may utilize a,, or (usually in some combination). The input is proccessed by the game and output is presented, usually on a or computer monitor. Is a, one of the many of computer and video games. Games, like most other forms of media, may be categorized into based on gameplay, atmosphere, and various other factors. The atmosphere or setting of a video games can often be described as historical, urban, near-future, sci-fi, comic book, gothic, mythology, fantasy, or cartoony. Some game developers eschew traditional settings so their games stand out (e.g.,, ). Most favor certain categories of gameplay over others. These could include sports, racing, third person shooters, first person shooters (FPS), fighting, action, adventure, stealth, role-playing games (RPG), card-based, puzzle, platformers, simulation, strategy, or various combinations. Overhead and side-scrolling 2D games could also be considered of a different gameplay genre than 3D games (e.g. Main article. Is an example of a game that is popular as a video game as well as a computer game. Today there are many different devices that games may be played on. Personal computers, consoles, handheld systems, and arcade machines are all common. There is a thin line between games played on the computer and those on the console in terms of genre. Many games intended for computers are now just as prevalent on consoles, both of which have many of the same selections of titles. This is due to the fact that video game consoles have drastically increased in computing power and capabilities over the last few years to the point that they can handle games that were formerly only playable with computers. With the release of 's console, which was based on PC architecture, and which was developed with online gameplay in mind, most major computer game releases coincide with the release of console versions. However, popular titles initially developed for a single platform are often 'ported' to another platform. Recent examples include ( to ) and 's blockbuster first person shooter, (Developed for the Mac, then bought to be released for Xbox and then (re)-ported to Mac and Windows). The reported that console games outsold computer games in the US by about 380% in (do note that this number does not represent popularity, and that fees such as those for paid MMORPGs are excluded). Personal computer games are commonly referred to as 'computer games' or 'PC games'. They are played on the with standard such as the and. Video feedback is received by the user through the computer screen, sound through. Computer games are often more powerful than console games because of early market releases of their external architecture and graphics cards. Today, most PC games require the operating system to be installed on the computer. There is, however, a continuing movement to get the most popular games to run under the and operating systems. Console games are more commonly referred to as 'video games'. They are played on a computer specially made for game play called a. The player interacts with the game through a. Video and sound are delivered to the player via a or, as with newer video game consoles, high-definition video monitors. Previous generations of personal computers, such as the, were commonly connected to televisions and even today share naming conventions and devices such as the Computer Entertainment System, or the 's keyboard and mouse peripherals. There are also games on portable systems, such as the,,, and the common which have their own, built-in video display. Computer games are more commonly played on multi-purpose operating systems such as, the,. History Although the history of computer and video games spans almost five decades, themselves did not become part of the popular culture until the late. The 1950s Three people are usually cited as the sole inventor of. The first is engineer, who conceived the idea of an interactive television while employed by Loral Electronics in in. No game was produced because his employer rejected the design, but he continued this early work 15 years later. Developed, a graphical version of (tic-tac-toe), in at the in order to demonstrate his thesis on human-computer interaction. It was played on the now archaic computer, which used a for a visual display. In spite of its technological antiquity, the game is still playable on an emulator available on the. OXO is the first known graphical game to run on a computer. Many people attribute the invention of the video game to, who in created a game called on an to entertain visitors at in. Unlike and similar early games, Tennis For Two shows a simplified from the side. The ball is affected by gravity and must be played over the net. The game is played with two bulky controllers each equipped with a knob for trajectory and a button for firing the ball over the net. Tennis For Two was exhibited for two seasons before its dismantling in. The 1960s Many of the earliest ran on in the and were developed by individual users who programmed them in their idle time. However, the limited accessibility of early computer meant that these games were few and easily forgotten by posterity. In, a group of students at, including, programmed a game called on the then-new. The game pitted two human players against each other, each controlling a space ship capable of firing missiles. A in the center created a large gravitational field and another source of hazard. This game was soon distributed with new DEC computers and traded throughout primitive cyberspace. Presented at the MIT Science Open House in, it was the first widely available and influential game. One of the developers of,, continued to develop the after stopped funding it. His work focused on development of the OS for the. He actually wanted to play a game he was writing called. Though the game was never released commercially (and apparently costing $75 per go on the mainframe), the game's development led to the invention of the operating system. In, (then at Sanders Associates) created a simple video game called Chase that could be displayed on a standard set. Baer continued development, and in he had a prototype that could play several different games, including versions of table tennis and target shooting. Under Baer, developed the and, with, created video games in. The 1970s In, and created a coin-operated version of Spacewar and called it. Bought the game, hired Bushnell, and manufactured 1,500 Computer Space machines. The game was not a success because many people found it difficult to play. As Bushnell felt he did not receive enough pay by licensing games to other manufacturers, he founded his own company,, in. The first arcade with widespread success was Atari's, released the same year. The game is loosely based around: two players each control a 'paddle' which has the freedom to move up and down at their end of the 'court'. A ball is 'served' from the center of the court and as the ball moves towards their side of the court each player must maneuver their bat to hit the ball back to their opponent. Atari sold 19,000 Pong machines, and soon many imitators followed. The -operated craze had begun. University mainframe game development continued to accelerate in the early 1970's, although the game designers of the time saw the activity as a hobby, not the prequel to an industry. There were at least two major distribution networks for the student game designers of this time: • The supported by under the support of and largely running on CDC computers, and • The DECUS software sharing system run by for schools and other institutions utilizing DEC computers such as the. The gaming traditions in the early 1970's ran independently in parallel on these two separate systems, since any given school typically had access to only one brand of hardware and one supply of shared games. Highlights of this period, in chronological order, include: In Don Daglow wrote the first computer baseball game on a while he was a student. Players could manage individual games or simulate an entire season. Daglow went on to team with programmer Eddie Dombrower to design Earl Weaver Baseball, published by in 1987, which was the first commercial computer game to simulate a full season. Daglow also wrote one of several popular early games for the PDP-10 during 1971-72. In Gregory Yob wrote 'Hunt the Wumpus' for the, a hide-and-seek game, though it could be considered the first text adventure. Yob wrote it in reaction to existing hide-and-seek games such as Hurkle, Mugwump, and Snark. In, Will Crowther wrote the first game as we would recognize it today, (originally called ADVENT, and later Colossal Cave). It was programmed in for the. The player controls the game through simple sentence-like text commands and receives descriptive text as output. In Daglow, then a student at, wrote what may be the first Computer, '. The game ran on mainframes, and was an unlicensed implementation of the new role playing game, and described the movements of a multi-player party through a monster-inhabited dungeon. Players chose what actions to take in combat and where to move each character in the party, which made the game very slow to play by today's standards. Characters earned experience points and gained skills as their 'level' grew, as in D&D. Although the game was nominally played entirely in text, it was also the first game to use 'line of sight graphics displays.' In this case the graphics consisted of top-down dungeon maps that showed the portions of the playfield that the party had seen, allowing for light or darkness, the different vision of elves and dwarves, etc. This advancement was possible because earlier games typically printed the game status for the player on machines or a, at speeds ranging from 10 to 30 characters per second with a rat-a-tat-tat sound as a metal ball or belt with characters was pressed against the paper through an inked ribbon by a hammer. By the mid-1970's many university computer terminals had switched to screens, which could be refreshed with text in a few seconds instead of a minute or more. At about the same time, the RPG first appeared on the PLATO system CDC computers on other colleges. The original, started in 1977, was written by,, Tim Anderson, and Bruce Daniels. Unlike other early game designers, the Zork team recognized the potential to move these games to the new personal computers and make money from their work, and they founded publisher in 1979. The company had a string of text adventure hits until the format was supplanted by graphic adventures in the mid-1980's, and the company was later sold to. In a classic case of one designer inspiring another, Lebling was a member of the same D&D group as Wil Crowther, but not at the same time. Lebling has been quoted as saying 'I think I actually replaced him when we dropped out. Zork was 'derived' from Advent in that we played Advent, liked it, wished it were better, and tried to do a 'better' one. There was no code borrowed, or anything like that, and we didn't meet either Crowther or Woods until much later.' 's () sparked the first over gratuitous violence in a video game, because the object of the game was to run over 'gremlins'—who looked more like pedestrians—with a car. The controversy increased public awareness of video games and has never ceased to be debated. The first home video games (1972-1977) 1972 also saw the release of the first for the home market, the. Built using mainly analog electronics, it was based on Ralph Baer's earlier work and licensed from his employer. The console was connected to a home television set. It was not a large success, although other companies with similar products (including Atari) had to pay a licensing fee for some time. It wasn't until Atari's home version of Pong (at first under the Sears Tele-Games label) in Christmas of that home video games really took off. The success of Pong sparked hundreds of clone games, including the, which went on to be a success in its own right, with over a dozen models. Early handheld games The first portable, was Tic Tac Toe, made in 1972 by a company called Waco. The display consisted of a grid of nine buttons, that could turn red or green when pushed. The first with interchangeable cartridges was the designed by, and distributed and sold by in 1979. Crippled by a small, fragile LCD display and a very narrow selection of games, it was discontinued two years later. Although neither would prove popular, they paved the way for more advanced single-game handhelds, often simply called ' games' or ' games' depending on their display system. 's 1977 LED electronic football game ushered in a short golden age of LED handheld games, especially sports games. At first composed of simple arrangements of LED bulbs, later games incorporated allowing for detailed graphics in bright colors. The heyday of LED and VFD would last until the early 80s, when LCD technology became cheap and durable enough to be a viable alternative. Dawn of a golden age Main article: The arcade game industry entered its Golden Age in with the release of by Taito. This game was a runaway blockbuster hit that inspired dozens of manufacturers to enter the market and produce their own video games. The Golden Age was marked by a prevalence of arcades and new color arcade games that continued until the. Also in 1978, Atari released, its biggest best-seller. It replaced the game as the number one arcade hit. Color arcade games became more popular in 1979 and (e.g. Other arcade classics of the late 1970s include,, and. Gaming on home computers While the fruit of development in early video games appeared mainly (for the consumer) in video arcades and home consoles, the rapidly evolving of the and allowed their owners to program simple games. Groups for the new computers soon formed and game software followed. Soon many of these games (at first clones of mainframe classics such as Star Trek, and then later clones of popular arcade games) were being distributed through a variety of channels, such as printing the game's in books (such as David Ahl's ), magazines ( ), and newsletters, which allowed users to type in the code for themselves. Early game designers like Crowther, Daglow and Yob would find the computer code for their games -- which they had never thought to copyright -- published in books and magazines, with their names removed from the listing. Early home computers from,, and others had many games that people typed in. Another distribution channel was the physical mailing and selling of floppy disks, cassette tapes and cartridges. Soon a small was formed, with amateur programmers selling disks in plastic bags put on the shelves of local shops, or sent through the. Distributed several copies of his in plastic bags before the game was published. Video games were found on in the second generation of home video games. Programs were no longer into chips, but loaded into memory from storage and executed on general-purpose. Rather than being confined to a small selection of games included in the box, consumers could now amass libraries of game cartridges. Early cartridges were 2k ROMs, although this amount slowly grew over time to 16 kB. In the game consoles, high RAM prices at the time limited the memory capacity of the systems to a tiny amount, often less than a. The Fairchild VES was the world's first cartridge-based video game console. It was released by Fairchild Semiconductor in August. When Atari released their VCS the next year, Fairchild quickly re-named it to the. In, Atari released its cartridge-based console called the Video Computer System (VCS), later called. Nine games were designed and released for the holiday season. It would quickly become by far the most popular of all the early consoles. In released its cartridge-based console, the, in the United States and Canada. Electronics released this same game console as the Philips G7000 in many European countries. Although it never became as popular as Atari, it managed to sell several million units through 1983. In, was created by disgruntled former Atari programmers. It was the first of video games. More powerful consoles followed like the and. Intellivision, though chronologically part of the '8-bit era', had a unique processor with instructions that were 10 bits wide (allowing more instruction variety and potential speed), and registers 16 bits wide. For this reason it was something of a hybrid between the old 8-bit and new 16-bit worlds. Unique among home systems of the time was the, the only one to feature. The popularity of early consoles was strongly influenced by their ports of arcade games. The 2600 was the first with, and the Colecovision had. The 1980s In the early 1980s, the computer gaming industry experienced its first major growing pains. Publishing houses appeared, with many honest businesses (and in rare cases such as, successfully surviving to this day) alongside fly-by-night operations that cheated the games' developers. While some early 80s games were simple clones of existing arcade titles, the relatively low publishing costs for personal computer games allowed for many bold, unique games, a legacy that continues to this day. The primary gaming computer of the 1980s emerged in 1982: the. Possessing some of the best graphics and sound of its day, yet put out at a bargain price, it quickly gained a huge share of the market. The reached its full steam in the 1980s, with many technically innovative and genre-defining games in the first few years of the decade. (1980) established the and was the first to have events taking place outside the player's view, displayed by a radar view showing a map of the whole playfield. (1980) used wireframe to create the first true three-dimensional game world. (1982) used sprite-based, pseudo-3D