SKU: 94695844805

Teclado de palco Arturia Astrolab Avant-Garde com integração com o Analog Lab Pro

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Teclado de palco Arturia Astrolab Avant-Garde com integração com o Analog Lab ProAo longo da gesto de vrias dcadas da empresa, a Arturia se consolidou entre a vanguarda da sntese contempornea e multimodo, abrindo caminho em duas vias distintas, porm interligadas, crticas para o avano da sntese: instrumentao original e emulao de ltima gerao. O AstroLab realiza o nexo desses dois vetores como um teclado de palco dedicado, projetado para unir o potencial infinito da instrumentao virtual com as necessidades tteis e fundamentadas de

Ao longo da gestão de várias décadas da empresa, a Arturia se consolidou entre a vanguarda da síntese contemporânea e multimodo, abrindo caminho em duas vias distintas, porém interligadas, críticas para o avanço da síntese: instrumentação original e emulação de última geração. O AstroLab realiza o nexo desses dois vetores como um teclado de palco dedicado, projetado para unir o potencial infinito da instrumentação virtual com as necessidades táteis e fundamentadas de uma performance de estúdio ou palco.

 

Com 61 teclas semipesadas e uma polifonia variável de até 48 vozes, a constelação de sons do AstroLab permite que você extraia predefinições de seus instrumentos de software Analog Lab, V Collection ou Pigments e os implante em tempo real para permutações infinitas de design de som interestelar. As opções abrangentes de conectividade e compatibilidade incluem Bluetooth, Wi-Fi e suporte a pedal, enquanto as acomodações para MIDI 2.0, aftertouch e camadas permitem que você combine várias dimensões de sons passados, presentes e futuros em um único instrumento otimizado para desempenho.

Nota: O AstroLab da Arturia vem com presets de mais de 30 instrumentos de seus sintetizadores de software V Collection e Pigments. O AstroLab também inclui o Analog Lab Pro da Arturia, mas não inclui o software V Collection ou Pigments. A compra do V Collection ou Pigments é necessária para utilizar a programação aprofundada do AstroLab ou instrumentos ou presets de qualquer software.

 

Recursos do teclado de palco Arturia AstroLab de 61 teclas:

  • Teclado de palco híbrido inovador que permite que você traga as forças da V Collection, Analog Lab e Pigments para um ambiente de performance sem a necessidade de um laptop ou computador

  • Mais de 30 instrumentos distintos de bordo, incluindo piano, órgão, cordas e metais, juntamente com sintetizadores clássicos e modernos para uma gama voltaica de ferramentas de gravação e composição prontas para uso

  • Mais de 1.300 predefinições diversas que incluem mais de 200 sons de tributo a artistas para capturar inúmeras dimensões de instrumentação icônica

  • Funcionalidade abrangente como um controlador para os instrumentos de software Analog Lab Pro incluídos, o que significa conveniência de arrastar e soltar com design de som eletrizante

  • Arquitetura multitimbral que permite dividir ou sobrepor dois sons de até 48 vozes em polifonia para criar paisagens sonoras dinâmicas e deslumbrantes em vários estilos de síntese

  • Tecnologia de transição suave de predefinições que garante que os sons continuem até que a próxima nota seja tocada para alterações discretas de predefinições únicas ou múltiplas durante seu conjunto

  • Modos de arpejador, sequenciador e looper para expandir as possibilidades de desempenho sem a necessidade de equipamento adicional ou de um computador no palco

  • 8 macros personalizáveis ​​e atribuíveis que fornecem controle focado em parâmetros de instrumentos e efeitos para equilibrar o potencial ilimitado de instrumentos virtuais com um escopo prático de detalhes de desempenho

  • 4 macros de instrumentos que ajustam os parâmetros de brilho, timbre, tempo e movimento, com ajustes de tecla shift para volume, graves, médios e agudos

  • 4 macros de efeitos que acomodam efeitos de envio de Delay e Reverb dedicados, com dois slots de efeitos de inserção para construção de patches infinitamente personalizáveis

  • Insira efeitos que incluem chorus, flanger, phaser, overdrive, bit crusher, wavefolder, waveshaper, LPF, HPF, BPF, comb, EQ, pan estéreo, wah, compressor, twin amp e opções rotativas para texturização multidimensional completa

  • Modos de acordes e escalas que incluem tipos de acordes variáveis ​​para permitir multidões de exploração harmônica

