Garry Cobain Unleash Your Creativity
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Designing with Dante and AES67 / SMPTE ST 2110
Designing with Dante and AES67 / SMPTE ST 2110 AES-NY, AVoIP Pavillion October 16-19, 2019 Patrick Killianey Audinate, Senior Technical Training Manager [email protected] Audinate 1 Objectives: Design Principles (and Why We Recommend Them) Clarify Common Misunderstandings About Dante (and PTPv2). Highlights of the Dante update with SMPTE ST 2110 support. Audinate 2 Prerequisites: Dante Domain Manager is a key part to Audinate’s ST 2110 solution. If you are not familiar with this product, watch this video to learn its role and core functions. In Depth Tour of Dante Domain Manager https://youtu.be/xCY3JNpCu_k Audinate 3 History: Audio Networks SoLutions and Open Standards Audinate 4 History: 10Mbit 1996 (1) CD-ROM (44) 3¼” Floppy Disks https://en.wikipedia.org/wiki/Microsoft_Office_97 Audinate 5 History: Network Innovation 10Mbit 100Mbit 1996 1998 2001 Star, 32x32 Daisy Chain, 64x64 5⅓msec ⅙msec QoS PTP Quality of Service Precision Time Protocol (Prioritization of Time Sensitive Data) (Network Synchronization) ZeroConfig IGMP Snooping Automatic Peer-to-Peer Configuration Internet Group Management Protocol (No need for Static or DHCP config) (Reduces Impact of Multicast Distribution) Audinate 6 History: Network Innovation 10Mbit 100Mbit ≥1Gbit 1996 1998 2001 2006 2013 2015 Star, 32x32 Daisy Chain, 64x64 Star 5⅓msec ⅙msec 512x512 @ ¼msec Best Practices for Audio Networks AES AESTD1003V1 - June 6, 2009 http://www.aes.org/technical/documents/AESTD1003V1.pdf “Audio networking systems are characterized In practice, there are several issues for by the transport of uncompressed audio in compatibility between formats that should PCM format, which in principle could be be addressed and solved with specific reformatted as requested. -
Chart Book Template
Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts. -
Large Scale Deployment of SMPTE 2110: the IP Live Production Facility
SMPTE Meeting Presentation Large Scale Deployment of SMPTE 2110: The IP Live Production Facility Steve Sneddon NBCUniversal, [email protected] Chris Swisher NBCUniversal, [email protected] Jeff Mayzurk NBCUniversal, [email protected] Written for presentation at the SMPTE 2019 Annual Technical Conference & Exhibition Abstract. In 2016, NBCUniversal began the project to design and build the new global headquarters for Telemundo Enterprises in Miami Florida. The facility that became known as Telemundo Center would feature 13 production studios and seven control rooms supporting scripted episodic content, daily live news and sports programming, beginning with FIFA World Cup 2018. To support the scale and flexibility required for a facility of this magnitude, the key technical design consideration was the use of a software-defined video network infrastructure. At the time of launch in spring of 2018, Telemundo Center was home to the largest SMPTE ST 2110 environment in the world, consisting of over 12,000 unique HD sources and 150,000 multicast streams across audio and video. This paper will explore the major considerations and challenges in building such a large scale, all-IP broadcast production facility. We will demonstrate design factors around switching of video flows, redundancy, control and orchestration, PTP master clock systems and handoffs to multi-manufacturer SMPTE ST 2110 devices as well as non-IP enabled devices. This paper will also discuss our experience and lessons learned with utilizing a Software -
IP Reference Guide 1 STANDARDS OVERVIEW
TRANSITIONING TO IP HANDBOOK Published: April, 2020 TABLE OF CONTENTS HANDBOOK INTRODUCTION IP SWITCHES Introduction .....................................................................1 Introduction .....................................................................18 Network Topologies ......................................................19 STANDARDS OVERVIEW Switch Mechanisms.......................................................20 Specialized IP Fabric vs COTS....................................22 SMPTE .................................................................................2 Evertz Switches...............................................................23 3080IPX Series ................................................................24 Cisco Nexus Series..........................................................25 STREAM CAPACITIES FOR IP SYSTEMS Arista 7500R Series........................................................27 Introduction .....................................................................5 EDGE DEVICES FOR AN IP NETWORK SOFTWARE DEFINED NETWORKING (SDN) Introduction .....................................................................28 Introduction .....................................................................7 Current Evertz Edge Devices .....................................29 ORCHESTRATION, MONITORING AND ANALYSIS NETWORK CONNECTIONS AND CABLES Orchestration ...................................................................8 Introduction .....................................................................31 -