graphics when it pioneered the 'rear-view racer format' where the player's view is behind and above the vehicle, looking forward along the road with the horizon in sight. The style would remain in wide use even after true became standard for racing games. (1980) was the first game to achieve widespread popularity in mainstream culture and the first game character to be popular in his own right. (1983) was the first game, and introduced to video games. With Adventure establishing the genre, the release of in further popularized text adventure games in and established developer 's dominance in the field. As these early computers often lacked graphical capabilities, text adventures proved successful. When affordable computers started catching up to and surpassing the graphics of consoles in the late 1980s, the games' popularity waned in favor of and other genres. The text adventure would eventually be known as and a small dedicated following has kept the genre going, with new releases being nearly all free. Also published in 1980 was ', for the. It was the first graphic adventure on home computers. Graphics consisted entirely of static monochrome drawings, and the interface still used the typed commands of text adventures. It proved very popular at the time, and she and husband Ken went on to found, a major producer of adventure games. Mystery House remains largely forgotten today. In September of, the was released to the public. It found initial success because it was marketed and priced aggressively. It had a programming environment and advanced graphic and sound capabilities for its time, similar to the console. It would become the most popular home computer of its day and the best-selling single computer model of all time. By the middle of, the video game industry. Created, a text-mode networked computer game in 1983 to test a new PC based computer network and demonstrate its capabilities. Snipes is officially credited as being the original inspiration for. It was the first network application ever written and is recognised to be the precursor of multi-player games such as and. In 1983, and probably played the world's first over-the-network with Snipes. The true modern adventure game would be born with the series in. It featured color graphics and a third person perspective. An on-screen player-controlled character could be moved behind and in front of objects on a 2D background drawn in, creating the illusion of pseudo-3D space. Commands were still entered via text. Would do away with this last vestige feature of text adventures when its adventure built with its system allowed a interface. Sierra and other game companies quickly followed with their own mouse-driven games. For more on the history of adventures games, see The became a competitive gaming platform with 's in. The new 16-color display standard allowed its graphics to approach the quality seen in popular like the. Sound however, was still only the crude bleeps of. The primitive 4-color graphics of previous models had limited the PC's appeal to the business segment, since its graphics failed to compete with the C64 or Apple II. The also arrived at this time. It lacked the color capabilities of the earlier, but the operating system support for the attracted developers of some interesting games (e.g. ) even before color returned in 1987 with the Mac II. In computer gaming, the later 1980s are primarily the story of the 's rise to prominence. The market in the U.K. Was primely positioned for this task: personal computer users were offered a smooth scale of power versus price, from the up to the, developers and publishers were in close enough proximity to offer each other support, and the NES made less of an impact than it did in the United States. The arrival of the and Commodore Amiga in 1985 was the beginning of a new era of 16-bit machines. For many users they were too expensive until later on in the decade, at which point advances in the IBM PC's open platform had caused the to become comparably powerful at a lower cost than their competitors. The standard developed for IBM's new line in gave the PC the potential for 256-color graphics. This was a big jump ahead of most 8-bit but still lagging behind platforms with built-in sound and graphics hardware like the Amiga, causing an odd trend around '89-91 towards developing to a seemingly inferior machine. Thus while both the ST and Amiga were host to many technically excellent games, their time of prominence proved to be shorter than that of the 8-bit machines, which saw new ports well into the 80s and even the 90s. Set an early defacto standard for sound cards in, with its card based on the sound chip. This would last until the introduction of ' in, which took the chip and added new features while remaining compatible with cards, and creating a new defacto standard. However, many games would still support these and rarer cards like the and into the early 90s. The initial high cost of sound cards meant they would not find widespread use until the 1990s. Gaming first appeared in the late 1980s, but its big successes came in the 1990s. Bulletin Board Systems and early online gaming Dialup were popular in the 1980s, and sometimes used for online game playing. The earliest such systems, in the late 1970s and early 1980s, had a crude plain-text interface, but later systems made use of terminal-control codes (the so-called, which included the use of IBM-PC-specific characters not actually part of an standard) to get a pseudo-graphical interface. Some BBSes offered access to various games which were playable through such an interface, ranging from text adventures to gambling games like blackjack (generally played for 'points' rather than real money). On multiuser BBSs (where more than one person could be online at once), there were sometimes games allowing the different users to interact with one another; some such games of the fantasy role-playing variety were known as, for 'multi-user dungeons'. Commercial online services also arose during this decade, starting with a plain-text interface similar to BBSs (but operated on large mainframe computers permitting larger numbers of users to be online at once), and moving by the end of the decade to fully-graphical environments using software specific to each personal computer platform. Popular text-based services included,, and, while platform-specific graphical services included for the, for the and, and for the, all of which were run by the company which eventually became; and a competing service,. Interactive games were a feature of these services, though until 1987 they used text-based displays, not graphics. 8-bit era, or 'Post-crash/Late' 8-bit era (1985-1989) Main article: In 1984, the computer gaming market took over from the console market following the crash of that year; computers offered equal gaming ability and since their simple design allowed games to take complete command of the hardware after power-on, they were nearly as simple to start playing with as consoles. In, the North American video game console market was revived with Nintendo's release of its console, the in the United States under the name (NES). It was bundled with and suddenly became a success. The NES dominated the North American market until the rise of the next generation of consoles in the early. Other markets were not as heavily dominated, allowing other consoles to find an audience like the in Japan and the in Europe and Brazil. At this time, was struggling and Hironobu Sakaguchi decided to make their final game a fantasy role-playing game, and the series was born. Final Fantasy saved Squaresoft from bankruptcy. In the new consoles, the took over,, and as the default included with the system. The gamepad design of an 8 direction with 2 or more action buttons became the standard. In Nintendo published their first issue of Magazine. The 1990s If the 1980s were about the rise of the industry, the 1990s were about its maturing into a Hollywood-esque landscape of ever-increasing budgets and increasingly consolidated publishers, with the losers slowly being crushed or absorbed. As this happens, the wide variety of games that existed in the 1980s appears to fade away, with the larger corporations desiring to maximize profitability and lower risk. With the increasing computing power and decreasing cost of processors like,, and, the 1990s saw the rise of, as well as ' capabilities through and. In the early 1990s, distribution was a popular method of publishing games for smaller developers, including then-fledgling companies such as Apogee (now ), Epic Megagames (now ), and. It gave consumers the chance to try a trial portion of the game, usually restricted to the game's complete first section or 'episode', before purchasing the rest of the adventure. Racks of games on single 5 1/4' and later 3.5' were common in many stores, often only costing a few dollars each. Since the shareware versions were essentially free, the cost only needed to cover the disk and minimal packaging. As the increasing size of games in the mid-90s made them impractical to fit on floppies, and retail publishers and developers began to earnestly mimic the practice, shareware games were replaced by shorter (often only one or two levels), distributed free on CDs with gaming magazines and over the Internet. Shareware was also the distribution method of choice of early modern (FPS) like and. Following Doom, the retail publishers and developers began to earnestly mimic the practice of offering demos, which had the effect of reducing shareware's appeal for the rest of the decade. During this time, the increasing computing power of began to allow rudimentary. 's Doom in particular was largely responsible for defining the genre and setting it apart from other first-person perspective games. The term FPS has generally come to refer to games where the player has full control over a (usually humanoid) character and can interact directly with the environment; almost always centering around the act of aiming and shooting with multiple styles of weapons and limited ammunition. See main article:. 1992 saw the release of ( RTS) game. It was by no means the first in the genre (that being 1984's ), but it set the standard game mechanics for later blockbuster RTS games like and. The RTS is characterised by an overhead view, a 'mini-map', and the control of both the and aspects of an army. The rivalry between the two styles of RTS play - WarCraft style, which used accessed once a building was selected, and C&C style, which allowed construction of any unit from within a permanently visible menu - continued into the start of the next millennium. () planted the seeds of what would become known as the genre. It established the formula that would later flourish on CD-ROM based consoles, with games like and. Adventure games continued to evolve, with 's series, and LucasFilms'/' series bringing graphical interaction and the creation of the concept of 'point-and-click' gaming. And its sequels inspired a new style of puzzle-based adventure games. Published in, Myst itself was one of the first computer games to make full use of the new high-capacity storage format. It went on to remain the best-selling game of all time for much of the decade, and was one ' that made CD-ROM drives standard features on PCs. Despite Myst's mainstream success, the increased popularity of action-based and real-time games led adventure games and, both mainstays of computer games in earlier decades, to begin to fade into obscurity. In 1996, released the Voodoo chipset, leading to the first affordable for. These devoted 3D rendering daughter cards performed most of computation required for rendering higher-resolution, more-detailed three-dimensional graphics, allowing for more-detailed graphics than would be possible if the CPU were required to handle both game logic and graphical tasks. First-person shooter games (notably ) were among the first to take advantage of this new technology. While other games would also make use of it, the FPS would become the chief driving force behind the development of new 3D hardware, as well as the yardstick by which its performance would be measured, usually quantified as the number of frames per second rendered for a particular scene in a particular game. Several other, less-mainstream, genres were created in this decade. ' Thief and its sequel were the first to coin the term 'first person sneaker', although it is questionable whether they are the first 'first person stealth' games. Turn-based strategy progressed further, with the (HOMM) series (from 3DO) luring many main-stream gamers into this complex genre. The 90s also saw the beginnings of Internet gaming, with MUDs () in the early years. 's game pioneered play over the Internet in. Internet multiplayer capability became a defacto requirement in almost all FPS games. Other genres also began to offer online play, including RTS games like 's, 's II and III, and games such as. MMORPGs (), such as and freed users from the limited number of simultaneous players in other games and brought the MUD concept of to graphical multiplayer games. Developments in like and allowed for simple. These are small single player or multiplayer games that can be quickly downloaded and played from within a web browser without installation. Their most popular use is for puzzle games, classic arcade games, and multiplayer card and board games. Gamers in the 90s began to take their fates into their own hands, with the creation of modifications (or 'mods') for popular games. It is generally accepted that the earliest mod was, for Castle Wolfenstein. Eventually, game designers realised that custom content increased the lifespan of their games, and so began to encourage the creation of mods. Half-Life spawned perhaps the most successful (or, at the very least, one of the most widely played) mods of all time, with a squad-based shooter entitled. Since CounterStrike, many games have encouraged the creation of custom content. Other examples include, which allowed players to import 3dsmax scenes to use as character models, and 's, for which players could create custom objects. Few new genres have been created since the advent of the FPS and RTS, with the possible exception of the. Games such as,, and all use a third-person camera perspective but are otherwise very similar to their first-person counterparts. Decline of arcades With the 16-bit and 32-bit consoles, home video games began to approach the level of graphics seen in. By this time, had earned a reputation for being seedy, unsafe places. An increasing number of players would wait for popular arcade games to be ported to consoles rather than going out. Arcades had a last hurrah in the early 90s with and the one-on-one genre it founded. As patronage of arcades declined, many were forced to close down. Classic coin-operated games have become largely the province of dedicated hobbyists. The gap left by the old corner arcades was partly filled by large amusement centres dedicated to providing clean, safe environments and expensive game control systems not available to home users. These are usually based on sports like skiing or cycling, as well as like, which have carved out a large slice of the pie. Handhelds come of age In 1989, Nintendo released the, the first since the ill-fated ten years before. The design team headed by had also been responsible for the systems. Included with the system was, a popular puzzle game. Several rival handhelds also made their debut around that time, including the and. Although most other systems were more technologically advanced, they were hampered by higher battery consumption and less third-party developer support. While some of the other systems remained in production until the mid-90s, the Game Boy remained at the top spot in sales throughout its lifespan. • Nintendo released the, an adapter for the Super NES which allowed Game Boy games to be played in the console. 16-bit era (1989-1994) Main article: The North American market was dominated by the early on after its debut in, with the proving a strong, roughly equal rival in. The was the first 16-bit system to be marketed in the region, but did not achieve a large following, partly due to a limited library of English games and effective marketing from Sega. The intense competition of this time was also a period of not entirely truthful marketing. The Turbographx 16 was billed as the first 16-bit system but the central processor was an 8-bit, with only its graphics processor being a true 16-bit chip. Sega used the term to describe the simple fact that its CPU ran at a higher clock speed than the SNES(7.67 vs 3.58 MHz). In Japan, the 's(Turbografx 16) success against the and drive peripheral allowed it to fend off the (Genesis) in 1988, which never really caught on to the same degree as outside Japan. The PC Engine eventually lost out to the, but retained enough of a userbase to support new games well into the late 1990s. CD-ROM drives were first seen in this generation, as add-ons for the PC Engine in 1988 and the Megadrive in 1991. Basic entered the mainstream with flat-shaded polygons enabled by additional processors in game cartridges like and. 