  • Arranjo semi-ponderado de 61 teclas com aftertouch para expressão detalhada e sonora

  • Aplicativo móvel AstroLab Connect e software de desktop Analog Lab Pro que oferecem suporte completo à organização, edição, carregamento, navegação e compra de som para personalização do AstroLab sem complicações e em qualquer lugar

  • Estrutura Wi-Fi flexível que inclui a geração de um hotspot do AstroLab, garantindo conectividade completa baseada em aplicativo, mesmo sem uma rede próxima

  • Porta USB-C que permite a transmissão de dados bidirecional com seu computador, tablet ou smartphone para uma conexão versátil e extremamente rápida

  • Porta USB-A que permite MIDI via USB para arranjos de controlador MIDI expandidos com praticamente qualquer configuração sonora

  • Entradas combinadas XLR/TRS que expandem as possibilidades de desempenho com poderosas ferramentas de modelagem de tom e um vocoder integrado

  • Entradas de Sustain e Expression complementadas por 2 conectores compatíveis com TS-switch e pedal contínuo para personalizar sua performance com inúmeras configurações expressivas

  • A propriedade total dos instrumentos incluídos no AstroLab desbloqueia uma profundidade incomparável de design de som e personalização para expandir sua paleta de desempenho

  • Compatível com a coleção V e os seguintes instrumentos: ARP2600 V, Augmented Grand Piano, Augmented Strings, Augmented Voices, B-3 V, Buchla Easel V, Clavinet V, CMI V, CS-80 V, CZ V, DX7 V, Emulator II V, Farfisa V, JUN-6 V, JUP-8 V, Korg MS-20 V, Matrix 12 V, Mini V, Modular V, OP-Xa V, Piano V, Pigments, Prophet-5 V, Prophet-VS V, Sampler, SEM V, Solina V, SQ80 V, Stage-73 V, Synclavier V, Synthi V, Vocoder V, Vox Continental V e Wurli V

 

Como funciona o AstroLab? Som multidimensional em um instrumento

O AstroLab da Arturia traz as multidões quase infinitas de possibilidades de escultura sonora oferecidas aos seus instrumentos virtuais Analog Lab, V Collection e Pigments para um teclado robusto que foi construído especificamente para apresentações em palco e estúdio. Com espaço de armazenamento para mais de 1.000 predefinições, o mecanismo abrangente e galvanizante do AstroLab serve como fonte singular para qualquer um dos seus sons cuidadosamente selecionados de VIs compatíveis. Oito potenciômetros de 360 ​​graus fornecem macros flexíveis que podem ser adaptadas a cada predefinição, divididas entre quatro controles de instrumento e quatro controles de efeitos — incluindo dois slots de efeitos de inserção — que atingem o equilíbrio ideal entre tato prático e sons virtuais ilimitados. Além disso, cada um dos controles de macro é codificado por cores para não apenas exibir o ajuste de um parâmetro, mas também para suportar predefinições de várias partes, permitindo que você controle uma ou ambas as respectivas macros de uma predefinição simultaneamente.

 

AstroLab Connect: um aplicativo para controle abrangente de predefinições

Em toda a soma das ofertas do Analog Lab, V Collection e Pigments, você seria perdoado por se perguntar como a interface simplificada do AstroLab acomoda uma gama tão diversa de instrumentos. É aqui que o AstroLab Connect entra em cena. Este aplicativo multiplataforma para dispositivos móveis e desktop permite que você navegue, organize, selecione e até mesmo compre sons novos e existentes. Ele os organiza em listas de reprodução ou bancos de sons para atender às suas necessidades. Ou você pode ler amplamente por categoria, estilo e instrumento. Ferramentas de indexação detalhadas são contrastadas por uma interface flexível e adaptável, tornando fácil gerenciar predefinições para listas de conjuntos ou performances dedicadas, com opções adicionais que permitem editá-las diretamente do aplicativo. Como a Arturia equipou o AstroLab com recursos de Wi-Fi para produzir sua própria rede e se conectar ao seu dispositivo inteligente a partir de uma rede compartilhada, você sempre pode moldar seu som.