Calrec Network Primer V2
CALREC NETWORK PRIMER V2 Introduction to professional audio networks - 2017 edition Putting Sound in the Picture calrec.com NETWORK PRIMER V2 CONTENTS Forward 5 Introduction 7 Chapter One: The benefits of networking 11 Chapter Two: Some technical background 19 Chapter Three: Routes to interoperability 23 Chapter Four: Control, sync and metadata over IP 27 The established policy of Calrec Audio Ltd. is to seek improvements to the design, specifications and manufacture of all products. It is not always possible to provide notice outside the company of the alterations that take place continually. No part of this manual may be reproduced or transmitted in any form or by any means, Despite considerable effort to produce up to electronic or mechanical, including photocopying date information, no literature published by and scanning, for any purpose, without the prior the company nor any other material that may written consent of Calrec Audio Ltd. be provided should be regarded as an infallible Calrec Audio Ltd guide to the specifications available nor does Nutclough Mill Whilst the Company ensures that all details in this it constitute an offer for sale of any particular Hebden Bridge document are correct at the time of publication, product. West Yorkshire we reserve the right to alter specifications and England UK equipment without notice. Any changes we make Apollo, Artemis, Summa, Brio, Hydra Audio HX7 8EZ will be reflected in subsequent issues of this Networking, RP1 and Bluefin High Density Signal document. The latest version will be available Processing are registered trade marks of Calrec Tel: +44 (0)1422 842159 upon request. -
Converter Brochure
Converter Catalog September 2021 Will replace with the Hi5-12G AJA CONVERTER CATALOG CONTENTS AJA MINI-CONVERTERS 10 HD5DA SCALING 4 AJA Mini-Matrix 1x4 HD/SD-SDIDistribution Amplifier 16 4K2HD Find the Right AJA Converter 10 C10DA HD/SD-SDI to SDI/Analog Down Mini-Converter for Any Situation 1x6 Analog Video Distribution Amplifier 16 HD10MD4 4 USB and Mini-Config 10 ADA4 HD/SD to SDI/Analog Down Mini-Converter Visual Configuration and Control 4-Channel Bidirectional Audio A/D and D/A Converter 16 UDC INFRASTRUCTURE HDMI Up, Down, Cross Mini-Converter 5 12GM 11 Hi5-12G 16 HDP3 12G-SDI to/from Quad 3G-SDI, Multiplexer 12G-SDI to HDMI 2.0 Mini-Converter 3G-SDI to DVI-D Mini-Converter with Embedded Audio 5 GEN10 11 Hi5-12G-R IP HD/SD Sync Generator 12G-SDI to HDMI 2.0 Mini-Converter with LC Fiber Rx SFP 17 IPT-10G2-HDMI 5 FS-Mini 11 Hi5-12G-TR HDMI to SMPTE ST 2110 IP Video and Audio Converter 3G/HD/SD-SDI Utility Frame Synchronizer 12G-SDI to HDMI 2.0 Mini-Converterwith LC Fiber TR SFP 17 IPR-10G2-HDMI 6 12G-AM 11 Hi5-12G-R-ST SMPTE ST 2110 IP Video and Audio to HDMI Converter 12G-SDI 8-Channel AES Embedder/Disembedder 12G-SDI to HDMI 2.0 Mini-Converter with ST Fiber Rx SFP 17 IPT-10G2-SDI 6 12G-AM-T 12 Hi5-4K-Plus 3G-SDI to SMPTE ST 2110 IP Video and Audio Converter 12G-SDI 8-Channel AES Embedder/Disembedder 4K/UltraHD (4x 3G-SDI) to Full HDMI 2.0 Mini-Converter 17 IPR-10G2-SDI With LC Fiber Tx SFP 12 Hi5-Fiber SMPTE ST 2110 IP Video and Audio to SDI Converter 6 12G-AM-TR 3G-SDI over Fiber to HDMI Video and Audio Mini-Converter ANALOG -
Examensarbete
EXAMENSARBETE Musikalisk animation En studie i animation skapad för samverkan med musik Linnea Forslund Teknologie kandidatexamen Datorgrafik Luleå tekniska universitet Institutionen för konst, kommunikation och lärande Abstract Bachelor thesis about animation created for synchronization with music. A brief history is included. Part one is a report on the 3d-projection mapping project that I took part of as an intern at the digital creative agency North Kingdom. The other part consists of four analysis of different audiovisual works from various times and styles. The final part is a discussion of how animation relates to music, what music looks like and what the difference is between projections for a three dimensional objects and those for a flat surface, looking at both my project and these four analysis. Keywords: animation, visual music, projection mapping, VJ, computer graphics Kandidatuppsats om animation skapad för synkronisering med musik. En kortfattad historik är inkluderad. Del ett är en rapport från 3d-projektionsprojektet jag deltog i som praktikant på digitala reklambyrån North Kingdom. Den andra delen består av fyra analyser av olika audiovisuella verk från olika tider och stilar. Den sista delen är en diskussion om hur animation relaterar till musik, hur musik ser ut och vad skillnaden är mellan projektion för tredimensionella objekt jämfört med plana ytor, genom att titta både på mitt projekt och dessa fyra analyser. Nyckelord: animation, visuell musik, projektionsmappning, VJ, datorgrafik Innehållsförteckning Abstract..........................................................................................................................................i -