's was the most expensive console by a wide margin when it was released in, and would remain so for years. It was also capable of 2D graphics in a quality level years ahead of other consoles. The reason for this was that it contained the same hardware that was found in SNK's arcade games. This was the first time since the home Pong machines that a true-to-the-arcade experience could be had at home. Became a defining title for 3D platformers In -, Sega released and Sony made its debut to the video gaming scene with the. Both consoles using technology, the door was open for 3D games. After many delays, Nintendo released its console, the in, selling more than 1.5 million units in only three months. The flagship title,, became a defining title for 3D platformer games. Popularized in Japan with its debut on the. Subsequent music and dance games like and became ubiquitous attractions in Japanese arcades. They became known as games, the name derived from Beatmania. While Parappa, DDR, and other games found a cult following when brought to North America, music games would not gain a wide audience in the market until the next decade. Other milestone games of the era include 's Nintendo 64 title (), which was critically acclaimed for actually being a good movie-licensed game as well as the first good FPS on a console, and (), Nintendo's 3D debut for the adventure game series. Nintendo's choice to use cartridges instead of CD-ROMs for the Nintendo 64, unique among the consoles of this period, proved to have negative consequences. In particular,, which had released all previous games in its series for Nintendo consoles, now turned to the PlayStation; () was a huge success, establishing the popularity of role-playing games in the west and making the PlayStation the primary console for the genre. By the end of this period, Sony had dethroned Nintendo, the PlayStation outselling the Nintendo 64. The Saturn was successful in Japan but a failure in North America, leaving Sega outside of the main competition. Sixth generation era (1999 - 2004) Main article: • Sega released the. • released the, a successful PlayStation. Sony went to court to dispute the legality of the system, but Connectix won. The company released, another PlayStation emulator. • Sony released the. • was released. It was an instant hit and became the best-selling computer game of all time, surpassing. • Nintendo released the and the successor to the Game Boy Color, the. • entered the videogame console industry by releasing its new home console, the. Its flagship game,, is also available at the system's launch. • Sega announced they would discontinue the Dreamcast and no longer manufacture hardware. • Sega became a third-party developer for Nintendo, Sony, and Microsoft. •, owner of the, changed its name to Atari. Popularity The current industry consensus is that the popularity of computer and video games, as a whole, has been increasing steadily ever since the - dropoff caused by the, and that the popularity is continuing to increase. The average age of the video game player is now 29, indicating that video games are not largely a diversion for, as many nongamers assume. Each year, the theory goes, the generation of kids familiar with arcade and console games becomes one year older (and one year larger), and with more disposable income available to the group as a whole, sales should continue to grow, presumably until the entire population has grown up with video games easily available. Sales The three largest markets for computer and video games are the,, and the. Other significant markets include,,, and. Is not considered a significant market, probably because an estimated 95% of video games sold in the country are. Sales of different types of games vary widely between these markets due to local preferences. Japanese consumers avoid computer games and instead buy video games, with a strong preference for games created in Japan, that run on Japanese consoles. In South Korea, computer games are preferred, especially games and games; there are over 20,000 internet cafes where computer games can be played for an hourly charge. The tracks computer and video game sales in the United States. It reported that: • Console and portable software sales: $6.2 billion, up 8% from • Console and portable hardware and accessory sales: $3.7 billion, down 35% from • PC game sales: $1.1 billion, down 2% from These figures are sales in dollars, not units; unit shipments for each category were higher than the dollar sales numbers indicate, as more software and hardware was sold at reduced prices compared to 2003. Retail PC game sales have been declining slightly each year since about, but this fact should be taken with a grain of salt: the retail sales numbers from NPD do not include sales from online downloads, nor subscription revenue for games like. There is a commonly repeated, mistaken belief that video game sales now exceed the revenues of the. This is untrue; in the United States, video game sales have exceeded the movies' total box office revenue each year since about, but the trounce the when the movies' 'ancillary revenue' is counted, meaning sales of, sales to foreign distributors, and sales to,, and broadcast. The game and film industries are also becoming increasingly intertwined, with companies like having significant stakes in both. A large number of summer blockbuster films spawn a companion game, often launching at the same time in order to share the marketing costs. Computer and video games in the broader culture Computer games are still big business in. Developers there boast such as and with millions of subscribers and a third of the world's MMOG revenue. (expert players) are celebrities in a game that some have dared to call the country's. The success of computer and online gaming there is usually credited to South Korea's push for Internet connections in the home and earlier bans on Japanese products (these restrictions were removed by the late 1990s). Several websites and publications devoted solely to games have been created, including,,,,, and. Video gaming seems to be becoming a bigger part of popular culture. Many are available that directly reference video games, such as one with a picture of an controller with the text 'Know Your Roots.' Also, video games have also become a major part in cross marketing platforms, such as in or, where a child can watch the television show, buy the trading cards, and play the various video games available. Video game properties have had mixed success when migrating to the movies. One of the first films based on a video game property was, which some criticized as a 90-minute ad for. In the mid-, films for,, and were released. Reviews have generally been poor. Despite the ultimately poor performance of these movies, many studios still want to turn big games into movies, hoping that the popularity of the game will help the movie. However, after the initial bunch, many projects materialized that were never finished, but the success of films like has led to more films materializing., a game which film makers were trying to cross over since the mid 90s is finally going into production. Is also producing a movie on the popular game,. However, there is still debate in the movie industry on whether video games can be turned into good, profitable movies. Films like, which has received mixed responses from audiences, with some saying it is a great movie, and others saying it is a very bad movie with excellent, but ultimately flopped in the box office, and 's and, which both ended up being horrible flops both in fan reactions and box office success and both ending up on the 's bottom 100 movies, do not, in turn, give much confidence in whether these movies will be handled seriously. On the other hand, video games get much more success when adapted into cartoons/animes. Some notables examples of major success includes the various,, and while, the American cartoon and ' dubs (although this isn't limited to their video game-based dubs) are cited as being poor. Sometime, they even 'help' more obscure/Japan-only games pick up popularity in America although rarely; would be the best example of such thing. Movies have had far more success moving the other direction, onto video games. Most summer blockbuster films now have a simultaneous video game release; some of the most lucrative video games of recent times are based on movies, such as ' series of games, and 's two movie games. Even though movies have had more success in game convertion, not all movie games are good. Some developers believe that the success of the movie will help the game sell, so may not try hard to make a compelling game. Some examples of this are the and movie games. Also, video games have found themselves on, in a popular show called, where characters from popular video games perform songs from hit artists, such as characters from performing the song 'Stacy's Mom'. On the Internet, gaming has also become a popular subject of many. Currently there are two varieties. The first one is the, such as, in which the artist uses from a video game to tell stories. Sometimes these are original stories, but are often parodies of the game in which the sprite came from. The other is a more traditional comic strip, containing original art, like. Here, the storylines or jokes revolve around current events in video gaming. The success of Penny Arcade has attracted many people in the industry, including. Other parodies have come in the form of amateur videos, such as those of. In Germany, the TV channel broadcasts a show called GIGA, which turned more and more into a video and computer game show. In the show, new games are presented and reviewed. Lately, the show featured the scene a lot, by introducing professional players to the audience and broadcasting live competition matches. By Dennis Crouch Consumer Watchdog v. WARF, Reexam No. 95/000,154 (Fed. 2014) Several years ago Consumer Watchdog (previously known as the Foundation for Taxpayer and Consumer Rights) filed an inter partes reexamination proceeding against a human-stem-cell patent owned by the Wisconsin quasi-government entity WARF. CW does not work with the technology, but filed the reexamination request as part of its public service mission. In the reexamination, the USPTO confirmed that the patent was properly issued and CW subsequently asserted its statutory right to appeal. See 35 U.S.C. Before delving into the, the Federal Circuit halted progress on the case to particularly probe the question of whether the court has jurisdiction over the dispute – i.e., whether there exists a constitutionally sufficient “case or controversy” between the parties. At base, the question is whether any CW can claim the “injury in fact” that serves as a “hard floor of Article III jurisdiction.” See Summers v. Earth Island Institute, 555 U.S. 488, 497 (2009). The Federal Circuit requested briefing from the parties as well as the USPTO and those have now been filed. Most importantly, the US Government (USPTO/DOJ joint brief) has sided with WARF with a conclusion that it would be unconstitutional for the Federal Circuit to fulfill the statutory promise (of a right to appeal) by hearing CWs appeal. Potential Impact: Although the case is focused on CW as a non-profit, the potential outcome here is important for several reasons. Obviously, the ruling would disenfranchise public interest groups, not-for-profits, and industry organizations and instead provide full litigation rights primarily to parties with substantial likelihood of reaching collusive settlements that leaves would-be invalid patents intact. In an email to me, Dan Ravicher (CWs counsel) wrote: Without a full and fair right to challenge patents at the PTO, including an equal right to appeal, the public interest community will have no avenue to rid the system of bogus patents, and we will be 100% reliant on commercial entities, which often do not have the same incentive to prove patents are invalid, as they, too, have bogus patents themselves. Although somewhat hyperbolic, Ravicher’s comment raises real policy concerns. At a more general level, the issue here represents an important shot in the battle for power and authority in the setting of patent law policy that is ongoing between the Patent Office and the Judiciary. The USPTO is newly emboldened with unreviewable authorities granted by the AIA; likely generous Chevron deference for those decisions that are reviewable; and has pushed for a statutory amendment that would eliminate the ability of a patent seeker to file a civil action to receive a patent. Adding to that list, this case appears to be headed in the direction of yet another non-appealable agency activity. Mid-Level Injury: Although the US Government argues that CW lacks injury-in-fact, it also argues that the injury requirement in this situation is categorically less than what would be required for a declaratory judgment action in Federal Court. The US Government writes: Organizations such as Consumer Watchdog, who cannot claim any concrete and particularized interest in the validity of the challenged patent, will normally lack standing to appeal. [H]owever, it does not necessarily follow that the same Article III inquiry that governs declaratory judgment relief in the district courts — under which judicial relief is normally available unless the declaratory plaintiff can show that the patentee has asserted infringement, threatened litigation, or otherwise affirmatively acted to impair the declaratory plaintiff’s freedom in the marketplace, see, e.g., Prasco LLC v. Medicis Pharmaceutical Corp., 537 F.3d 1329 (Fed. 2008) — will also govern appeals from PTO decisions in post-grant proceedings.... Indeed, Congress enacted the AIA’s expanded procedures for post-grant patentability challenges partly in response to concerns that, under prior law, it was not reasonably possible for a company weighing whether to enter a particular market to test the validity of a potential competitor’s patent without first incurring the substantial costs and risks of developing a suitable — and potentially infringing — product..... Although such an interest would normally lack the immediacy required for declaratory judgment jurisdiction, the Supreme Court has explained that, in some circumstances, “[t]he person who has been accorded a procedural right to protect his concrete interests can assert that right without meeting all the normal standards for redressability and immediacy.” Lujan; Massachusetts v. Similarly, while a prospective interest in invalidating a competitor’s patent might normally implicate prudential considerations of fitness for judicial review, an explicit congressional authorization to appeal a particular category of legal determinations “eliminates any prudential standing limitations.” Raines. For these reasons, the Court could conclude in an appropriate case that the Article III inquiry governing direct appeals from the PTO differs from the inquiry that governs declaratory judgment actions in district court. In the prior arguments, Dan Ravicher (for CW) raised an analogy to FOIA where the Supreme Court has allowed a seemingly noninterested third party to bring court challenges. The US Government brief argues that those cases as well as related fair housing cases are different and distinguishable because Congress created “substantive legal rights that entitle a party to receive concrete and individualized benefits — access to specific government records, for example, or freedom from racial discrimination in housing. I really, really do no like the US government’s position on the possibility of future harm justifying standing. If this position is adopted, small fry and startup patenting has met its Waterloo. Think, Big Corp. Will now be in the position to challenge every small fry or startup patent emerging from the PTO, long before they make any money or are able to bring suit for infringement. Thus Big Corp can use its muscle to stamp out incipient competitors through the shear weight. The ONLY barrier we now enjoy to prevent that is standing. Cannot appeal, they will not file. The one-sided mendacity and shortsightedness of the US government positions is shocking. And these folks call themselves Democrats? On the power grab, I know PTO has taken the position that a decision by the PTO to institute an IPR in violation of 315(b) is not appealable at all, ever, based on 314(d)’s statement that decisions to institute are not appealable. They justify their position not only on the statutory language, but their interpretation, which is entitle to Chevron deference and because of 316(a)(2) that authorizes the Director to establish “standards” for sufficient grounds under 314(a). Yes, they want to be a law unto themselves. There are some very serious Constitutional issues with the structure of the patent agency when it comes to the separation of powers doctrine. Office: expanded power to make up its own rules, a quasi judicial function (Article I court) that redefines Article III precedents in interpreting those made up rules – and overriding those same Article III precedents if it so chooses, and then an effective removal of true judicial review, all under the executive branch defies why we have a separation of powers doctrine to begin with. Throw in the shenanigans of running the agency without an appropriately vetted top guy (the same top guy who has power over the newly augmented incestuous Article I court), and one has to wonder who exactly is pulling the strings in this Fourth Branch multi-billion dollar agency. Anon, you sum it up well. It does appear that the PTO is moving to monopolize “patentability.” They issue patents, they then decide the ultimate fate of a patent through reexamination regardless of court judgments. On appeal, their findings of fact are subject to substantial deference. There are holes in their armor, like the appeal to the district court. They are systematically moving to fill those holes. If one stands back and looks at the big picture, it does appear that the PTO is taking over complete control of patent “validity.” They have powerful allies in this effort. The movers and shakers have long considered patent validity the stuff of experts and not of the jury, and have been trying to remove validity from the courts for decades. But, even if experts would be better judges of validity than juries, the concentration of power in the executive has to give one pause. Perhaps it is time that we create an Art. III court to try validity, where it members are required to have the same qualifications as today’s APJs. We could then remove reexaminations all PGRs to this court. Back in the day, I believe this possibility being discussed. But for whatever reason, it was decided to concentrate patent validity in the executive branch. ” or if the reviewing court is bound by the PTO finding of facts (their rejected position on district court appeals)” That wasn’t their position at all on district court appeals. Their position was that there should be no new evidence allowed on which to base a new opinion. The DC would remain free to make different factual findings based on the same evidence before the office. Pay attention Nedo. But yes Ned I understand that if there is no right appeal the PTO becomes a “rouge”, or even a rogue. But that is only in the limited instance where the one side simply has no standing to appeal. I’m sorry but I just don’t see giving those folks one more bite at the apple than they already had (0 except for the new reviews to be implemented in AIA that I know of) outside the courts as being a bad thing. They simply don’t have enough of a stake in the issue to proceed further under our constitution, tough cookies. “ Obviously, the ruling would disenfranchise public interest groups, not-for-profits, and industry organizations and instead provide full litigation rights primarily to parties” Wasn’t exactly the same rationale put forth (and not accepted) when the false marking statute was eviscerated under the AIA? Goose, meet Gander. Further, given the history of the Office (have people already forgotten the Reject-Reject-Reject era, Taffas and the tabled monstrosity of the Appeals Rules changes), should we be giving the Office ANY non-appealable agency activity? Wasn’t exactly the same rationale put forth (and not accepted) when the false marking statute was eviscerated under the AIA? I don’t recall much discussion about disenfranchising “public interest groups”, “not for profits” or “industry organization groups.” I do recall much discussion about disenfranchising bottom-feeding attorneys, though. Happy to be corrected. In any event, the consequences of being denied judicial review in the instant situation are far more severe than those implicated by “false marking.”