 

Uma mudança de paradigma de forma e função

O AstroLab é uma mistura incomum, mas emocionante, de controlador MIDI e instrumento adequado, com uma gama diversificada de conectores MIDI, Bluetooth, USB, Expression, Sustain, entrada auxiliar e combinação XLR/TRS para facilitar inúmeras configurações de desempenho em tempo real. Como os controles macro são predefinidos, o AstroLab desafia ousadamente as possibilidades aparentemente ilimitadas do som virtual com o simples fato de que, por mais potencial sonoro latente que exista dentro desses instrumentos virtuais, a maioria — se não todos — desses vetores desempenham seus papéis mais integrais no estágio de composição. Em vez disso, o AstroLab simplifica as performances em tempo real desses sons reduzindo a complexidade física e virtual de executar um VI com um computador ou laptop conectado e sincronizado no palco.

 

Design de som versátil para qualquer estilo sonoro

Com suas amplas oportunidades para integração interoperacional, o conjunto de ferramentas onboard do AstroLab funde mundos de som com facilidade. Sua arquitetura distinta inclui modos de divisão dupla e camadas que permitem que você crie texturas, patches e paisagens sonoras complexas que combinam sons de todo o tempo e espaço, como a mágica da tabela de ondas futurista da Pigments com monossintetizadores analógicos meticulosamente elaborados da V Collection. Além disso, a capacidade expressiva e as ferramentas de desempenho onboard do AstroLab podem ser implementadas criteriosamente para elevar qualquer instrumento, incluindo delays e reverbs integrados, efeitos de inserção dupla para cada predefinição, rodas de pitch e modulação, um arpejador, um looper, um sequenciador e até mesmo um vocoder. Além disso, cada um dos conectores auxiliares que acompanham as entradas dedicadas Sustain e Expression pode ser atribuído de forma personalizada a funções exclusivas das predefinições do AstroLab, capazes de acomodar o uso do TS-switch e do pedal contínuo.

 

Projetado para shows ao vivo, otimizado para coerência de estúdio

A Arturia projetou o AstroLab para atender às necessidades multimodo do músico contemporâneo, e a arquitetura focada, porém flexível, do instrumento foi criada para unir perfeitamente a natureza aberta dos estágios de composição e ideação com as ferramentas propositais e pontiagudas necessárias para gravações de estúdio e shows ao vivo. Sua E/S MIDI de 5 pinos permite que você conecte o AstroLab para controlar ou ser controlado por inúmeros dispositivos externos, e a Arturia prevê um mundo onde a funcionalidade MIDI de estúdio do AstroLab pode ser usada para construir e personalizar patches dentro dos VIs capazes, garantindo que a transição da modelagem de som para o uso ao vivo seja quase perfeita. Este fluxo de trabalho permite que você construa e adapte presets conscientemente muito antes em seu processo criativo, reduzindo drasticamente dores de cabeça e aborrecimentos quando chega a hora de organizar sua lista de conjuntos desejada.

 


    Especificações principais Teclado de palco Arturia Astrolab

    Geração de som

    Modelagem Analógica / Digital / Baseada em Amostras

    Teclado

    61 teclas de tamanho normal com ação semipesada

    Sensibilidade ao toque

    Sim

    Controles de expressão

    1x Pitch Bend
    1x Modulação
    9x Botão

    Número de sons, kits ou amostras

    Predefinição de som do usuário 1300x
    Predefinição de som de fábrica 10000x

    Polifonia Máxima

    Pianos: 48 vozes (estéreo)
    Sintetizadores: 8 vozes (estéreo)

    Funções de desempenho

    Arpejador, Camada, Deslocamento de oitava, Sequenciador, Divisão, Divisão/Camada, Transposição

    E/S de áudio

    2x 1/4" TRS Saída principal estéreo balanceada ou desbalanceada
    1x Combo XLR-1/4" 3 pinos entrada mono balanceada ou desbalanceada para microfone/linha/alta impedância
    1x 1/4" TRS saída de fone de ouvido estéreo desbalanceada

    Suporte de pedal

    1x 1/4" TS Sustain
    1x 1/4" TS Expression
    2x 1/4" TS Atribuível

    E/S MIDI

    1x DIN 5 pinos de entrada
    1x DIN 5 pinos de saída

    E/S USB

    1x USB-A (memória externa)
    1x USB-C (conexão de host, MIDI)