Overview on IP Audio Networking Andreas Hildebrand, RAVENNA Evangelist ALC Networx Gmbh, Munich Topics
Overview on IP Audio Networking Andreas Hildebrand, RAVENNA Evangelist ALC NetworX GmbH, Munich Topics: • Audio networking vs. OSI Layers • Overview on IP audio solutions • AES67 & RAVENNA • Real-world application examples • Brief introduction to SMPTE ST2110 • NMOS • Control protocols Overview on IP Audio Networking - A. Hildebrand # 1 Layer 2 Layer 1 AVB EtherSound Layer 3 Audio over IP Audio over Ethernet ACIP TCP unicast RAVENNA AES67 multicast RTP UDP X192 Media streaming Dante CobraNet Livewire Overview on IP Audio Networking - A. Hildebrand # 3 Layer 2 Layer 1 AVB Terminology oftenEtherSound Layer 3 Audio over IP • ambiguousAudio over Ethernet ACIP TCP unicast • usedRAVENNA in wrongAES67 context multicast RTP • marketingUDP -driven X192 Media streaming • creates confusion Dante CobraNet Livewire Overview on IP Audio Networking - A. Hildebrand # 4 Layer 2 Layer 1 AVB Terminology oftenEtherSound Layer 3 Audio over IP • ambiguousAudio over Ethernet ACIP TCP Audio over IP unicast • usedRAVENNA in wrongAES67 context multicast RTP • marketingUDP -driven X192 Media streaming • creates confusion Dante CobraNet Livewire Overview on IP Audio Networking - A. Hildebrand # 5 Layer 7 Application Application Application and Layer 6 Presentation protocol-based layers Presentation HTTP, FTP, SMNP, Layer 5 Session Session POP3, Telnet, TCP, Layer 4 Transport UDP, RTP Transport Layer 3 Network Internet Protocol (IP) Network Layer 2 Data Link Ethernet, PPP… Data Link Layer 1 Physical 10011101 Physical Overview on IP Audio Networking - A. Hildebrand # 10 Physical transmission Classification by OSI network layer: Layer 1 Systems Transmit Receive Layer 1 Physical 10011101 Physical Overview on IP Audio Networking - A. Hildebrand # 12 Physical transmission Layer 1 systems: • Examples: SuperMac (AES50), A-Net Pro16/64 (Aviom), Rocknet 300 (Riedel), Optocore (Optocore), MediorNet (Riedel) • Fully proprietary systems • Make use of layer 1 physical transport (e.g. -
Remix Magazine, September 1St 2002 TIME BANDITS
Remix Magazine, September 1st 2002 TIME BANDITS Garry Cobain and Brian Dougans — aka Amorphous Androgynous and Future Sound of London — started making magic with sequencers and samplers long before Aphex Twin, The Orb and Orbital were just beginning to dabble in revolutionary sonic experiments. An ultraworld of quicksilver samples, sequenced atmospheres and lushly rolling beats, the duo's early masterpiece Lifeforms (Astralwerks, 1994) suggested, for the first time, an alternate sound world created with computer technology. But just as the world seemed ready for Future Sound of London and accepted their apocalyptic Dead Cities (Astralwerks, 1996) album with open arms, the devious duo disappeared, retreating to reclaim their souls as the media pervaded their psyches. Those were somewhat better times for the pair, before Cobain discovered a certain death that lurked inside his body. “I had developed an arrhythmic heart, massive food and environmental allergies, eczema and stiff joints,” says Cobain from FSOL's Kensal Road recording studio in London. “I realized that my immune system was shot to ribbons by my mercury fillings. Silver is the same thing as mercury. They use the word silver not to tell you that you have the second most toxic substance known to man in your gob. You are talking mass conspiracy shit here.” After having the fillings removed (Dougans followed suit), Cobain took up fasting, meditation and enema cleansing; slowly, year after year, his health returned. But even before Cobain's illness sidelined FSOL, Cobain and Dougans were already tiring of the scene, its influx of ambient compilations and growing corporate interference. -
Jamming As a Curriculum of Resistance: Popular Music, Shared Intuitive Headspaces, and Rocking in the "Free" World
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2015 Jamming as a Curriculum of Resistance: Popular Music, Shared Intuitive Headspaces, and Rocking in the "Free" World Mike Czech Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Art Education Commons, and the Curriculum and Instruction Commons Recommended Citation Czech, Mike, "Jamming as a Curriculum of Resistance: Popular Music, Shared Intuitive Headspaces, and Rocking in the "Free" World" (2015). Electronic Theses and Dissertations. 1270. https://digitalcommons.georgiasouthern.edu/etd/1270 This dissertation (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. JAMMING AS A CURRICULUM OF RESISTANCE: POPULAR MUSIC, SHARED INTUITIVE HEADSPACES, AND ROCKING IN THE “FREE” WORLD by MICHAEL R. CZECH (Under the Direction of John Weaver) ABSTRACT This project opens space for looking at the world in a musical way where “jamming” with music through playing and listening to it helps one resist a more standardized and dualistic way of seeing the world. Instead of having a traditional dissertation, this project is organized like a record album where each chapter is a Track that contains an original song that parallels and plays off the subject matter being discussed to make a more encompassing, multidimensional, holistic, improvisational, and critical statement as the songs and riffs move along together to tell why an arts-based musical way of being can be a choice and alternative in our lives. -
Chi Uni UG Prospectus 2020
CONTACT US OUR 2019 Reception and Switchboard • +44 (0)1243 816000 OPEN DAYS Admissions Office th • +44 (0)1243 816002 Undergraduate Prospectus 2020 • Saturday 29 June • [email protected] • Saturday 12th October st Accommodation Office • Thursday 31 October • +44 (0)1243 816069 • Saturday 16th November • [email protected] • chi.ac.uk/accommodation PICTURE YOURSELF chi.ac.uk/opendays AT CHICHESTER • 15th in the UK for student satisfaction with teaching The Guardian League Tables 2018 • 10th in the UK for overall student experience Times Higher Education Student Experience Survey 2018 • 96.5% of graduates in employment or further study six months after graduating Destination of Leavers from Higher Education 2018 • 90% of our research is ‘internationally recognised or above’, with 15% ‘world-leading’ Research Excellence Framework, 2014 Please recycle after use chi.ac.uk Contents Our Open Days 4 Welcome to our prospectus 6 Studying with us 8 Our teaching excellence 12 Our heritage 14 Our accommodation 16 Student life 20 Our facilities 26 Tech Park 30 Student support 32 8. Students’ Union 36 STUDYING WITH US Sport and recreation 40 Your career 44 Degree Apprenticeships 46 12. 20. 48. TEACHING STUDENT SUBJECTS Subjects 48 EXCELLENCE LIFE World-leading research 180 Alumni community 184 International and EU students 186 English language support 190 180. International English Studies 191 WORLD LEADING Applying to us 192 RESEARCH Our tuition fees 195 Course index 196 Teaching Excellence Framework Credits and disclaimer 202 192. Based on the evidence available, the TEF Panel Where we are 203 judged that the University of Chichester delivers APPLYING high quality teaching, learning and outcome for TO US students. -
Muzik Magazine - July 2002
Muzik Magazine - July 2002 ISNESS AS USUAL Gary Cobain on FSOL's strange journey from acid house to spiritual enlightenment - and the maddest record of 2002 Future Sound Of London, as much as Orbital or Aphex Twin, defined post-acid house electronica, from199'2 classic 'Papua New Guinea', and its accompanying 'Accelerator' LP to three adventurous albums for Virgin ('Lifeforms', 'ISDN', and 'Dead Cities'). You probably own at least one of their records, and if you haven't heard 'Papua...' you must have been sojourning on Uranus for the past 10 years. Judging by his madly psychedelic, prog rock comeback album 'The Isness', Gary Cobain (one half, with Brian Dougans, of FSOL) appears to have gone rather further out than that, mind you... "On the track 'Galaxial Pharmaceutical', everything is separate and connected, like the universe itself," Cobain says proudly. "I'm a urine drinker and I created the boy band phenomenon" he adds. In sandals, pale slacks and a white smock, he's holding forth in the duo's studio. Behind him is a poster of Shri Bagwan Ragneesh, the late Indian mystic who created a commune in Oregon notorious for its free love and ecstasy use. Such imagery is entirely suited to 'The Isness', which is coming out under FSOL's nom de fou, Amorphous Androgynous. It sits in the headspace between deep space electronics, Rave Shankar sitar-ism and 'Space Oddity'-style songs. But how did FSOL arrive here from the electronic dancefloor experiments of 'Stakker Humanoid' and 'Papua New Guinea'? "We were one of the most way-out, experimental electronic artists," exclaims Cobain with characteristic zeal.