. Thanks for the excellent write-up, Dennis. The issues are interesting, to be sure. My sympathies lie with CW in this instance and they seem to have done a fine job presenting their case. The bottom line for me is that improvidently granted patents restrict everyone’s rights in a way that is indistinguishable from an improvident restriction on information (under the FOIA). The government agency is saying “some people can see/do this, but nobody else can” without sufficient justification. Standing for public interest groups seems reasonable under such circumstances, where the statute provides the right for judicial review of the agency’s determination. And as you pointed out, the courts seem to have accepted this reasoning already in the FOIA context, at least. It’s very interesting to these issues (information access and patent rights) converge in this way. It’s going to keep happening. MM, how did you like that trademark case the US relied on to state that one did not need standing to challenge a trademark registration. Someone who objected to OJ personally, found him to be immoral, filed to cancel his registrations. The majority, over a dissent by Newman, found standing in this character’s representation of the public’s sense of morality. Now, just imagine were that will get us where other protector’s of Gods ideas of morality are allowed to challenge the trademarks of people and organizations to whom they object. MM, another point, it seems that the folks behind this don’t like patents on stem cells because they could prohibit government sponsored research, specifically as authorized by the state of California. Their main beef seems 101 based. They don’t like these patent or any patents on stem cells or perhaps human stem cells. It would be interesting to see their 101 position to find out where they are coming from. But, if they cannot appeal due to lack of standing, can the state of California intervene? I hate to be cynical, but I am not particularly bothered if the outcome here is that guys like Dan Ravicher are deterred from bringing post-grant challenges. Having litigated in several patent cases in which a third party public interest organization like PubPat files a post-grant review, their petition is almost viewed as unwelcome by the industry. The filing of the petition may give the public interest organization a very brief press spike (they plaster press releases all over the place), to drive fundraising efforts, but that’s about it. The petition is, then, largely forgotten. The PTO, in the meantime, digs into the petition and finds it lacking and ultimately confirms the claims. That’s exactly what happened here. The result is a stronger patent that’s harder to challenge by people who are actually threatened by it and who, frankly, have the incentive and resources to challenge it properly. There are exceptions to this problem, organizations that have legitimate interests in ridding bad patents and will put in the time and effort to see it through. But those organizations are few and far between. Most are simply concerned about fund-raising efforts, and they file weak and unsupported petitions solely to support that effort. The PTO, in the meantime, digs into the petition and finds it lacking and ultimately confirms the claims. That’s exactly what happened here. The result is a stronger patent Is there any data showing that patents coming out of re-exam are “stronger” and “harder” to tank by people who are “actually threatened” by the patents? I’m not aware of any such data. I am aware of plenty of re-examined patents that were tanked. There are exceptions to this problem, organizations that have legitimate interests in ridding bad patents and will put in the time and effort to see it through. But those organizations are few and far between. Is there any data on whether the number of such organizations is growing or shrinking? Most are simply concerned about fund-raising efforts, and they file weak and unsupported petitions solely to support that effort. Filing weak and unsupported petitions (sometimes known as “patent applications”) for the purpose of fund-raising is a tried and true tactic for many for-profit businesses. The huge and critical difference between the non-profits and the for-profits is that a substantial portion of the for-profits are PAEs filing weak applications and re-exams in the hopes that they can extract massive amounts of money from productive companies, including small businesses. Why does every discussion in these Comments devolve into a debate between patent owners and accused infringers? No one is saying that bad patents are good thing. They are not – they are a horrible drain on productive companies, especially start-up companies. The bigger question is whether these non-profit “public interest” organizations are really providing a public benefit to people concerned about these patents. People who litigate patent cases involving these patents overwhelmingly view these “public interest” petitions as ultimately hurting the industry they claim they’re trying to protect. People who litigate patent cases involving these patents overwhelmingly view these “public interest” petitions as ultimately hurting the industry they claim they’re trying to protect. Do you have a poll you’d like to share with us? I don’t recall seeing one asking for the views of “people who litigate patent cases” (what does that phrase mean exactly? What percent of public opinion is fairly represented by such people?) Also, as far as I can tell, most public interest groups aren’t particularly interested in protecting “the industry” that led to the patent dispute but rather in protecting the public from forseeable negative outcomes related to the granting (or not) of the type of patent at issue. The “industry” of course is perfectly capable of protecting itself, to the extent there really is an “industry” worth protecting. For example, does anyone really believe that the “shoving an ad in your face” industry or the “you can look at those specific parts of your genome after you pay us” industry needs stronger patents in order to thrive? I know some “people who litigate patents” who believe that but hardly anyone else does. No one is saying that bad patents are good thing. They are not – they are a horrible drain on productive companies, especially start-up companies. Glad you agree. Let’s all work together to minimize the number of bad patents being granted and fashion the law in such a way that they are virtually impossible to enforce. Do you have a poll you’d like to share with us? When somebody who appears to have personal knowledge of a particular situation states something, here you come trotting out your “do you any data showing this?” or “do you have polling data confirm this opinion?” However, you are more than comfortable making baseless assertion after baseless assertion after baseless assertion. Did I mention that you are famous for making baseless assertions? Some things (and people) never change. It doesn’t take a genius to realize that most people commenting on bad patents (e.g., public watchdog groups) have a very poor foundation with regard to the law, the technology, and what the patents actually cover. As such, if I’m a patent owner and I’m going to face a reexam, I want those type of guys to bring it not a REALLY motivated party who is within the industry and has a better understanding of patent law. When I read Lode_Runner’s post, it made perfect sense to me and was based upon common sense and as we all know, the application of “common sense” is more than enough in patent law. If I’m a patent owner and I’m going to face a reexam, I want those type of guys to bring it not a REALLY motivated party who is within the industry and has a better understanding of patent law. Yes, but Lode_Runner’s assertion is basically that “if I’m a patent owner and I’m going to face a reexam from a REALLY motivated party etc., I want those type of guys to bring their own reexam first.” That’s not the same thing at all. Obviously if you only have to face one reexam, you’d rather it be brought by people who have no real stake in the patent and no axe to grind against you, and only filed it to have it filed. But that’s as irrelevant as it is obvious. Most people commenting on bad patents (e.g., public watchdog groups) have a very poor foundation with regard to the law, the technology, and what the patents actually cover That’s your opinion and you have nothing to back that claim up. Such groups file well-reasoned amici briefs all the time. Do you want to talk about Prometheus v. Mayo perhaps? That was a hugely important case, as you’ll remember. I recall a lot of “expert” patent litigators speaking about it and it was quite clear to me that it was those litigators who didn’t understand “the law, the technology, or what the patents actually covered.” And that included people who were told exactly what the technology was and what the patents actually covered and why their understanding of “the law” was incoherent and contradictory. When I read Lode_Runner’s post, it made perfect sense to me It didn’t make sense to me and I explained why: there is no evidence that a patent that “survives” a poorly supported re-exam is “stronger”, or “harder” to tank, than any other patent. Are you aware of any such evidence? If so, please share it. I don’t think that the complaint of inadequate foundation in the law applies to Ravicher’s groups — especially following his success in the Myriad case. Don’t impute the qualities of one attorney to all attorneys. Also, Myriad was less about the law and more about SCOTUS engaging in policy-making. There is a difference between arguing that “genes patents are bad because this means that some company can patent you” versus understanding the technology, combing through prior art, and articulating a decent reason to reject a claim under 35 USC 102/103. Such groups file well-reasoned amici briefs all the time. MM — any group that files any brief that reduces the effectiveness of patents will be consider “well-reasoned” by you. We get that you are anti-patent. However, just because somebody else is anti-patent doesn’t mean it is well-reasoned. Do you want to talk about Prometheus v. Mayo perhaps? That was a hugely important case, as you’ll remember. If you think so. To me, it was an uninteresting case with poorly written claims that has little to do with my practice. There is no evidence that a patent that “survives” a poorly supported re-exam is “stronger” Any patent that survives reexamination is stronger period. The patent gains a presumption of validity against any cited art and the patent owner has an opportunity to add additional claims. Psychologically, it also takes the wind out of the sails of anybody else who wants to challenge the patent. As a matter of human nature (although not necessarily based upon fact), they are going to have less faith in the reexamination process if the patent goes through unscathed, which means they’ll be less likely to employ the reexamination process. Prof Crouch states “ applies to Ravicher’s groups — especially following his success in the Myriad case.” LOL – Myriad? Well it looks like yet another somebody out there understood this lad’s ‘English as a second language’ posts and how I predicted not only the outcome of the case but the exact rationale used by the Court. And PG, you should realize that 101 is supposed to be different than 102/103 and the warehouse of nature concept is NOT a prior art concept. Many of the old posts comments have been restored – you should read through some of the exchanges between me and Malcolm on the topic. You can skip the 30,000 plus post-decision words of mewling QQ from RQ/HD with perfect confidence of zero chance of missing anything of substantive value. Professor Crouch writes: >I don’t think that the complaint of inadequate foundation in >the law applies to Ravicher’s groups — especially following >his success in the Myriad case. To be clear, my comment wasn’t about adequate foundation in the law, nor was it directed at PubPat specifically. In a reexamination or other form of post-grant prior art challenge before the PTO, the real key is finding the right prior art and explaining it correctly. The law is a given in these proceedings; the challenge is understanding how the patent is being asserted in industry, picking the best art and mapping it correctly in your reexam request. And public interest groups, frankly, often lack both the incentive and the expertise to do this properly. PubPat has not had a particularly good record here, if you wish to take that as an example. His group has filed eight or reexams since about 2004. His own website shows, the reexams are accompanied by a press release ballyhooing the filing of the request, and another press release touting a first Office Action rejection, but then mysteriously, there is no subsequent coverage. That’s because, if you look at the PAIR records, you will find out that the reexam ultimately failed. The reexam certificate issues, invariably confirming claims, often with slight amendments that aren’t going to help anyone avoid infringement. And to make matters worse, the patent owner almost always uses the reexam as an opportunity to narrow the claims with a bunch of new dependent claims that everyone now infringes, but will be even harder to invalidate following the reexam. This is what happened with PubPat’s challenge against the Microsoft FAT patent, for example, and its challenge against the EpicRealm dynamic website patent. I think the only reexam that PubPat actually “won” was against Columbia, when it simply decided the challenged patent just wasn’t that important and publicly said it wouldn’t assert it. The Myriad case wasn’t a reexam, though, but a suit brought by Ravicher and the ACLU about a pure legal issue. I think groups like PubPat are fine for doing that, because it doesn’t really require expertise and they are a lot harder to screw up since the case will be so closely watched by various constituents. The patent owner almost always uses the reexam as an opportunity to narrow the claims with a bunch of new dependent claims that everyone now infringes, but will be even harder to invalidate following the reexam. You have no evidence for this “harder to invalidate” assertion. Either the patent is junk and you can invalidate it by making the necessary reasonable arguments that PubPat or whoever failed to make, or it isn’t junk and you can’t invalidate it. If you thought it was junk before and so you refused to take a license but only because the claims weren’t amended in some “trivial” fashion then that remains your problem, not PubPat’s problem. PG: Psychologically, it also takes the wind out of the sails of anybody else who wants to challenge the patent. As a matter of human nature (although not necessarily based upon fact), they are going to have less faith in the reexamination process Huh. I’ve had a few clients that were “faith-based” but mostly they prefer advice based on fact. One such fact is whether the “re-examation process” was crxppy, i.e., whether the lawyers trying to tank the patent were skilled enough to present a compelling case that the Examiner could not resist agreeing with, or whether