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    4.3 ★★★★★
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    Peter P
    West Palm Beach, US
    ★★★★★ 5
    Valued study tool
    Format: Hardcover
    This resource is phenomenal. I’ve been including this commentary set in my resources to teach through the minor prophets, and I find myself really appreciating its solid, accurate, grace-filled contents. This includes the ESV text, supporting timelines, graphics, and charts, and expansive commentary supporting the text. This set will be a valued study tool for years to come.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on November 20, 2025
    A
    Andrew D. Lossing
    Louisville, US
    ★★★★★ 5
    Imposing and Exceptional Quality
    Format: Hardcover
    The content and quality of the ESV commentary series matches that of their study Bibles. Broadly reformed, but not dogmatic on a particular angle, clear and concise, great for study. This commentary set isn't so much for digging deep in the weeds as it is for learning a solid Biblical Theology-based framework of the Bible. It's simpler than some, but much more in-depth than the ESV Study Bible, making it the next step for learning. The full set is imposing - lovely big, black hardbacks which look phenomenal on a bookshelf. Do I think this is practical for everybody? No, it might not be. You can get this kind of thing in digital form in one way or another these days (please understand that I don't like to go quite that digital, and I haven't researched what all is available). If you're pressed for living space, you might not want these. I live with a spouse in a midsize one-bedroom apartment. Fortunately, we already knew we wanted to prioritize some of our space for physical books, because we find pleasure in them. I will have to clear off some of my existing bookshelf space and relegate some books to a box in storage (consider that this set takes up all the space in a fairly large packing box, and you'll know how much you need). But it's worth it for me. I also see the acquisition of this box set as a bit of a prompt to take back up more in-depth study of the Scripture, which too often gets sidetracked by the rest of life getting in the way. Having the physical books are already something of a commitment. If all I had were ebooks or an app, I would likely never utilize them the same way. Last notes: these were packed very well. Each volume is shrink-wrapped in cellophane and none of the corners were damaged. They did a good job with that. Lastly, the price for these is fairly high. I acknowledge that. I think theological books are about on the same level, usually, however. So I did not see the need to deduct a star.
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    Reviewed in the United States on June 30, 2025
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    Patrick S.
    San Leandro, US
    ★★★★★ 5
    A fun and fulfilling book - would love to own the series
    Format: Paperback
    I had a lot of fun with this book. About a year ago, I really came down on the side of presuppositionalism and have studied the approach, see if it was useful against two of the leading atheistic books (God Is Not Great and The God Delusion), and now I wanted to match it up against four other views of apologetics. I will try to not go into too much detail here as I think the book is an important read for developing an apologetic standpoint. The book follows the 1)"model of Approach X is presented" then 2) "Response from other 4 approaches to counter Approach X" and then move on to the next approach. The book allows final statements from each writer for a final opportunity. Steven Cowan has a good introduction and epilogue that bookends the book well. Craig (Classical Approach) really surprised me as he brings in the role of the Holy Spirit early into the conversation. I really thought I was going to just be reading the finer points of the Kalam argument he's known for. The role of the Holy Spirit is reflected in the other authors' approaches as well and that was nice to see. It's also nice to see Craig debating with Christians for once and it's here that you really get to see his thought process contrasting with other people with the same worldview. There are issues that Craig tries to bring up against the presuppositionist view point that could be applied for him. He doesn't seem to get that all foundations are, by definition, circular because if you can appeal to something more foundational, then your foundation isn't your foundation at all. Craig seems to bring in some higher concepts about probability to make some of his points and I think that's really a miss for anyone who's not a high level philosopher (and even some philosophers might have issues understand what he's talking about here). Habermas (Evidential Approach) seems to have an undue hatred for presuppositionalism. He's also another person who doesn't realize that the approach he uses isn't really the foundation he is starting from. I think he resents doing the hard work that the other approaches then build up to. Feinberg (Cumulative Case Approach) seems to miss the point of presuppositionalism entirely. He's got the approach of what I call the "shotgun approach" in the sense that he wants to use everything possible and sees what he hits. Frame (Presuppostional Approach) does an ok job with presenting the method. I don't think he would be my first choice in representing the approach. He doesn't do a good job of explaining the "problem of circularity" isn't a problem. He just does an "ok" job. Clark (Reformed Epistemological Approach) is one I was excited to read. I liked some of his points he made when talking about the other approaches. Then I read his approach and was extremely disappointed. The biggest flaw is that he states literally that his approach doesn't help to show the Christian God is real. I would say then your apologetic method is worthless and not a real method at all. I understand the R.E. approach but if I went only with Clark's explanation and argumentation, I wouldn't have even considered it a real area of focus. The book is well laid out, the footnotes are at the bottom of the pages (SO helpful!), Cowan does a good job of wrangling the writers and offering expanded reading and other authors for each area of focus. Myself and my mentor spent from January to August every other week going over and discussing the book. Finding flaws, comparing and contrasting, and seeing where points were made and where points were missed. I think the biggest deficit we found was that the writers tended to assume agreement on definitions of words that played a big role (for example - the word "evidence" NEEDED to be defined right off the bat by every author and it wasn't until Frame in his response to the objections raised did we even have one person define it). My suggestion for this book to maximize the fun is to pick a method and try and defend that method throughout; even with the writer arguing your side. My book is filled with notes and highlights that just made this book a great enjoyment to meet and discuss with a fellow Believer about. It does not settle all the issues, but it does help you focus on the fact that we still aren't done learning yet. Final Grade - A-
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    Reviewed in the United States on November 13, 2013
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    Lyndon Unger
    Houston, US
    ★★★★★ 4
    Great Introduction to the Various Schools of Apologetics
    Format: Paperback
    In reading "Five Views on Apologetics", I first had to wonder why the book was called "Five Views" and not "Three Views", since the first three authors admittedly had so much in common with each other that it seemed that their positions were subcategories of a singular system of apologetics. In fact, Habermas claimed Craig as an evidentialist on multiple occasions and admitted they had relatively minor disagreements. Feinberg was also an evidentialist, but he differed from Habermas and Craig in supposing that any one argument could possibly be persuasive to a skeptic. All three individuals definitely agreed on so much though that their three essays proved to be slightly disappointing as in the end, I figured that any one of them practically utilized a combination of all three approaches (I've heard Craig make cumulative case presentations...). I wondered exactly why they were representing different apologetic camps. Don't get me wrong: I like Craig and Hambermas and Feinberg; they're brothers in the Lord. I just find that evidentialism's off-shoots are so similar to each other that taking three chapters for the various forms of evidentialism didn't seem that worthwhile. Ironically, it seemed that the other two views of were related by what seemed like a mutual distaste for the other, Frame wrote that he "was rather disappointed at Clark's treatment of the role of the Bible in determining apologetic principles" (310) and the suggestion that Clark might not have "tried hard enough to find out what the Bible says" (310) also seemed like a needless jab, but Frame still commended Clark on plenty and suggested that "presuppositionalists too are Reformed epistemologists" (312). On the other hand, Clark wrote that Frame's essay is "the best version of presuppositionalism I have ever read" but then went on to suggest that presuppositionalism (at least as presented by Van Til) was either too confusing for him or was "obviously false" (255). Clark parroted the often repeated gross misunderstanding of presuppositionalism that "non-christians cannot know anything" (256), suggested that Frame implied this concept (257) and then spent several paragraphs refuting an obviously silly postulate; it's strange how Clark would insinuate that Frame would be so plainly stupid and I got the idea that Clark thought that all presuppositional apologists were somehow mentally lacking. Even in my early reading of Van Til, I understood that he was writing about how unbelievers cannot account for how they know anything, not whether or not they can know anything. What was even more alarming was Clarks' confession that "anyone can find some support for his or her position in Scripture" (275), as if scripture lacks a clear meaning and is somehow malleable enough to consistently conform to anyone's presuppositions. I was left dissatisfied by how Clark didn't seem to exhibit reformed theology and I was also puzzled why Frame didn't present the Transcendental Argument for the Existence of God (the main positive argument of presuppositionalism). What was even more humerous was how Craig presented a fairly solid version of the transcendental argument and gave Frame a slight poke for not presenting the "main course" of presuppositionalism. On the whole, I found "Five Views" to be reflective of much of my general feelings of the current state of apologetics; too distracted, too unscriptural, and too confusing. It was a difficult read at times; William Lane Craig's constant scampering into symbolic logic was frustrating and made me wonder whether the publisher clearly communicated the target audience to the authors. I was disappointed that none of the authors attempted to establish any component of their case from scriptural exegesis but instead presented philosophical constructs aided by proof texts (i.e. Habermas referenced Romans 8:16 on page 97 as `proof' that the Holy Spirit may work through apologetics to bring "full assurance to believers", arguably not the meaning of Romans 8:16). I also found myself wondering if the authors were agreeing on theological points due to lack of clarity (i.e. Craig's writing about the inner witness of the Holy Spirit was general enough that it sounded Mormon...). The book was good, and it DID expose me to five (arguably) different apologetic systems, but I hesitate to give it 5 stars due to some of the weak/unclear presentations of the systems and the thought that this isn't the best that evangelicalism has to offer. It's still a worthwhile buy and I'm likely being too hard on it. I'd recommend it as an intro book for a college level Apologetics class, or for someone who's already familiar with theology and the concept of apologetics but isn't familiar with it in depth.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on November 4, 2009
    J
    Verified Purchase
    J. E. Lindsey
    Lowell, US
    ★★★★★ 5
    Great Contrasts
    Format: Paperback
    Cowan tells us, "This is a book about apologetics methodology, not a book of apologetics per se. That is, it is not a book that seeks to do apologetics as much as a book that discusses how one ought to do apologetics" (8). Cowan has achieved the stated purposes of this book in many ways, but due to limited space I will stay focused on three examples; Glossary of Key Terms and Concepts, format, and conclusion by Cowan. Glossary of Key Terms and Concepts (21-24) in this initial section of the book provide a clear and useful starting place for persons who are not academically familiar or comfortable with many terms used in the book. The fact that the key terms section included and defined conceptual terms supports the stated purpose of the book being a methodological rather than an apologetic book with multiple views from various writers' specific understandings and preferred styles of apologetics. As a new person to formal apologetics, this section helped launch me smoothly into the methodological discussions. I returned to these pages a few times to reacquaint myself with meaningful concepts. The format of the discussion with proponents making a methodological case for their form of apologetic followed by critiques from supporters of other apologetic systems brought clarity to the five methods addressed in this book. This format help to highlight both strengths and weaknesses in methods. Cowan as the general editor achieved the goal of keeping the writers away from apologetics and on the goal of providing defense and critiques of these five methods. Each supporter had a unique "tee-up" to their sections. Craig starts by stating, "...methodology in Christian apologetics...raising the age-old issue of the relationship between faith and reason." He goes on further in his introduction to tell a story about his struggle at Wheaton College and why his methodology was helpful to his faith (26). Habermas clarifies that his form of evidential apologetics is, "...characterized as the one-step approach..." (92).This initial piece of information was insightful to me and a helpful clarification between classical and evidential methods. Feinberg on Cumulative Apologetics points out, "A good place to begin the discussion of apologetic methodology is to ask about the nature of the case for theism and Christianity" (148). Frame was probably the most direct in his initial statement by saying, "In apologetics, as in every aspect of the Christian life, the most important thing is to glorify God. Therefore, it is important for us to look in God's Word, the Bible, to see if our Lord gives us any directives relevant to the apologetic task" (208). In principle agree, but I will admit, I find his form of apologetics to be too circular in nature to be convincing to an unbelieving skeptic - as a standalone method. Christians I think would all say, well of course. Clark's section begins with stories meant to set the stage that it is reasonable have faith. Clark writes, "My suppose-this and suppose-that stories are intended to raise the problem of the relationship of our important beliefs to evidence" (267). Each of the five supporters of their method successfully introduced their unique method of apologetics. Cowan regarding to his conclusions says, "Hopefully, this will not only help you, the reader, make your own decisions regarding apologetic methodology, but will also provide a basis for further discussion of the topic among scholars. Cowan's conclusions assured that main points of agreement and disagreement were clear. Here as with the other sections, the textual comments were method focused. My criticism is pointed at the spirit of the debate. The writers did not draw enough contrasting between apologetic methods to clearly show that their individual method should be favored. I think the tone was a little too stilted in the direction of "playing" nice. In a book that purports to have five methods, there were times it seemed like only three or four methods. I guess this is inescapable give that each apologetic style can share some parts in common with another. Yet Craig shares my feeling here, I believe, based on his statement, "Pity our poor editor! Ideally he would like to find a wild-eyed fideist on one end of the spectrum and a hard-nosed theological rationalist on the other. Instead he winds up with a presuppositionalist who argues like an evidentialist..." (122). Overall Five Views on Apologetics provides a good compare and contrast resource for anyone interested in these five common methods of apologetics.
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    Reviewed in the United States on March 18, 2011

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