those lawyers were the middling sort of lawyers that couldn’t make a creative and convincing argument if their life depended on it. I would also like to see data on the following: How many IPRs are filed on Orange-Book listed patents for which the ANDA litigation in District court has already begun. What I have seen is that a generic company will file its ANDA. It will be sued by the brand pharma in district court. Then the generic will file the IPR on the patents. This way, the generic is teh “first filer” and enjoys the 180 days first filer exclusivity, but also benefits from the lower burden of proof in IPR proceedings vs. District court. I’d like to know if the data backs up my observations. Nice one Ned but, yawn, isn’t it time by now to “Leave it out, guv’nr”? As far as I know, the expression originated with Carwyn James, head coach on a British and Irish Lions Rugby Union Tour of New Zealand, in the 1970’s. Rugby players are unlikely to survive more than a few successive games without getting injured. The BI Lions is a revered institution. Domestically, England, Wales Scotland and Ireland go to “RU) war with each other every winter, but every 4th summer come together in one team to take on the RU giant countries of NZ Oz and RSA. Being a Lion is the most revered status of any RU player. And on the island of Ireland, they pick one national RU side, drawing players from both Northern Ireland and the Republic. Sport helps to dissolve the memories of war. Patent law too, one would hope. Thanks for the further confirmation. According the the PTABs own latest statistical report on IPRs somewhat more than 80% of all requested IPRs disclose parallel infringement suits in the IPR papers filed. [The statistical study “An Analysis of Multiple Petitions in AIA Trials” also demolishing the myth that serial petitions against the same patent are common.] [That 80% does not include IPRs filed before that in response to cease and desist letters, large license fee demands or other suit threats, which would presumably bring the percent of IPRs caused by lawsuits or their threat to more like 90%.] And, it also notes, IPRs are being filed in less than about 1/4 of all patent suits. I have been pointing the 80% number out on this and the Q-blog for several years now in response to allegations that patents are widely attacked and attacked without provocation in IPRs. Yeah, gotta agree with that. I’m getting tired of people talking about patent examination quality. I’ve been at this for decades now, and I’ve seen countless initiatives, pilot programs, proposals, etc., from the USPTO to improve “patent examination quality.” None of them lasts or makes any meaningful difference for the simple reason that the ex parte examination framework is inherently flawed. No matter what you do on the examination side, an examiner will never be able to match a motivated infringer in finding the best prior art or mounting the strongest validity challenge. And besides, the USPTO is now issuing more than 300,000 patents per year. The vast majority of those patents will never be asserted against, or even noticed by, anyone. It’s only a tiny fraction of those patents that will present problems for others, and it’s effectively impossible to identify those during the examination stage. So anything you do on the examination side will likely have little to no impact on the issuance of problematic patents; it will just bog down the examination process. IPR/PGR are simply put the best mechanisms available for identifying and further evaluating the tiny percentage of problematic patents that take up the time of other people, and that make the whole patent system look bad. “No matter what you do on the examination side, an examiner will never be able to match a motivated infringer in finding the best prior art or mounting the strongest validity challenge.” Of course that is true, but it is not clear that we are at the point of diminishing marginal examination. Even if the best prior art will not be found, better prior art will yield better claim scopes. Any significant increase in search time could also be used against POPA as leverage for policies to make it easier to get rid of rubber stamp examiners. More accountibility. Better Patents.”. [T]he examiner might be more motivated if he personally would have to pay for any IPRs addressed against the patents he issues. I think that making the PTO pay for patents canceled in IPR (or for the costs involved in defending such invalidation proceedings) is a worthy incentive. Making the examiner personally liable, however, is both ill-advised in theory and unworkable in practice. In order for person examiner liability to work as an incentive, the examiner must be made to understand before starting work that the examiner’s agreement to be open to liability running into potentially the hundreds of thousands (perhaps millions) of dollars at some unspecified date in the future is a condition of employment. That is an obviously unattractive condition of employment, so the PTO will have to pay correspondingly more right now to make this job plausibly attractive. Moreover, unless that “correspondingly more” is really huge, no sane person would take that offer, which means that we would be selecting for people who are not that bright. An examiner core composed only of those too dim to realize what a dangerous arrangement they are making is scarcely likely to improve quality. Moreover, most IPRs occur years, maybe decades, after allowance. The average examiner is only in the job for a few years (I seem to recall reading an average of 5 years, but I cannot find a source for that number). That means that by the time that the liability would mature, the would-be beneficiary is going to have a time of it tracking down the responsible examiner. Given the high percentage of the foreign born working at the PTO, in some cases, the person in question will have moved back to Russia, or Vietnam, or what have you, where they will be essentially judgment-proof against liability under the terms of a U.S. Indeed, if agreeing to liability becomes a precondition to taking the job, the result will likely be a dramatic increase in the percentage of foreign born examiners, because they will have confidence in their ability to escape crushing liability by moving to a jurisdiction beyond the reach of U.S. Like I said, I like the idea of making the PTO liable. Making the examiners personally liable, however, strikes me as unworkable and ill-advised. “IPR/PGR are simply put the best mechanisms available for identifying and further evaluating the tiny percentage of problematic patents” No they’re not. Not enough flexibility, resulting in too many babies getting thrown out with the bathwater. EPO oppositions do a better job, and are fairer, because they allow the patentee to submit multiple sets of amendments in the alternative, each of which is examined by the opposition board until one set is found allowable or all are disqualified. It’s not a method to which users of the US legal system are accustomed. But it’s more likely than the take-it-or-leave-it IPR/PGR system to leave the patentee with something if indeed he’s invented and sufficiently described/enabled a novel, non-obvious invention. This is a very good point, and a very thoughtful reply. Honestly, I wish that those for and against IPRs could spend more time discussing, as you just have, how we might improve the procedures. Instead, most of the ink spilled on this subject is more to the effect of ecrasez l’infame. Indeed, I strongly suspect that many on the anti-IPR side really do not want the IPR process to be improved. They are a lot of gutter-Leninists who want to “heighten the contradictions” of the present IPR system, in the hope that the whole thing be effaced from the books, rather than reformed and improved. MM, you’ve obviously never been involved in an IPR petition, because if you had, you’d know that neither of the things you’re proposing would have any impact on the number of IPR filings against not-yet-asserted patents. First off, everyone forgets that unlike ex parte reexamination, you cannot file an IPR petition anonymously. So unless you’re a public interest entity that has no risk of infringement liability, if you file an IPR petition against it, you’re dramatically increasing the likelihood that the patent owner will respond with an infringement suit. Your proposal to reduce the filing fees is, to say the least, peanuts. The filing fees are dwarfed by the high cost of preparing an IPR petition itself. Most of the good firms that I use are quoting around $250K+, all in, to prepare and handle an IPR proceeding up until PTAB hearing, against up to 20 claims in a single patent. About 75% of that cost is in the preparation of the petition itself, which is an enormous undertaking even if you’re already found the prior art you’re going to use. And unlike the previous reexamination regime, an expert declaration is practically required now, so you have a huge upfront investment of attorney time and expert time just to get an IPR proceeding started. To make matters worse, the PTAB has been rejecting a record number of IPR petitions on questionable grounds, as the institution rate drops and the lack of experience (and competence) of many of the newly hired PTAB judges is now revealing itself. And the non-institution decision is largely unappealable, so your upfront investment may be shot down arbitrarily at the institution phase. So it surprises me that the number isn’t actually 100%, not 80%. I would suspect that the 20% that are not technically in litigation are either in the same family or related to currently-litigated patents, or are the subject of aggressive prelitigation threats. The IPR procedure is far from perfect, for either side, but from an accused infringer’s standpoint, it’s obviously better than litigation and trial before a jury with a clear and convincing standard. That often makes IPR worth the investment for patents in litigation. But if the patent is not already in litigation, it’s hard to justify the expense associated with IPR. I stopped using patent prosecutors for IPR work years ago; most of them have spent too many years “traversing” examiner rejections to be able to make a persuasive argument. They’re used to the fact that, for many applications, you could vomit on a piece of paper, submit it as the response to a rejection, and in many cases get a notice of allowance. Obviously I exaggerate, but overcoming the meager rejections of many examiners doesn’t exactly require the highest levels of advocacy, so someone who’s spent years doing that wouldn’t be my first choice when I need something that’s persuasive. I’ve never seen anyone quote $25k to prepare an IPR petition in the electronics/software field. If the patent is so simple and basic that it could be taken out so easily, I could probably settle the case for less than the cost of the IPR anyway. More complex patents (which are nonetheless still junk) take quite a bit more work to IPR than you’re suggesting. A good IPR team has attorneys with both prosecution and litigation experience. Both skill sets are important. Pure prosecutors don’t have experience in taking/defending depositions or oral argument. They also aren’t used to the rigorous claim construction you get in an IPR, which I think is closer to a Markman than anything in examination. Writing from litigators also tends to be better, more precise and persuasive. Pure litigators also have downsides for an IPR. Many don’t have the technical chops and want to take a discovery deposition. I love arguing against a trial attorney, full of bluster, who doesn’t realize that arguments made to a district-court judge aren’t going to work with technically trained APJs and can’t answer the APJs’ many high-level questions. LR, that is a very good point that “unless you’re a public interest entity. If you file an IPR petition. You’re dramatically increasing the likelihood that the patent owner will respond with an infringement suit” [against you]. Not even mentioning the estoppel risk the petitioner is taking. As to comment below on who to use for IPRs, some of the best qualified have been former interference practitioners, since IPR practice was specifically modeled after modern interference practice. They have both contested PTO declaration and document evidence experience and live cross examination experience and know how to deal with strict-trial-managing APJs. Of course by now there are also some real IPR experts in some firms with numerous IPRs under their belts. It is not at all like ex parte practice, and only partially like patent litigation. This is the thread for posting any Xone:K2 Mappings that. Xone:K2 Mappings Thread. I'm currently working on mapping the traktor remix decks onto my Xone. The Lowdown If you’re a DJ who wants to add extra digital control to an existing digital set-up, or who wants to use a slimline device as your only controller alongside a laptop, and you’re attracted to making a mapping that suits you, the Xone:K2 has got to be something you’ll want to look at seriously. The built-in sound card is a good option to have and what’s more, this Traktor Kontrol X1 alternative doesn’t have the Traktor focus as far as labelling and control layout goes, and so will be equally at home mapped to whatever software you choose. We think it’s a winner. First Impressions / Setting up In the box are the unit, a USB lead, a CD-ROM containing guides, drivers and so on, and an RJ45 patch lead for connection to other X:LINK enabled products (more on X:LINK later). One of the things DJs love about the Traktor Kontrol X1 – on the face of it the most similar controller to this that’s currently out there – is how practical it is. As well as being small and slim, it is lightweight, and you can also buy a lightweight carry case for it to make it easy to transport. Allen & Heath has plainly seen this and taken the concept further with the Xone:K2, which is actually supplied in a snug-fitting, custom case from the off. The case is “semi-rigid”, being nylon with an all-round zip but padded with hard foam. This, combined with the four indentations for the feet of the Xone:K2, means that once you remove the unit from its case, the case can be used to raise it to the same height as, say, a mixer in a DJ booth. The faders are great quality, as you’d expect from a company that’s made its name selling pro mixers. The unit is built to a high standard. It is black, with a rubberised base and sides but with a brushed metal decal down the left and right bearing the Xone logo. The four feet are plastic rather than rubber, which means they are slippier than they would otherwise have been on some surfaces. The top plate is slightly textured black painted metal, firmly screwed down. Allen & Heath made its name with pro mixers, and it shows: From the white rubberised buttons to the bolted-down pots to the quality faders, all controls scream reliability and longevity. On the front is a single 1/8″ headphones socket, and round the back are a pair of RCA audio outs, the USB socket (it takes its power from USB) and two proprietary X:LINK sockets. In Use The controls First things first: This is not meant to be a “plug and play” device. Sure, it’s class compliant (although you’ll need to install audio drivers for certain Windows sound card configurations), and it also wisely and quite cleverly comes with two Traktor mappings (a Kontrol X1 emulator and a sample deck control mapping, complete with printable mapping legends), but it’s ultimately meant to be mapped by the user to control whatever he or she is envisioning. This is good. Just like Vestax with their VCI-400, Allen & Heath wants the Xone:K2 to sell to digital DJs and producers who are past the very beginner stage, and who want to customise their set-ups to do exactly what they’re imagining. As such, the unit will be a good companion to all kinds of software. The rear of the Allen & Heath Xone:K2. Note the X:LINK connectors for daisychaining. You could map it to Ableton Live, Traktor, Virtual DJ, MixVibes and so on, you might use it for VJing, for controlling lighting even. Midi mapping is not difficult and once you’ve created a mapping that works for you, you’ve effectively made a custom DJ controller for yourself. What you get here, then, is a lot of built-in flexibility. There are four faders, 12 standard pots, six continuous stepped rotaries with push switchers, 28 standard pushbuttons, and two large pushbuttons. Both the layout and the sparse labelling do, however, suggest certain uses. There’s a button labelled “layer”, for instance (we’ll look at layer options later). There’s another labelled “shift”. There is a set action for entering set-up mode. And the four “lines” suggest control of four channels, tracks or decks, complete with associated functions. As we’ll see shortly, the LED feedback is also skewed to help you use the unit in certain ways. But basically, it’s as blank a page as any hardware can realistically offer: Free for you to do what you like with its 171 Midi commands. Understanding the configuration options Not only can the Xone:K2 be used to control any software that can receive or transmit Midi, the built-in audio interface means that, unlike say the Traktor Kontrol X1, there’s no need to carry a separate audio interface with you. This is one of its big attractions. Two could be used together to double up (it’s possible to aggregate audio), or you could use one or two of them with an analogue mixer. If you do the latter, you can either use it with your headphones plugged in the front and take one channel of the analogue mixer, or plug both the headphones socket and the RCAs into separate channels of the analogue mixer, using it effectively as a set of transport / looping / FX controls for your DJ software and using the mixer to provide, well, the mixing bit of the equation. In order to better understand how one or two of these units can work with each other or with either analogue or digital mixers, Allen & Heath has provided several simple set-up videos covering the possibilities on its website. If you’re considering the unit, it is a good idea to watch them, if only to familiarise yourself with what’s possible using it. You can find them. Working with layers Imagine being able to press one switch on a Midi controller in order to move away from the current set of controls and activate a whole new set. If you’ve ever used a two channel / jogwheel but four-deck DJ controller, you’ll know what I mean; that’s basically an application of the concept of layers. It’s like a lockable “shift”. The Xone:K2 has three layers, and to make things easy, the LEDs light red, amber or green to show you which layer you’re currently on. But you get more flexibility than just that, though. You can cycle between layer “modes”, something Allen & Heath calls “layer latching”. The layer button is just underneath the matrix buttons. Layers can be backlit in three colours. In the first such mode, you can layer only the 16 (4 x 4) “switch matrix” buttons under the line faders. Everything else stays the same no matter what the layer is set to. This could be useful if you’re using the matrix to trigger samples or audio clips while the rest of the device controls four master channels of audio, for instance. The second mode adds in the switches under the pots, and the top four endless encoders, but leaves the pots and faders unaffected. This gives you more options while still keeping a modicum of basic controls untouched. Finally, it’s the all-out mode, where the layer button switches every single control to a new layer. Effectively, this is the virtual equivalent of three of these things all sat next to each other. Sending and returning Midi This will sound a bit complicated if you’ve never got involved with mapping controllers before, but really it isn’t – or at least, it’s as easy or difficult as the way mapping has been implemented on the software you’re using it with. Allen & Heath provides clear, colour charts in the manual showing the exact Midi note implementations for all controls, so for instance when you want the aforementioned lights to come on and off to indicate the states of buttons, it’s not difficult to look up what to tell your software to send to the unit. By the way, it’s simple to change the Midi channel too with a two-step setup routine. Midi mappings take time, but thanks to the clear guides provided with the unit and the nice, intuitive LED feedback, mapping the Xone:K2 is likely to be a fulfilling experience. X:LINK – what’s it all about? We said that this was a Midi controller and audio interface with a few cool features. Layering is one, and we consider X:LINK to be another major one. At its simplest, X:LINK joins up two K2s meaning only one of them has to be physically USBed to the computer. If you’re using a two-USB laptop and have another type of controller plugged into your other USB, you’ll instantly see the benefit of this. The Xone:K2 next to the Xone:DB2: By using X:LINK, the DB2 can power the X2. Another use for X:LINK is to connect one or two Xone:K2s to a Xone:DB2 or Xone:DB4 mixer. Here, you can X:LINK two K2s together, and X:LINK one of them to the DB mixer – and that’s it. No USB, and both are powered by the mixer which effectively acts as a hub. Of corse, in this instance as the DB mixers have built-in sound, you’ll only be using the K2s ad Midi interfaces, not as audio devices at all. In fact, under no circumstances will the X:LINK join or aggregate audio devices – for this to happen you still need to USB both units into your laptop. Furthermore, while you can create aggregate devices easily on a Mac, you’ll have to use third-party software to do so on a PC. So if you want to feed all audio outputs of a pair of K2s into a mixer to give you a four-channel stereo setup, X:LINK isn’t going to be part of your solution. Creating mappings Using the Traktor mappings is simple; you grab them from the website (they didn’t seem to be on my CD for some reason) and import to Traktor, set your audio output routing, and all works. Allen and Heath has helpfully provided printable mapping information to keep to hand, and it is a canny move to provide an X1 emulation as well as a sample deck mapping, at least to get people started. I am not going to go into too much detail about these specific mappings, as the whole point of this controller is that you map it to do what you want. Instead, I decided to power up Algoriddim’s djay software, mainly because it is ridiculously simple to map Midi controllers to. Within 10 minutes I had basic control over two decks, including pitch, and all EQs and channel faders mapped too. Assigning the bottom endless rotary to crossfader completed a basic mapping. With a day or so, I am confident I could get everything else mapped and have a great little custom controller for that software, using at least one of the layers for effects (for instance). Sound quality I don’t agree with arguing over whether 16-bit or 24-bit audio is best – this is 16-bit audio, but other factors (rest of equipment chain, quality of recordings, understanding gain staging, venue acoustics, more esoteric technical info such as frequency range and response, signal to noise etc) have a much bigger bearing on sound quality from an audio interface than arguing over digital bitrates. Plus 16-bit has always sounded fine to me. Instead, I’ll say this: I trust Allen & Heath not to put sub-standard audio interfaces into their gear. They’re a mixer company, after all. Suffice to say that the audio from the unit is perfectly passable, and crucially, it’s also loud enough for both headphones and feeding either straight to powered speakers/PA or into an external mixer. Good enough for me. Conclusion Kudos to Allen and Heath for taking the best parts of their nonetheless now dated and bulky Xone:1D and Xone:2D devices, seeing the success of the jogwheel-less Trkator Kontrol X1, and bringing it all together in a new device with built-in audio. Of course, it suffers from an inherent characteristic of this type of device: One size will never exactly fit all. You’ll always want a control where there isn’t one, or the ability to label up things once you’re happy with them (a wipe-clean overlay would be a nice accessory, guys). The fact that it comes with a case shows that Allen & Heath expects it to appeal to working DJs. But the flipside of this is that, assuming you can master the intricacies of mapping to whatever software attracts you, you can craft a controller that’s customised pretty much to how you want it to be. The built-in sound card is a good option to have as it saves you taking an extra one, but it does mean that if you’re pairing one or two of these with a digital mixer, you’ve paid for a sound card you’ll never use. I guess it’s the price you pay for flexibility. Speaking of flexibility, the X:LINK and layer options are for me ultimately what stand the Xone:K2 apart from some other Midi controllers, and coupled with its pro build quality, what make it a controller that could quite possibly do really well for the Allen & Heath. I’m sure we’ll see some really cool mappings appearing for it in due course, and Allen & Heath would do well to foster an eco-system around what I am sure will become a fervent user community once these hit the streets in numbers. Overall, then, if you’re a DJ who wants to add extra digital control to an existing digital set-up, or who wants to use a slimline device as your only controller alongside a laptop, and you’re attracted to making a mapping that suits you, the Xone:K2 has got to be something you’ll want to look at seriously. Likewise, if you play in cramped DJ booths or in places where you never know how much space you’re going to have, and aren’t prepared to switch to CDJs in such circumstances, you’ve now got an alternative to using a Traktor Kontrol X1. What’s more, this alternative doesn’t have the Traktor focus as far as labelling and control layout goes, and so will be equally at home mapped to whatever software you choose. We think it’s a winner. I think this was a great review as always but the thing that strikes me is the fact that I don’t actually see the onboard sound being that useful, these will fit ideally with a Timecode setup and as such I would still need a sound card to provide the inputs to my laptop, this then makes the soundcard a non entity and if you have the ability to map in Traktor or other software then you would be able to map an X1 just the same, if only it had the inputs aswell, it really would have been a Read more ». I ordered mine. Planning to use it with a launchpad, to imitate an apc 40 setup (minus cross fader). I already own a launchpad I LOVE, and really don’t like AKAI’s customer service, ac adapter necessity, and the fact I had purchased one before during a bad run and it BUZZED!!! AKAI wouldn’t acknowledged the defect despite EVERYONE HAVING IT HAPPEN in that 4 month span. I could go on about the rest of their unorganized software downloads and lack of support for some of their products (had to find software once that was only on the Japanese site). This Read more ». You dont have to buy the carry case it comes with it btw. My main concern about this unit is the output stage. Novation Twitches out put, bc it is USB powered, has caused many complaints, mainly bc even when boosted buy a mixer it didnt generate enough gain to compete in clubs to djs that had been red lining the system, i.e a lot of djs lol. I really want to know with all those lights, whether the output level has been compromised as it is USB powered to. Nobody seems able to give me an answer to that, Read more ». Thanks for getting back Phil. I’ve never used the twitch so it seems there are a lot of conflicting opinions on it. I think the K2 is what I’m really after, it would be great if that could hold up in clubs, I may take the plunge, its that or a Faderfox FT3, the Faderfox looks like it is built like a tank, and an external Soundcard. I’m going to be trying out traktor as I have always dj’d with Ableton and bypassed cdj from vinyl. But I can see myself going back to Live tbh, if only bc Read more ». UPDATE It is early days, but I just got my Xone K2 through. It is simply the best built midi controller I have used that isn’t (boutique) It make my APC40 look like a Fisher Price controller ? The sound output is excellent, and the 44.1 out should be of no consern to a dj. I can honestly say it gets loud and punchy, if you’re looking at this controller, soundcard quality and sound is not an issue atm. The encoders feel very good indeed, infact the best I have felt, upfaders/encoders are sturdy too. Would feel totally confident using Read more ». Dear Phil, Thanks for the interesting article, very informative. In the original “Allen and Heath” videos of this product they mention the “analog rotary knobs”. Can I ask whats “analog” about them? I mean they are just controllers that send digital commands to the host, right? Another question is about the sample rate (SR). If I play “crazy” files on my host (Traktor or Abelton), like a “96KHz, 32 bit” file, the host will do the conversion to support the “A&H K2” soundcard as a 44.1KHz, 24Bit resolution? The file will play via the analog out RCA’s. Am I correct? Dear Phil, Thanks for the interesting article, very informative. In the original “Allen and Heath” videos of this product they mention the “analog rotary knobs”. Can I ask whats “analog” about them? I mean they are just controllers that send digital commands to the host, right? Another question is about the sample rate (SR). If I play “crazy” files on my host (Traktor or Abelton), like a “96KHz, 32 bit” file, the host will do the conversion to support the “A&H K2” soundcard as a 44.1KHz, 24Bit resolution? The file will play via the analog out RCA’s. Am I correct? I’ve been using the K2 for almost 6 months now, and it’s an absolute winner for my setup: laptop + k2 + club mixer. I also use it as a standalone mixer in my micro setup for small parties. It hasn’t failed me once. Great sound quality, great build, and once you get around the mappings, great fun to play around with. At first I didn’t like the faders on the K2, being used to the normal ‘slab’ like faders but the more I use the K2 the more I realize I have a better grip with one-finger fading by Read more ». Shares 445 After a lengthy build-up extending back to the 2011 BPM convention, Allen & Heath’s new contribution to the growing slim-line compact controller field, the Xone:K2, will hit the shelves at the end of this month. Part update to the discontinued Xone:1D, and part open-ended answer to Native Instrument’s Kontrol X1 and F1, the Xone:K2 combines deep programmability with a 4-channel audio interface and proprietary X:LINK connection, making it suitable for a wide swath of digital DJing proclivities. Manufacturer: Allen & Heath Price: $499 (MSRP) / $299 (common retail price) Availability: End of May, 2012 Communication: MIDI over USB (USB powered) Ships with: Padded carrying case/DJ booth stand, USB cable, X:LINK (RJ45) cable, CD (Windows drivers, PDF guide, mappings) Weight: 2.2 pounds (1 kg), 3.3 pounds (1.5 kg) with the carrying case Dimensions: 5.3 x 14 x 1.2 inches (13.5 x 35.8 x 3 cm) System Requirements: Class-compliant MIDI/4-channel audio device for Mac OSX. Class-compliant MIDI/2-channel audio device for Windows. Full 4-channel operation requires included ASIO driver for Windows 2000/XP/Vista/Windows 7. The Good: Tons of pro-grade controls packed into a small surface. Flexible layering options lets you shift between three control layers on some or all of the controls, while leaving other sections locked. Acceptable sound quality with adequately high output levels in both the headphone and main outputs. The Bad: No hard level settings for the headphone or main outputs. No booth outputs. Maximum utility requires the patience for custom MIDI mapping. The Bottom Line: You get fully MIDI-programmable channel strips and a button grid with three possible layers of functionality in a professionally constructed controller with a 16-bit/48kHz 4-channel soundcard. Serious working DJs will appreciate the powerful custom workflows they can construct after putting the time in to program their own mappings. DESIGN NOTES While larger than the Kontrol X1, the Xone:K2 incorporates more controls and is still built specifically to fit in the DJ booth alongside a pro DJ mixer. It’s roughly the same depth as Allen & Heath’s flagship DB2 and DB4 mixers. The K2 comes with a durably-padded, zippered black carrying case that doubles as a stand. Zip off the top and set the K2 on the back of the case bottom. There are indents on the bottom of the case for the K2’s four plastic feet, so the height of the K2 on the stand matches the height of the DB2, DB4, and many other pro DJ mixers. A soft plastic outer shell encases a coated metal faceplate on the K2. All of the nutted pots and rotary encoders represent professional build quality, and the nutted construction of the knobs means the the inner circuit board is protected more against outer trauma to the knobs. The four 60mm-throw faders possess the signature Allen & Heath smoothness, and their tops are indented generously, making them a pleasure to use. In addition, the 30 rubberized buttons feel fantastic. They are soft-touch LED rubber buttons with a click, yet they are firmer and feel more robust than the looser buttons on the Kontrol X1. In short, despite the plastic casing, Allen & Heath maintains its usual high standard of build quality on the Xone:K2. CONTROL SECTIONS The K2 serves up 52 hardware controllers. When you factor in push-button encoders and three possible layers of functionality (more on that later), that’s 171 possible MIDI commands. From the top down, the control segments break out like this: • 4 push-button rotary encoders. Turning the encoders sends MIDI CC (continuous controller) messages, while pressing/releasing the encoder button send MIDI Note On/Off messages. Tri-color LEDs beneath the encoders reveal the controls layer status if applicable but are not MIDI controls. • 3 rows of potentiometer knobs with tri-color LED switch buttons. • 4 linear 60mm-throw faders. • “Switch matrix,” consisting of a 4 x 4 grid of tri-color LED switch buttons. • Layer and setup controls. The bottom row of two LED buttons and two push-button rotary encoders deals with layer switching, setup mode for selecting the MIDI channel and layer mode, or can be assignable if layering is turned off. LATCHING LAYERS There are three possible layers to the K2 control surface that you can assign to MIDI, and the LEDs will glow red, amber, or green depending on what layer they represent. There are also four Latching Layer modes that determine which sections of the K2 will respond to layers and which sections will stay locked to one layer. Let your mind run wild with customization possibilities here. That’s what the K2 is all about. To set a Latching Layer mode, you must enter setup mode by holding down the Power On/Setup encoder down on an unplugged K2, and then plugging in the USB cable to a computer to power it up. That enters you into setup mode, and using the Setup encoder with the Shift button to enter Layers mode, you can scroll these five Latching Layers states: 1) Latching Layers is turned off. This is the default mode. 2) Only the four rows of 16 Switch Matrix buttons respond to layers, while the rest of the K2 is locked. 3) The 16 pot switches on the top half of the K2 respond to layers. That’s the four encoder buttons across the top (represented by the top row of LEDs) and the three rows of four LED button switches under the knobs. 4) “All Switches” mode: the 32 total switches from modes 2 and 3 respond to layers in this mode. 5) All of the K2 controls respond to layers in this mode. The faders and pots support “soft takeover” when switching between layers to prevent sudden parameter jumps. For software that supports soft takeover, such as Ableton Live, the control value for a different layer won’t change until the pot or fader moves to the current parameter’s position. Still confused as to how Latching Layers behaves? Check out the below video from Allen and Heath themselves that gives a quick overview of the concept. MAPPINGS While the Xone:K2 was made expressly for you to customize it to your own workflow with your own mapping, you may well find a preset mapping that works to your liking. As of this writing, there were several Traktor Pro 2 mappings and an Ableton Live Project setting available at, and no doubt many more will soon be popping up on forum sites after the product launch. Allen and Heath have also confirmed that official mappings for Virtual DJ, Serato Scratch Live, MixVibes and Mixxx are currently under construction. Although the Xone:K2 is probably best for those not intimidated by making their own mappings, the ones that are out there right now serve well enough to get you started using the unit quickly, especially in Traktor, where creating a mapping feels more laborious than in Ableton Live or other DAW software. Just import the TSI file into Traktor, check your Audio and Output Routing settings, and you’re good to go. Allen & Heath currently include Traktor mappings for sample deck control, an X1 emulator, a loop/FX controller, and an all-purpose setting for using the K2 as a lone Traktor controller. However, when you’re ready to take the leap into custom mapping, there are some as well as some other useful setup/use case videos. (Editor’s Note: On the, we’ve already got 10+ custom mappings for the K2. Check them out!) AUDIO INTERFACE AND SOUND QUALITY The Xone:K2 only supports audio at 16-bit and 44.1 or 48kHz, not 24-bit/96kHz. So while hardcore audiophiles may not appreciate that, the K2’s sound held up well and compared favorably to other DJ oriented soundcards out there, such as the Native Instruments Traktor Audio 6 and the soon-to-be-discontinued M-Audio Conectiv. One of my biggest gripes about the K2 would be the lack of any hardwired audio controls for the audio outputs. The 4-channel configuration sends channels 1 and 2 out of the front-panel 1/8″ headphone jack, and channels 3 and 4 out of the back-panel RCA stereo outputs, but there are no level controls for either output unless you program software level controls for them into your K2 mappings. That makes using the K2 for audio less convenient for sure. As it stands, several of Allen & Heath’s suggested use cases for the K2 involve not using it for audio at all or routing one or both of the audio outputs into an external mixer. USB / X:LINK The Xone:K2 sends MIDI, audio, and derives power over USB. The unit can also be powered by the X:LINK (RJ45/ethernet) port, which is a proprietary connection for linking two K2s together or for linking one or two K2s to an X:LINK-supporting Allen & Heath mixer, such as the DB2 or DB4. However, only the USB port shuttles audio, so if you use X:LINK to connect two K2s, only the one connected by USB will transmit audio. There’s no doubt that X:LINK serves a worthy purpose of letting you conveniently sync up K2 units to each other or to a mixer while only using one USB port on a computer, I only wish that it was an open standard that other gear could adopt as well. THE NO-SPIN XONE Judging from the extensive conversations on DJ Tech Tools’ forums and other venues, people seem to have a pretty good idea of whether the jogwheel-less Xone:K2 will fit into their setups or not. Generally, although you could track down a pre-made mapping that works for you, the K2 was not really created for the newest of the newbies. It’s a highly customizable MIDI controller for those who want to customize it highly for their own particular purposes. In that way, it’s can be incredibly liberating once you take the time to program it. One or two of them together could easily suffice for many digital DJ’s needs, or the K2 is also a hell of a supplementary controller. You could add it to a Kontrol X1 to incorporate audio and many additional controls for a super compact DJ rig, or drop it into a busy remixing/production studio as an Ableton Live clip grid and channel strip controller. The audio interface differentiates the Xone:K2 in an important way, but it also necessarily jacks up the price a bit, which may be a concern for those who would only use it as a controller. At $299, it’s about $100 more than a Kontrol X1, for which you receive a 4-channel audio interface, more controls, and most importantly, full MIDI customization for any MIDI-supporting software, be it for DJing, VJing, music production, or lighting. However you may use it, the Xone:K2 provides a ton of flexibility and possibility. It brings the pro-grade construction and playable feel; you bring the creativity and vision. Main article: World Cup Carnival, released by was arguably the worst start a franchise could have endured. While the license was acquired with time to spare and was carefully planned, internal problems plagued the project's development until it could not be completed anywhere near a commercially usable date. As was coming closer, U.S. Gold decided to acquire the rights of an older game, by, re-fit it with the properly licensed items, and market it as a revolutionary new title. However, this late effort was received with cynicism from all in the video game industry: gamers, retailers and reviewers alike, and started a trend of 'less than what was expected' games based on football licenses. It was published on the, the and the. World Cup Soccer: Italia '90 [ ]. Main article: released the official home computer game of the 1990 World Cup. It was released on,,,, and. Like the 1986 game, this was actually a reworked existing game ( ). The game is presented in a but when the player gets near the goal, it switches to a 3D view of the penalty area and the player must try to score before a defender arrives on screen. The player can only choose to play as England, Belgium, Italy or Spain. The teams do not have the correct coloured strips and the tournament is not the same as the actual World Cup. Virgin also released official console games in Europe as for the and consoles. The Mega Drive version is a port of. The Master System version was another game, also released as Super Futebol II in Brazil. A number of unofficial games were also released including by previous license holders U.S. World Cup USA '94 [ ]. PES 6 National Patch Road to Russia 2018. Pagina dedicada al parche de selecciones nacionales para PES 6 en su version periodo 2015/2016. Dec 16, 2017 Download Patch World Cup 2018 Russia Pes 2017 Theme Menu+46 New Stadium Pack+Stupe+PC PES 2017 Editing and Option Files. Main article: For the first time in a football game, accurate national team kits were introduced complete with kit manufacturer logos and official merchandise. The game built on the previously released engine, although it features some minor gameplay improvements such as in-game strategy changes and more tactically accurate player positioning. As in the FIFA series, World Cup 98 features a song in the menu: ',. The game also features voice-overs by and in the team schedules. The World Cup classic mode is also an interesting feature, with classic black and white sepia-toned graphics and commentary by creating the feeling of watching an old World Cup game. The playable teams also included several nations that did not qualify for the finals, but were considered too important to exclude. It was released for,, and. Jikkyou World Soccer: World Cup France '98 [ ]. Main article: Created by EA Sports and was released during the last two weeks of April 2006. This game features not only the World Cup finals themselves, but the six regional qualification rounds. There are 127 national teams. You can also create a player and put in your favorite team. There are minor improvements in the game play over FIFA 06. The Global Challenge Mode includes 40 challenges based upon classic matches of the World Cup or qualification matches. Penalty Shoot-Out mode offers a more realistic experience. 2010 FIFA World Cup (South Africa) [ ]. Main article: The game contains all of the 203 national teams that took part in the 2014 FIFA World Cup qualification process. The national teams of Bhutan, Brunei, Guam, Mauritania and South Sudan, all of which did not participate in World Cup qualifying, and Mauritius, that withdrew before playing any match, are not featured in the game. The game includes all 12 venues used at the 2014 FIFA World Cup, as well as stadiums from each qualifying region and a range of 'generic' stadiums. There's also an EA-licensed for and: 2014 FIFA World Cup Brazil World-class Soccer. The game is released in Japan and mainland China only. See also [ ]. Boot up PES 2018 and head into Extras| Edit. Scroll down to Data Management| Import/Export. After selecting “ Import Team”, a textbox will appear stating “You can import images saved onto USB Flash memory.” It will warn of a cap on the number of imports, but don’t worry about that. Select all of the files in the list and hit Next. Leave “Select team import data” and “Apply player and squad data” unticked and hit Next. The game will then begin to automatically import them into the game for you. All the kit files will process and you can just sit back and have a cup of tea. After the processing has finished, save your game. You’re all done! The kits will be in the game and you can finally enjoy them in all their glory. If you want to also import badges and emblems, it needs to be done manually. To do this, go back into Import/Export and click “Import image”. Select “Competition emblems” to import images in the correct image size; otherwise, they’ll look a bit off. Tick “Import selected images” and choose all the league badges you want to bring across. You must then, after importing, choose which emblem goes where (for example, swapping the English League badge with the Premier League logo). It’s a bit time-consuming, but well worth the effort. FileFixation.com is a new file sharing web service which gives you access to literally hundreds of thousands of direct downloads including software, games, movies, tv shows, mp3 albums, ebooks and more! Our downloads database is updated daily to provide the latest download releases on offer. To celebrate our launch we are offering unlimited full download access for $0.99! This is a limited offer and will soon expire and revert back to the normal member price. We now have 386,593 downloads in the member section. Take the FileFixation now for more detailed information! The word 'crack' in this context means the action of removing the copy protection from commercial software. Buy SMS Deliverer. Your shopping safety. Enterprise edition Ultimate edition; Download Link. SMS DELIVERER IS NOT RESPONSIBLE FOR ANY ILLEGAL ACTIVITY YOU DO. A crack is a set of instructions or patch used to remove copy protection from a piece of software or to unlock features from a demo or time-limited trial. There are crack groups who work together in order to crack software, games, etc. If you search for Sms Deliverer Enterprise V2.0.4 Crack, you will often see the word 'crack' amongst the results which means it is the full version of the product. The word 'keygen' means a small program that can generate a cd key, activation number, license code, serial number, or registration number for a piece of software. KeyGen is a shortened word for Key Generator. A keygen is made available through crack groups free to download. When writing a keygen, the author will identify the algorithm used in creating a valid cd key. Once the algorithm is identified they can then incorporate this into the keygen. If you search a download site for Sms Deliverer Enterprise V2.0.4 Keygen, this often means your download includes a keygen. Click link to download: -------------------------------------------------------- -------------------------------------------------------- Enterprise Help & Support - What is MyDesktop Messaging. Trulia and Apartment List help clients find a. Enterprise PBX Installations. // Sending an SMS using the Twilio API // Download the twilio-csharp. All Programs - v2.1.2 Full. ITagg: SMS Delivery Experts Who is the best global and enterprise SMS Gateway Providers? Where I can find the best SMS gateway/API. If you want more help on enterprise SMS. Would an Android phone for consumers and Windows mobile. Msg91 - Enterprise SMS Solution - Send Bulk SMS. Vodafone Business| Global Enterprise| Global Find solutions for top issues. SendQuick Enterprise 2017.pdf sendQuick ASP.pdf. • Enable Delivery Report in “SMS System Setup. Playing both sides Would an Android phone for consumers and Windows mobile for enterprise help Microsoft? By Jason Ward Monday, Oct 16, 2017 at 12:00 pm EDT Talariax| SMS Appliances for Enterprise Messaging Building Mobility into Your Enterprise with Defensible, Agile Solutions. Business Analytics. Experience SMS’ Reach Across the Country and Around the World. SMS Get the answers to Frequently Asked Questions regarding the setting up of SMS message Integration, Testing, API keys and more SAP SMS 365, enterprise service| Mobile Services Found 7 results for Sms Deliverer Enterprise Standart 2.0.2. Download help guides to assist you. You may sometimes find the word 'serial' in the results. Sms Deliverer Enterprise V2.0.4 (7 Downloads Available) OpenMarket Research Highlights How SMS Solves Enterprise. Enterprise SMS Solution from JT - wholesale.jtglobal SMS - Wikipedia Find out why Close. Enterprise SMS Application Create Keyword Auto Responder tj kirgin. SMS Deliverer Standard 2.6.4 Demo - Duration. Enterprise SMS-messaging. The Czech people sent over 1.5 million messages to help South Asia recover from the 2004 Indian. SMS message delivery is not. SMS for Enterprise Vodafone Support Centre Need some help? Account, bill and top up; Getting started and upgrading. Find a store. Use our store locator to find out where your nearest store is. SMS -- Short but Sweet - Oracle Enterprise SMS Application Create Keyword Auto Responder Sms Deliverer Enterprise Standart 2.0.2 (7 Downloads. App.SMS, Deliverer'.,Enterprise (2.7.0). Thinkpad, rog Enterprise SMS gateway solutions is a network built to allow businesses to. What is a message delivery report? After receiving an SMS. Find Me - Follow Me. Software-english - SMS - Deliverer,Enterprise 2.7.0 DepositFiles '1337x v2.1.2 Full Version Keygen SMSGlobal provides a world class SMS gateway for enterprise level businesses. Find out how you can utilise Bulk SMS, API, 2 Way SMS & Email to SMS today! You can view our Pricing Calculator here, where you will find more information about the specific network carriers that we support. Free'file-sharing-SMS Deliverer,Enterprise 2.7.0,original.,'vivobook download exe SMS Deliverer Enterprise 2.7.0 repack full version SMS Deliverer Enterprise 2.7.0 ios magnet links full download without ad SMS Deliverer Enterprise toshiba zip french portuguese free JT Wholesale’s Enterprise messaging ensures your SMS campaign is managed end-end. Enterprise SMS. Delivery reporting is available to help you analyse the. What network carriers do you support?| Clickatell Download SMS Deliverer Enterprise - File This article presents an overview of Short Message Service (SMS) which is a out-of-band packet delivery and low-bandwidth message transfer technology. ,help find SMS' Deliverer Enterprise amd. French 32; bit Find an SAP Partner. With SAP SMS 365, enterprise. SAP for Mobile blog and documents to learn and get help. SAP delivers mission-critical capabilities to. MyDesktop Messaging allows MyConnect users to send and receive SMS & MMS (video and images) from within Microsoft Outlook®. To be Text & Picture Messages Text messages (SMS) in Australia 25c per message Text messages (SMS) to an international number 50c Communication APIs for SMS, Voice, Video and. - Twilio Download SMS Deliverer Enterprise Find the SMS Deliverer. Clicking a file type you need help opening will in most cases find several other programs that can. Stable version. UTorrent,,'.Deliverer Enterprise-2.7.0; without'.register'mac new.' Repack; SMS - Deliverer Enterprise 2.7.0 pavilion; monova new 'version indian SMS Deliverer. (2.7.0)' filehippo limetorrents SMS Deliverer Enterprise - Free download and software. Verint Enterprise Feedback Management Enriches. Who is the best global and enterprise SMS Gateway. Vodafone Global Enterprise We help multinational organisations find better ways of working Help for EE, Orange & T-Mobile. Tracking and delivery of your EE order. How to find the status of your order or pre-order and check your delivery options. Enterprise Help & Support - How much do Text (SMS),. Last version, RapidShare SMS,Deliverer 'Enterprise (2.7.0); Box torrent index.iptorrents iTagg and Steve Procter are SMS delivery. SMS consultancy and bespoke SMS development to help business. If you're a large enterprise then it may make. Last; version'czech SMS'.,Deliverer-Enterprise; (2.7.0).,'hewlett'packard. 4Shared,thepiratebay free version,32'.,bit SMS Deliverer. Enterprise'.(2.7.0),exe 'pc full 'version, SMS Deliverer,'.Enterprise, exe new,vivobook SMS.Deliverer,Enterprise 2.7.0'file,'.sharing,; torrentday. Ideapad Enterprise Messaging| SMS Gateway| Global Messaging SMS Deliverer is a low-cost and extremely effective. By status report you can find invalid phone. Please submit your review for SMS Deliverer Enterprise. Free version - thepiratebay SMS, - Enterprise.(2.7.0).software; MediaFire; cloud ' uTorrent Read next page. An intuitive and powerful program that helps you send short text messages to multiple users, while offering support for a phone detection function, auto reply messages, scheduled tasks, as well as sound and email notifications ✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚ ❯❯❯ ✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚ ❯❯❯ ✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚✚ How to Backup and Recover Windows Phone 8 – Details Items. How do I fix the error 'the file is too large' when. TimeStampClient download to notebook fresh version via vpn. Two-Factor Authentication – Medium Sized Business Blog Enterprise Content Management Market Landscape. (Documentus+Syncplicity)Cloud-based CMS: Box, Google Drive, Dropbox, Evernote, SkyDrive. Software Delivery. Ilink Systems - Offering Enterprise Social Intranet Solutions in Valasaravakkam, Chennai, Tamil Nadu. Read about company and get contact details and address. Pranas_SQLBackupAndFTP_Professional_9 » Developer Team. Comparing Microsoft Office to Office 365 - Idealware So what is Microsoft Live@edu and Exchange Labs exactly. Anantha.blogspot Enterprise Social Intranet Solutions in Valasaravakkam. How to Backup and Recover Windows Phone 8 – Details Items Back Up listed. Will be restored including delivery. That all enterprise level. Windows Phone 7 Review After 2 months of extensive use here is. To one of his public Skydrive. Other than choosing to activate SMS delivery. Symantec Enterprise Technical Support Microsoft to unveil Windows Phone 8 tonight - Computer. SQL Backup And FTP creates MS SQL Server & Azure database backups, Zips, Encrypts and sends backups to a folder, FTP, Dropbox, Box, Google Drive, MS SkyDrive. ImcSmGc8sQ| Elemental Dawning The History Of Gods/Goddess (MUST READ) Wolves of Importance: Plot full,to android year.2011 She 'Dreamed.That,I.Died. Watch'from, SMS. Deliverer Enterprise 2.7.0 full. Last,version'on 'macOS.DL.without. Virus IEC::::: The Extras Follow & Get my SkyDrive Link. Microsoft Technical Webinar - New devices for Windows 8. Enterprise solutions. Text Message Backup HELP! They are simply backed up to your SkyDrive and if you should need to reset your phone. Microsoft will be unveiling Windows Phone 8 this evening, its latest attempt to catch up to Apple and Google's smartphone operating systems. Enterprise Content Management Market Landscape and its. Windows 10 is a personal computer operating system developed. Is delivery is often described. (Windows 10 Pro and Windows 10 Enterprise. Scribd is the world's largest social reading. SMS alert delivery mechanism SMS. Documents Similar To Using Nokia Lumia WP8 phones with Microsoft SharePoint.pdf. Enterprise solutions. How do I fix the error 'the file is too large' when sending file attachments? I would advise you to try the SkyDrive service for sending. Get SMS Deliverer Enterprise (2.7.0) for pc win from SkyDrive Windows 8.1 for Enterprise. Microsoft Technical Webinar - New devices for. Direct Write Local storage SMS Skydrive Sensors Proximity. Sky driver windows 8.1|| Talha Softs What is Microsoft SharePoint?| Lenovo HK Read next page. Best Answer: Trying to get Anno 1701 to run on Windows 7 took me months to find a solution online, but I got it working today. I have both Anno 1701 and The Sunken Dragon expansion on separate disks (so not the gold edition), as well as Windows 7 64bit. The main culprit that is stopping the game from working is the old Tages copy protection on the CDs which isn't compatible with Windows 7 (especially the 64 bit version). What you need to do is this. 1) Uninstall Anno 1701 completely from your computer. 2) Go to and download and install the most recent version of Tages (the install program acts as a toggle, so if Tages is installed it will uninstall it, and if it's not installed it will install it. Dec 17, 2006 Anno 1701needs a signed driver for x64. > Copy Protection driver in 1701. I finally have my File System mini-filter driver working great. If it says it is installed it would be better to use the program to uninstall and then reinstall it again. 3) Install Anno 1701 by finding the setup.exe program on the CD and right clicking and selecting 'run as administrator' - because you installed Tages in the last step you shouldn't receive the popup reporting 'unsigned drivers' as it sees you have newer drivers installed and so doesn't use the incompatible ones from the CD. 4) Install patches 1.01, 1.02 At this point my computer was still saying 'Anno 1701 has stopped working' when I tried to play it, the next step suddenly made everything playable. 5) I installed The Sunken Dragon expansion which upgraded the game to 1.04 (use the 'run as adminitrator' on the setup.exe as before). Suddenly both games now work. Some of the above steps may not be needed depending on what version of Windows you have and what edition of Anno 1701 you have, some users have mentioned just using the latest Tages drivers worked for them with Windows 32bit, but this is what worked for me. I hope this is of use to you as it is a great game. • Tell us some more • Upload in Progress • Upload failed. Please upload a file larger than 100x100 pixels • We are experiencing some problems, please try again. • You can only upload files of type PNG, JPG, or JPEG. • You can only upload files of type 3GP, 3GPP, MP4, MOV, AVI, MPG, MPEG, or RM. • You can only upload photos smaller than 5 MB. • You can only upload videos smaller than 600MB. • You can only upload a photo (png, jpg, jpeg) or a video (3gp, 3gpp, mp4, mov, avi, mpg, mpeg, rm). • You can only upload a photo or a video. • Video should be smaller than 600mb/5 minutes • Photo should be smaller than 5mb •. – Minimum requirements. There are very few common requirements: 1 PC with Microsoft® Windows™: 32 bits, x86 core: XP, Vista, Windows 7; 64 bits, x64 core: 2003 – Anno 2070 TAGES DRM FAQ Anno series STORE COMMUNITY The error you get when you can’t activate can, Ten years from now, Ubisoft will demand that you submit a notarised copy of your passport, driver’s licence, – How can i run Anno 1701 A.D on Windows 7? Home; Mail not the gold edition), as well as Windows 7 64bit. The main culprit that is stopping the game from working is the old Tages copy protection on the some users have mentioned just using the latest Tages drivers worked for up I received a popup about a bad driver: Error 1275. Not success, but at least its progress. I opened up the disc files to see if they held any useful information. That’s when I found this: I Googled “Tages 1701 AD Anno 1701 by finding the setup.exe Anno 1404, known as Dawn of Discovery in North America, is a city-building and economic simulation game of the Anno series, with real-time strategy elements. Tages drivers error 577 [Solved] – Drivers – Windows 7 “TAGES driver error 577″ E577 is unsigned driver how do I fix that? How can i run Anno 1701 A.D on Windows 7? – Yahoo Answers 0. Aug 21, 2012 Facebook Seite: TAGES Driver: Beat: Jul 10, 2010 1701 ad is there any way to make 1701 a d compatable with windows 7 When the game start does it give any errors. GIGABYTE started.I think that I had some problem like this on completely different computer,on some other game which also uses Tages,like Anno 1701. After Windows 7 has not allowed to install Tages drivers and I was unable to start anno 1701 Your a star [tup] Thanks alot, the sunflower forums were a great help! Turns out the vista 64 drivers for tages were rubbish so i had to downlaod them from there web page and all is working now ANNO 1404 – Patch-Notes 1.2 Patch 1.2. An overview of the most important changes: – The Golden Ship is now available after accomplishing all the Achievements (the tages drivers unable to proceed error 1275. Check: Compare: History: Keyword: tages drivers unable to proceed error 1275. Check Date: 2014-09-28 /Blad-na-win-7-dotyczacy-gry-Anno-1701-t. 64: board.gulli.com /thread/1633128-kann-eine-anwendung-nicht-starten/ 65: ComputerBase Forum,How to install protection Drivers for the pc game 1701 AD, Title: Re: Help error when starting anno 1701 TAGES Post by: City Builder on December 12, This entry was posted in on. Post navigation. I think there is a form of copy protection that installs a driver onto your computer. It was originally designed to be used on Windows XP only. In order to fix this issue, you'll need to contact the game developer for an update or patch that allows you to install the game. There is no other work-around for this, because Starforce contains a driver that Vista will not accept because it is built for another operating system. Starforce protected games are well known to be one of very few XP titles that will not work on Vista without an update or patch, due to its design. You can give this a go too. Mar 19, 2011|. I think there is a form of copy protection that installs a driver onto your computer. It was originally designed to be used on Windows XP only. In order to fix this issue, you'll need to contact the game developer for an update or patch that allows you to install the game. There is no other work-around for this, because Starforce contains a driver that Vista will not accept because it is built for another operating system. Starforce protected games are well known to be one of very few XP titles that will not work on Vista without an update or patch, due to its design. You can give this a go too. Mar 19, 2011|. The game is designed to work with XP or window 2000. See attached as copied from their site: 1701 A.D. Platforms: PC Genre: Strategy/Simulation ESRB: Everyone 10+ PC Release Date: October 2006 MINIMUM SYSTEM REQUIREMENTS • This product does not support Windows 95/98/ME OS: Windows®XP or Windows®2000 English Version CPU: 2.2 GHz Intel Pentium 4® or AMD Athlon 3200+ RAM: 512 MB Hard Drive: 3.5 GB or more free space Video: 3D Hardward Accelerator Required – 100% Direct X 9.0 compatible with latest drivers Video RAM: 64 MB Disc Drive: 4X DVD-ROM Drive Sound Card: DirectX® 9.0 compatible Multiplayer: Internet and LAN (TCP/IP) supported. Internet play requires broadband connection and latest drivers. LAN play requires network interface card with latest drivers. Sep 11, 2010|. Guide: How to fix Korean 4.2 error: 003 unauthorized device has been detected THANK YOU GIANTPUNE Smash stack pal/kor has been release- SmashStack PAL/KOR What does this mean for your 003 wii? It can be fixed. What you will need, 1:1 iso of SSBB-PAL A game that installs a channel or A game that reboots to the safety screen What you will do, load SSBB-PAL on your 4.2/4.3u/e/j 003 bricked wii How will you load SSBB-PAL on your U/J wii? You will use Giantpunes mariokart pawns method. Castlevania Judgment Iso Ntsc Pal. Market Spot Exchange Rate. Money Management. Las descargas de Todoroms son copias de seguridad de los cartuchos originales. Jan 01, 2011 Hola a todos, esta vez aca testeando el Castlevania Judgment y por supuesto al 100%, sin errore graficos en las catacumbas, sonido y video perfecto. What does not work: Smash Stack via SSBB = FAIL All recovery disks = FAIL SDDm NAND fill = FAIL Wii Fit time change = FAIL 4.2k system update via disk = FAIL Region Free game = FAIL Netflix game = FAIL Update: 4.3 003 error wiis must install cIOS80-v6174.zip. If you updated from 4.2 to 4.3 and received this 003 error, thiis guide should work for you. Method #1 Mario Kart Channel Install This guide will fix the 003 error, only if ios36 is patched with the trucha bug. This would typically require cIOSCORP 3.x to be installed prior to system update If you where loading backups from the disk channel, you may have cIOSCORP Give it a try, best of luck. I tested this best I could without brick my wii. I used a 4.1u region changed wii, without a patched system ios, and with a patched game ios. Test #1- I extracted 4.1e update partition from nsmb pal, and then patched it into Mario Kart ntsc. I used a wasabi dx, with region free disabled, no preloader, no system menu hacks. Disk inserted and prompted for update. Test #2- Using the korean common key I extracted the update partition from KOR zelda, patched this partition into Mario Kart ntsc. I used a wasabi dx, with region free disabled, no preloader, no system menu hacks. Disk inserted and prompted for update. Extracted 4.2k system update from Animal Crossing City folk- KOR, released 1/28/2010. Patched into Mario Kart ntsc, still need to burn, but see no reason for it not to offer an update. The way I see it, updating to 4.2k should fix the issue, change the brick type, or 003 error could persist, sense the wii is semi bricked. Graduation Year: 2009 Platform: Nintendo Genre: Actionu003e Fightingu003e 3D Developer: Eighting Publisher: Konami Multiplayer: 2 State of play: PAL Language: Multi5 Type of translation: No Management: Remote, Nunchuk, Wii Classic Controller, GC GamePad Description: The epic battle between good and evil continues. In the game you will meet many characters from the previous parts of Castlevania. You will enjoy the story of several generations of vampires, including the Belmont clan and Dracula's staunchest allies. You can choose any of the 14 soldiers and prove that this character has the right to be called the strongest and enter into the history of epoch-making events. All graphics in the game, and the character models are under the direct supervision animator Obata Takeshi (Takeshi Obata). The virtual world is fully three-dimensional. You can select and control any of the most prominent characters in the entire 22 year history of the series Castlevania. Depending on what character you choose, in your arsenal will be a corresponding set of weaponry and special abilities. Almost any object in the ring can be used for tactical advantage or as a weapon against the enemy. Beat, smash and hack enemy with the help of various weapons and objects of the world will be very easy - the Nunchuk controller and Wii Remote guarantee easy and intuitive operation. More Torrent Video Copilot Element 3d All 7 Packs Crack Macromedia videos. Ok, don’t take this as a complaint but I have to say this anyway: 1. It requires Element 3D 1.5 As far as I know there is cracked version of element 3D 1.5. Only 1.0.345, which has been cracked by Spider. This Metropolitan version isn’t cracked so, this means it’s not usable in element 3D anyway. Ok, it’s.obj models can be extracted and used on 3rd party 3D apps like C4D or 3DS But that’s not its main purpose. Conclusion: So as far as I can see, what we have here is a pay version of Metropolitan, which has been leaked by some generous guy who bought it. Now it still needs to be cracked to work with Element 1.5 (which also needs to be cracked). Do not ask your children to strive for extraordinary lives such striving may seem admirable but it is a way of foolishness. Help them instead to find the wonder and the marvel of an ordinary life. Show them the joy of tasting tomatoes, apples and pears. Show them how to cry when people and pets die. Show them the infinite pleasure in the touch of a hand. And make the ordinary come alive for them. The Extraordinary will take care of itself! Help me by sharing the website with your friends:) Skype: zaidsparrowmh Categories • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Recent Posts • • • • •. » Alangkah indah apabila kita sesama pengajar bisa berbagi info, seperti sekarang kami memberikan contoh RPP Kurikulum 2013 Kelas 5 SD semua tema edisi revisi semester 1 dan 2 lengkap untuk pengajar di sekolah. Karena RPP merupakan tugas penting yang harus dikerjakan oleh guru untuk mengembangkan metode belajar yang efektif dan menyenangkan. Fungsi perencanaan tersebut juga dapat mengukur tema materi yang sudah diberikan kepada siswa, karakter masing-masing murid tidak sama, penelitian latar belakang anak didik dapat membantu mengatasi berbagai kendala yang dihadapi peserta didik, untuk itu kami berikan semua subtema pembahasan sesuai dengan kompetensi dasar serta indikator dan tujuan belajar yang mengarah pada ketertarikan minat belajar anak. RPP Kurikulum 2013 Kelas 5 SD Edisi Revisi Semester 1 dan 2. Isi dari rencana mengajar di kelas yang dibuat oleh pengajar harus berdasarkan silabus edisi yang sama, maka pengembangan cara penyampaian materi di dalam Kompetensi Dasar dan Kompetensi Inti akan lebih efektif. Maksud pemerintah mengadakan perubahan dari satuan pendidikan menuju kurikulum 2013 sebenarnya untuk memudahkan sistematis pembelajaran yang diterapkan guru, akan tetapi tidak sesuai dengan harapan sebab Menteri Pendidikan tidak sepenuhnya menjalankan semua program, terbentur waktu masa jabatan yang diganti oleh orang lain. Pergantian tersebut bisa merubah kebijakan yang sudah tersusun sebelumnya, hal ini menjadi efek domino yang dampaknya dirasakan sampai ke pelosok tanah air. RPP dan Silabus SMA Kelas X, XI, XII Kurikulum 2013 dan KTSP - Pada postingan terdahulu telah kami share RPP dan Silabus Kurikulum 2103 untuk SD [ ] dan SMP [ ]. Maka pada pagi ini akan kami share juga contoh RPP dan Silabus SMA Kurikulum 2013 dan KTSP. Rencana Pelaksanaan Pembelajaran (RPP) merupakan implementasi dari silabus sebagai program pengajaran. Silabus Kurikulum 2013 untuk Sekolah Menengah Atas (SMA) dibuatkan oleh Tim Kemdikbud. Pada kurikulum 2013 penyusunan RPP masih menjadi kewajiban guru. RPP Kurikulum 2013 » Kami mengajak pada guru untuk lebih memahami dalam membuat RPP K13 kelas 3 SD baik semester 1. Mengenai contoh RPP kurikulum 2013 untuk. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |