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Friday, January 31, 2020

Community ExplorationWorks premiers new exhibit all about sound John Riley 6:05 PM, Jan 31, 2020 - KTVH

HELENA — ExplorationWorks will debut their new exhibit at 10:00 a.m. on Saturday Feb. 1, and the new theme doesn’t miss a beat.

Crews were hard at work Friday assembling the new displays and features for “Sound Science.”

The new exhibit allows families to explore the science of sound with a soundproof chamber that can measure how loud you can scream, a “speed of sound” experiment tube, musical instruments and much more.

Sound Science was created by ExplorationWorks staff, and Exhibits Manager Matt Jetty said they’ve had a blast putting it together.

“Some of this stuff we’ve had a little while, there’s some new stuff and all new construction,” said Jetty. “It’s always fun to build something from scratch here at ExplorationWorks. Hopefully if it does well and it can travel to the other local museums.

While the exhibit is on display, the museum will feature Sunday SoundLabs each week from 2:00 p.m. to 3:00 p.m. featuring local musicians.

Registration for Summer Camps also opens on Feb. 1 for current members. General registration opens on February 15th.

More information about all the programs at ExplorationWorks can be found here.

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Gerindra Klaim Riza Patria Kantongi 66 Suara DPRD DKI - BeritaSatu

Jakarta, Beritasatu.com - Ketua DPD Gerindra DKI Jakarta M Taufik mengklaim Calon Wakil Gubernur DKI Jakarta yang diusung partainya Ahmad Riza Patria telah mengantongi dukungan sebanyak 66 suara DPRD DKI. Dengan dukungan tersebut, kata Taufik, otomatis Riza Patria akan menang dalam perebutan menjadi orang Nomor 2 di DKI Jakarta.

Hal ini disampaikan Taufik menanggapi klaim dari Cawagub PKS Nurmansjah Lubis (Ancah) yang mengatakan sudah mendapatkan 40 dukungan dari DPRD DKI Jakarta.

"Kita sudah 66 kursi, jadi optimis memang dan pertengahan Februari 2020, Ariza sudah jadi wagub DKI Jakarta," ujar Taufik di Jakarta, Jumat (31/1/2020).

Jika terjadi voting, maka cawagub harus mendapatkan suara 50 persen plus 1. Lantaran jumlah anggota DPRD sebanyak 106 orang, maka untuk menjadi pemanang, seorang cawagub minimal mendapatkan 54 suara.

Taufik mengakui bahwa Riza belum melakukan sowan ke fraksi-fraksi di DPRD DKI Jakarta. Namun, menurut dia, dirinya dan partai Gerindra sudah lama membangun komunikasi dan lobi-lobi untuk mendapatkan dukungan dari pemilik suara.

"Saya sampaikan ini bukan asal ngomong juga, kita juga punya data hasil komunikasi kita," tandas dia.

Apalagi, kata Taufik, selama setahun proses pemilihan wagub DKI mandek karena semua calonnya berasal dari PKS. Padahal, nama calon dari PKS saat itu, yakni Agung Yulianto dan Ahmad Syaikhu sudah diserahkan ke DPRD DKI Jakarta.

"Sederhana bacaannya, gampang, (pemilihan wagub) satu tahun macet, pokoknya satu tahun macet," pungkas dia.

DPRD DKI akan menggelarkan rapat pimpinan gabungan (rapimgab) untuk membahas dan memantapkan tata tertib (tatib) pemilihan pada 6 Februari 2020. Kemudian, dilanjutkan dengan rapat paripurna pengesahan Tatib dan pemilihan panitia pemilihan (Panlih).

Panlih akan melakukan verifikasi dan pemeriksaan administrasi terhadap kedua cawagub DKI. Termasuk kemungkinan dilakukan fit and propes tes cawagub. Setelah itu, dilakukan Rapat Badan Musyawarah untuk menentukan teknis Rapat Paripurna dan pertengahan Februari 2020, DKI Jakarta akan mempunyai wagub baru.

Pemilihan bisa dilakukan dengan mekanisme musyawarah dan voting. Jika voting, maka cawagub harus mendapatkan 50 persen plus 1 suara dari 106 anggota DPRD DKI Jakarta.

Komposisi kursi di DKI Jakarta didominasi oleh PDI Perjuangan dengan jumlah 25 kursi. Lalu disusul Gerindra 19 kursi , PKS 16 kursi, Partai Demokrat 10 kursi, PAN 9 kursi, PSI 8 kursi, Partai Nasdem 7 kursi, Partai Golkar 6 kursi, PKB 5 kursi dan PPP 1 kursi.

Jika kompak, maka Riza Patria sudah mengantongi 19 suara dari Fraksi Gerindra dan membutuhkan 35 kursi lagi untuk bisa menjadi pemenang. Sementara Nurmansjah Lubis sudah mendapatkan 16 suara dari fraksi PKS dan perlu menggaet 38 suara lagi untuk mengalahkan Riza Patria. 

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Bears score three in third, beat Sound Tigers - CTPost

Sound Off calls Friday, Jan. 31, 2020 | Sound Offs - Citrus County Chronicle

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Sound Off calls Friday, Jan. 31, 2020 | Sound Offs  Citrus County Chronicle

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What Does It Sound Like When Artificial Intelligence Learns? Granite Hands Finds Out In New EP - Texas Public Radio

The band Granite Hands has members scattered across Texas, from Laredo to San Antonio and Austin to Houston and Denton. The group just released an EP they’re calling Void. It explores a variety of topics that are as wide-ranging as the geographical separation of the band’s members.


The record takes on geopolitical strife, the future of AI machine learning and more.

On the opening track Smoke Screens, multi-instrumentalist Sorush Ranjbar and drummer Cesar De Los Santos sing together:

Smoke screens for the money fiends

Blackmailed its friends for the shiny things

The intentionally vague lyrics hint at broad social critiques. 

“I guess there's a there's a big fixation on money and material things in our society,” Ranjbar said. “You know, having this transactional approach to life where you do something for money.”

The title of the EP is up for interpretation. For De Los Santos, it references the occultist concept of “the void,” which has a rather nebulous meaning. 

“It's everything and it's nothing,” he said. “And it's the beginning and the end.”

The structure of the new EP reflects that concept. 

“You're being taken on this journey, and at first things appear to be peachy,” he said. “Everything's cool, but as you get further along into this album, you start to get thrown into these kind of dark areas, and it seems very chaotic and primal. And at the very end you're coming out of this void born as sort of a new person.”

For Ranjbar “void” refers to the surrealness of the modern world — which he said revolves around vegan ice cream, cat cafes and Teslas for some, and geopolitical strife and suffering for others.  

“We have so much madness in this universe that we live in, in awesome ways and in bad ways,” Ranjbar said. “That in its grand complexity, it's almost like this giant void of infinite craziness.”

De Los Santos is from Laredo and Ranjbar is from San Antonio. They met about a decade ago, when Ranjbar was a tourhand for the Houston-based band Sunrise And Ammunition. The band played a show in Laredo with De Los Santos’ band, Somewhere In Between

Around that time, Ranjbar started Granite Hands as a solo project. It stayed that way for a long time, with Ranjbar writing and recording music alone in his bedroom. But by his senior year at University of Texas-San Antonio, he formed a live band with De Los Santos, who just moved to San Marcos at the time. 

That’s when Granite Hands won third place in the instrumental music category in the San Antonio Current’s 2015 music awards.

The new EP marks the project’s first foray into vocals — and studio collaboration. Ranjbar was initially nervous about giving up creative control.

“At first, you have a lot of anxiety when you let something go. You know, you let your baby go into someone else's hands,” Ranjbar said.

But the result of that collaboration, he said, is beyond what he could have created on his own. 

In addition to human collaboration, the EP features the sounds of an AI machine learning algorithm he coded for his master’s thesis. 

One night, Ranjbar was writing and recording music for the Void EP. 

“And I decided to actually run a machine learning algorithm that wasn't related to the music at all, but was for my project,” he said. “And while it was running, (the recording software) was picking up this weird interference to my guitar pickups because I had simultaneously Ableton open.”

Ableton is a digital audio workstation, and that weird interference was the sound of an artificial neural network learning. The electronic signal flowed to his guitar pickups and into the Ableton software. 

That sound made its way onto a track called It Learned, which depicts an AI algorithm run amok. The algorithm gains sentience, stalks and badly hurts its creator. 

It Learned is kind of about what deep learning means and AI means for the human race in 100 years,” Ranjbar said. “What's the human race — what’s civilization going to be like? Is everything going to be automated? Are we going to have AIs that are sentiment that can somehow be weaponized or something? I don't know.”

The song is dark, but his own outlook is more positive.

“I don't think AI is going to become sentient and become dangerous, and I don't think AIs are going to somehow become physical manifestations and go hunting humans and stuff like that,” he said. “I think for the most part, it's gonna be used for good. I hope.”

The Void EP is now available on all streaming services, and Ranjbar said Granite Hands has tentative plans to play live shows soon. 

Ashton Roberts — the saxophonist heard on the track Space Shaman — said the live shows are a much different experience than the studio material.

“Just because we've got so much more of a rapport with each other as musicians and the ability to communicate and, you know, have more improvisational experiences for the audience,” he said.

He first performed with the band during a two-week tour of the west coast. That’s when the current group started to settle into a more improv-based performance style. 

That improvisational spirit is on full display in Space Shaman. Roberts laid down the sax solo in a single take. 

For information on future live shows, visit Granite Hands’ social media.

Dominic Anthony can be reached at Dominic@TPR.org and on Twitter at @_DominicAnthony.

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What Does Climate Change Sound Like? An Antarctic Iceberg Speaks This Weekend at Millennium Park - WTTW News

Photo from a 2017 NASA flight over Antarctica. (NASA Goddard Space Flight Center / Flickr)Photo from a 2017 NASA flight over Antarctica. (NASA Goddard Space Flight Center / Flickr)

One of the most significant events of 2017 took place when no one was looking. A massive iceberg the size of a small U.S. state tore free from an Antarctic ice shelf, and the only witness was the ice itself.

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“It broke off in the dead of polar night, in a vacuum of human experience,” University of Chicago glaciologist Doug MacAyeal told WBEZ Radio in a 2017 interview.

But in a unique partnership with a pair of experimental Chicago-based artists, Petra Bachmaier and Sean Gallero (collectively known as Luftwerk), MacAyeal was able to give the ice a voice and thereby humanize an aspect of climate change that can otherwise seem unknowable.

MacAyeal, who’s studied glaciers for more than 40 years (and even has an Antarctic ice stream named in his honor), provided Luftwerk with recordings of seismic vibrations he’d collected from a previous Antarctic iceberg rupture, a process known as “calving.” The duo turned this inaudible sonic data into frequencies humans could hear, and placed the resulting primal, animalistic soundtrack at the center of a 2017 installation at Riverside Plaza called “White Wanderer.”

This weekend, the story continues.

Saturday at Millennium Park, the public will have an opportunity to hear a new musical composition, “Requiem: The White Wanderer” by Katherine Young, based on those same seismic vibrations collected by MacAyeal.

A pair of concerts featuring the composition, at 5 p.m. and 7 p.m. on the enclosed stage of Pritzker Pavilion, will be accompanied by a weekend-long sound installation and series of sound walks on the pavilion’s lawn, designed to take visitors on an aural journey to a land few have ever seen.

“It allows the ice to speak for itself,” MacAyeal said in 2017. “It’s an old thing that’s speaking, something large and old and stately.”

Though an iceberg calved from an ice shelf doesn’t itself contribute to a rise in sea level, the chipping away of Antarctica’s numerous shelves is of concern. The shelves serve as a dam, and without them there’s nothing to hold back glaciers from flowing directly into the sea. 

But the remoteness of Antaractica, more than 9,000 miles from Chicago and a world away from the urban experience, can make it difficult to create a connection between there and here.  

“White Wanderer,” the original and its sequel, both aim to bridge that distance. 

Said MacAyeal of the value of the project, “Some aspect of Antarctica is being made accessible to the average person.” 

Registration is recommended for Saturday’s concerts, as seating is limited (click here). A small number of tickets will be set aside for walk-ups. The sound installation will run Friday through Sunday, 11 a.m. to 6 p.m.; the sound walk schedule is available online, with MacAyeal leading one at 8 p.m. Saturday.

Contact Patty Wetli: @pattywetli | (773) 509-5623 |  pwetli@wttw.com



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Bong Joon Ho Buka Suara soal Akhir Tragis Parasite - CNN Indonesia

Jakarta, CNN Indonesia -- Sutradara Bong Joon-ho angkat suara tentang akhir cerita dalam film Parasite. Mengusung genre komedi gelap dan thriller, Joon-ho sukses membuat penonton terkejut dengan plot twist yang ia buat.

Melansir Digital Spy, Joon-ho mengaku sebenarnya tak bermaksud membuat film yang menampilkan kekerasan dan tragedi.

"Saya punya perasaan sejak awal, bahwa kekerasan akan berangsur-angsur meningkat di akhir film dan mengarah ke tragedi tak terduga, dan saya sudah bersiap untuk itu," katanya.

Joon-ho kemudian menjelaskan, karakter-karakter dalam Parasite adalah persona yang biasa dijumpai di kehidupan sehari-hari. Sehingga ia harus memberi alasan tertentu karakter yang dimaksud untuk melakukan kekerasan.

Ia berkata, "Jika Anda berpikir tentang karakter-karakter ini, mereka adalah orang-orang yang sangat jauh dari kekerasan dalam kehidupan sehari-hari. Mereka hanya orang biasa yang sangat normal. Jadi penting untuk saya mengeksplorasi apa yang bisa memicu mereka berbuat kekerasan."

Bong Joon-ho di acara Screen Actors Guild Awards baru-baru ini. Dalam gelaran itu, Parasite menorehkan sejarah di kategori Outstanding Performance by a Cast in a Motion Picture. (Foto: Mike Coppola/Getty Images for Turner/AFP)
Lebih lanjut, Joon-ho memaparkan bahwa adegan terakhir Parasite ia anggap sebagai 'surefire kill', istilah yang merujuk pada peluru terakhir yang ditembakkan untuk meyakinkan seseorang telah tewas dalam film-film laga.

"Mungkin jika film berakhir di mana mereka berpelukan, penonton akan berpikir, 'oh, mereka tak mungkin membeli rumah besar itu', tetapi [dalam film] kamera turun ke ruang bawah tanah. Itu cukup kejam dan menyedihkan, tapi saya berpikir untuk menjadi nyata dan jujur dengan penonton," tutur Joon-ho, dilansir Vulture.

"Anda dan saya tahu, kita semua tahu bahwa anak ini [Kim Ki-woo, diperankan oleh Choi Woo-shik] tak bakal bisa membeli rumah itu. Saya merasa kejujuran semacam itu tepat untuk film ini, meskipun menyedihkan," katanya lagi.

Parasite digadang-gadang sebagai salah satu film terbaik dalam dekade ini. (Foto: Dok. CJ Entertainment/Korean Film Council)
Joon-ho juga menyangkal anggapan yang menyebut ia tengah menyebarkan propaganda tertentu. Baginya, menggarap Parasite adalah tentang keindahan sebuah film.

"Saya tidak membuat dokumenter atau propaganda di sini. Bukan memberi tahu Anda bagaimana mengubah dunia atau bagaimana Anda seharusnya bereaksi ketika sesuatu yang buruk terjadi, tetapi menunjukkan ledakan kenyataan yang buruk," ujar sang sutradara.

Ia melanjutkan, "Yang saya percaya adalah keindahan sinema."

Parasite berhasil merebut perhatian dunia sejak tayang perdana di Festival Film Cannes pada Mei 2019. Film ini menerima banyak pujian, sanjungan, bahkan standing ovation dari berbagai festival film bergengsi. Menyimpan sejumlah plot twist tak terduga, Parasite disebut sebagai pembuka jalan film-film Asia untuk berlaga di ranah internasional.

Dalam Academy Awards ke-92, film yang menampilkan aksi Song Kang-ho sebagai salah satu pemeran utama ini serta dalam enam kategori termasuk Best Picture, Best Director, dan Best International Feature Film. Parasite juga digadang-gadang sebagai salah satu film terbaik dalam satu dekade terakhir.

[Gambas:Video CNN]

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PKS Dorong Ekspor Ganja, The Aceh Institute: Buka Wacana Legalisasi - Suara.com

Suara.com - Direktur Eksekutif The Aceh Institute Fajran Zain menyatakan sebagai lembaga penelitian pihaknya ingin membuka pintu diskusi tentang legalisasi tanaman ganja di Aceh, mengingat ganja memiliki banyak kandungan positif sebagai bahan baku untuk berbagai produk.

"Selama ini stigma (ganja) itu adalah zat adiktif, narkoba, dan masuk dalam daftar BNN sebagai barang tidak boleh dikonsumsi," katanya di sela-sela diskusi publik potensi industri ganja Aceh sebagai strategi pengentasan kemiskinan, di Kamp Biawak, Kota Banda Aceh, Jumat (31/1/2020).

Diskusi itu mengundang Musri Musman sebagai peneliti pemanfaatan ganja untuk keperluan medis, pemerhati ganja Tgk Jamaica, serta Ketua Lingkar Ganja Nusantara (LGN) Dhira Narayana.

Fajran menyebutkan turunan dari penelitian Musri bahwa ganja itu produktif. Berbicara soal ganja tidak hanya berhenti pada zat adiktif semata, tetapi tanaman ini dapat digunakan sebagai bahan baku berbagai produk bernilai ekonomi.

"Seperti pengawet warna, parfum, zat-zat yang bagus untuk kesehatan serta berbagai dari sisi medis. Maka saya jadi bertanya apa dasar negara menjadikan ini ilegal?" ujarnya.

Sebagai lembaga penelitian pihaknya wajib membuka ruang kepada publik untuk berdiskusi, meneliti, kajian, tentang potensi ganja sebagai pengentasan kemiskinan di Aceh. Meskipun, kata dia, pihak keamanan, BNN, serta sejumlah orang mempertanyakan tujuan dari diskusi yang dibuat tersebut.

"Ketika kami melansir ide diskusi ini juga ditelpon oleh pihak keamanan, BNN, banyak orang mempertanyakan maksud diskusi ini. Saya katakan ini adalah diskusi, terbuka, kajian, akademik, dan silahkan datang," katanya.

Menurut dia, jika Pemerintah Aceh cermat dalam melihat potensi tanaman ganja di daerah Serambi Mekkah ini, tidak tertutup kemungkinan pascadiskusi itu pemerintah akan menindaklanjutinya sebagai hal positif.

"Kita buka keran diskusi dulu. Penelitian baru satu kami temukan, bukan tidak mungkin ada kajian lain tentang ganja yang memang positif," katanya.

Sementara itu Dhira Narayana menilai ganja memberantas kemiskinan, terutama jika masyarakat dan petani dilibatkan langsung dalam proses industri ganja tersebut.

Ketika ganja dilegalkan dan akan diekspor maka tentu tidak dalam bentuk bahan baku mentah, tetapi harus sudah menjadi sebuah produk.

"Itu harus langsung melibatkan masyarakat, itu saya jamin akan mengentaskan kemiskinan di Aceh. Jadi masyarakat atau petani tidak boleh dijadikan, dalam tanda kutip saya pakai, budak-budak pertanian," katanya.

Sebelumnya anggota DPR dari Fraksi PKS, Rafli Kande, menyarankan kepada Menteri Perdagangan Agus Suparmanto agar ganja dapat menjadi salah satu komoditas ekspor.

Rafli, yang berasal dari Aceh, menilai pelarangan terhadap ganja karena dianggap sebagai narkotika adalah konspirasi global. Ia ini bahkan menyebut, pelaku penyalahgunaan ganja yang kini mendekam di balik jeruji besi tidak sebanyak penyalahgunaan jenis narkotika lainnya.

"Jadi ganja ini adalah konspirasi global, dibuat ganja nomor satu bahayanya. Narkotika yang lain dibuat nomor sekian-sekian, padahal yang paling sewot dan gila sekarang masuk penjara itu bukan orang ganja. Orang yang pakai sabu-sabu bunuh neneknya pakai ekstasi segala macam," ujar Rafli, Kamis (30/1/2020).

Usulan Rafli ini sendiri sudah ditanggapi oleh Istana. Staf Khusus Presiden Bidang Komunikasi Fadjroel Rachman mengatakan pihaknya akan mempelajari lebih dulu usulan ekspor ganja tersebut.

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'Once Upon a Time in Hollywood,' 'Ad Astra' Sound Editors Bridged the Sounds of Groovy L.A. and Outer Space - Hollywood Reporter

Earning rare double Oscar nominations, Mark Ulano opens up about the art of recording in tight spots, from a car to a spacecraft, as the sound pros behind '1917,' 'Ford v Ferrari,' 'Joker' and 'Star Wars: The Rise of Skywalker' also open up about their process.

When this year's Oscar contenders were announced, Mark Ulano scored a rare double nomination in sound mixing for Fox/Disney's Ad Astra and Sony's Once Upon a Time in Hollywood (which also garnered a sound editing nom). "I had no expectation because there are some very good films out there this year," admits the veteran sound mixer, who won an Oscar for James Cameron's historical drama Titanic and nabbed an additional nomination for Quentin Tarantino's Inglourious Basterds. He's also the former president of the Cinema Audio Society, a nonprofit devoted to advancing the sound mixing community. "For this to happen was really amazing," he says of his two nominations, which, he emphasizes, he shares with his team — including his wife, sound pro Petrushka Mierzwa.

Ulano has a long history of collaboration with Tarantino (he has worked on all the director's films since 1997's Jackie Brown), while Ad Astra was Ulano's first time working with director James Gray. "James Gray's a really brilliant guy and has a great sense of humor," Ulano says. "Similar to Quentin, he's encyclopedic in his knowledge of films. He's also a mad Beatles fan."

Ulano says that when he met Gray, what he expected would be an initial 15-minute meeting with the director became a two-hour discussion. "Not so much about the film," he explains. "We started talking about [The Beatles'] Ringo [Starr] as the greatest drummer. And I'm a drummer, so it was a really good point of departure for our relationship, which I would call friendship at this point."

When it came to production sound, the sci-fi drama Ad Astra and 1969-set Once Upon a Time both involved notable logistics even though the stories are vastly different. As a space movie, Ad Astra required its actors to wear spacesuits with helmets equipped with interior fans, accompanied by wire work to simulate zero-gravity environments. "The complexity had to do with, how do you do sound in that environment and keep the sound so organic that the audience never loses connection with the characters?" he explains, noting that the team did plenty of testing for the suits and inside the spacecraft, where "you have the physical, organic aspect of human beings in artificial environments, breathing," as well as outside the spacecraft, to capture the isolation and silence of space. "We were building multiple microphones into the suit, into the helmet and into the spaceship, which are very cramped and difficult quarters to maneuver for camera, lighting and sound."

For Once Upon a Time, Ulano says the nearly 200 locations and 107 speaking parts offered a wide range of opportunities for creative approaches to sound, though "the hardest thing was the driving work," because Tarantino films "in real vehicles, in real time on the road, and throws all kinds of challenges into that situation — open windows, high rates of speed."

Citing the scene in which Margaret Qualley's Manson follower Pussycat hitches a ride with Brad Pitt's stuntman Cliff Booth — and moves around inside the vintage Cadillac's front seat — Ulano says he needed to give the actors freedom to perform, while at the same time using multiple unobtrusive approaches to record sound.

"You need to be ready for the unexpected, so I'll put mics in strategic places within the vehicle based on my interpretation of what I've seen so far," he says. "I try to preemptively make it a free zone for the actors to do what they think they need to do. And if there are interactive components, I let the actors know and we work it out. That's a collaboration."

Mixing this on-set sound, he adds, is about creating "a unifying factor amongst all of those little pieces that makes it a single piece of cloth, so that when the audience hears that performance, they're not engaged in any kind of recognition of the changes and the transitions. It's not about microphones and sound levels and technology. Those are hammers and nails. It's about connection with the character that drives everything."

Of working on the set of a Tarantino movie, Ulano sums up, "If you had to imagine the best circumstances to do the thing you love to do the most, with the people you love doing it the most with — that was what it was like working on this movie." He notes that particularly memorable moments during the production included recording the dynamic repartee between Leonardo DiCaprio's Rick Dalton and young Julia Butters' Trudi, and with Al Pacino's Hollywood agent Schwarz. "I got to sit alone with Mr. Pacino, waiting for a setup at one point," he says. "We have common ground in New York. There was this lovely conversation about [a past] time and place in the journey of New York as a community. I treasure that time."

***

Aural Adventures Through Space and Mind

These films nominated for sound editing and mixing required audio experts to venture into the far reaches of space, descend into madness and revisit the violent battlefields of World War I. 

1917

"The main aim of this 'one-shot' approach was to lock the audience in with what [soldiers] Blake and Schofield are experiencing, so we designed the ambience to slowly unravel in the same way that you would experience it in real life," says supervising sound editor Oliver Tarney of the World War I drama. "Sometimes the intensity would be building over a 10-minute period; other arcs would play out much more quickly." Production sound mixer Stuart Wilson adds that keeping the connection to the characters was crucial. "Our two leads were mostly wearing three microphones each, to capture different emphasis of breaths, equipment and footsteps," he says.

FORD V FERRARI

The biggest challenge for the sound team on Fox/Disney's Ford v Ferrari was finding vintage cars to record authentic sounds. "We had mics on the transmission housing and transaxles that gave us whines and different interior sounds," sound designer and rerecording mixer David Giammarco says, adding that they recorded additional classic cars "as a base, and we augmented them." Of the final mix for the 24 Hours of Le Mans race, which is roughly 25 minutes of the movie, rerecording mixer Paul Massey relates, "You couldn't have them driving with music the whole way, and you couldn't have driving with just effects the entire way. We had to pick and choose the moments [to give the race] a feeling of emotion."

JOKER

To follow the-man-who-would-be-Joker's "descent into madness, everything would start off normal and then our sound effects reacted to what was going on with Arthur [Fleck]," explains supervising sound editor Alan Robert Murray. When Joaquin Phoenix's character is harassed by, and kills, three Wall Street bankers, the sound grows more sinister as the scene progresses. "It was … starting at a normal atmosphere and then amping it up as the torment increased," Murray says, adding that this included such sounds as a subway car's screech: "And the trains going by took on a sinister sound. They were made up of processed jets and roller coasters and anything that was dark and gritty."

STAR WARS: THE RISE OF SKYWALKER

Integrating new sounds into the Star Wars legacy meant looking back at the work of famed sound designer Ben Burtt, who created many of the original film's iconic sounds. "That's the trick, if you're going to make a new TIE fighter sound, is to examine Ben's recipes for what a TIE fighter sound is and make that the thing, but with your own ingredients," says supervising sound editor/designer David Acord. Supervising sound editor Matthew Wood adds that because Carrie Fisher died before production, her scenes involved "respectful" use of previously unused footage — both picture and sound. "I think it honored her character and also worked on a technical level."

This story first appeared in a January stand-alone issue of The Hollywood Reporter magazine. Click here to subscribe.

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Sights and Sound Drone Edition: Boardman River Valley - 9&10 News

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Sights and Sound Drone Edition: Boardman River Valley  9&10 News

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Evolving sound: Oklahoma singer-songwriter John Moreland experiments with instrumentation on new 'LP5' - Oklahoman.com

The anticipated follow-up to Moreland's multifaceted 2017 release "Big Bad Luv," "LP5" represents a new phase for the Oklahoma native's musical career.

"When 'Big Bad Luv' came out and it seemed like, 'Oh, s--t's really taking off for Moreland' ... I was not having much fun at all. But I feel like I have a much better grip on it now," he said in a phone interview from his Tulsa home. "When it becomes a job, it's weird all the sudden, because jobs suck and they're hard sometimes, no matter what it is. So, to go from 'This is my hobby, it's all fun, it's my passion, but it's fun,' and then when it becomes a job, it can take a while to sort of figure out 'How do I do this now and keep it where I actually like it and want to do it?' So, that's taken a few years to sort of figure out. But I feel good about it."

He said the album's more diverse and textured sound was influenced by his ongoing friendship and musical partnership with fellow Oklahoma musician John Calvin Abney. The pair have collaborated on each other's projects for years, and the multi-instrumentalist has played alongside Moreland not only on tour but also on high-profile showcases like "The Late Show with Stephen Colbert," "CBS This Morning" and NPR's "Tiny Desk Concert."

"I think this album was really informed by me and Calvin just kind of hanging out and messing with gear and messing with sounds in my home studio and doing demos," Moreland said. "We have a lot of gear that we share and stuff, so he gets a drum machine and uses it on his album and then I'm like, 'Whoa, that sounds awesome; let me borrow that.' Then we use it on my album."

Going into the studio

Produced by Matt Pence (Jason Isbell, The Breeders, Sarah Jaffe) at The Echo Lab, in Denton, Texas "LP5" marks the first time that Moreland has worked with a producer rather than producing his own album.

"One of my favorite Tulsa bands, Ester Drang, recorded an album at Matt's studio with him in the early 2000s, so I've kind of wanted to go down there and record there ever since then," Moreland said. "So, I went down there just thinking, 'He's gonna get great sounds, I'll still kind of be the producer, and we'll just make an album.' And then pretty quickly into the process, it was like, 'This dude is really kind of next-level, and he's really taking my ideas and expanding on them.' And it just felt like, 'OK, I'm not the producer; he's the producer. I'm just gonna go with it because I think the album's gonna be better for it.' And it worked great."

After the Guestroom Records release-day stop, Moreland and Abney will embark on a tour in support of the new project, including an April 11 home-state show at Oklahoma City's Tower Theatre.

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Living sound - AV Magazine

Imagine audio as moving pictures on a screen. Would you prefer HD colour to grainy black and white? Flat-screen ergonomics to bulky tubes with one available aspect ratio? Well, you may not – but when people stop visiting your museum collection you’ll be on your own. Audio has the potential to match all of the latest attractions in video, if you know where to look… and listen. And without it only digital signage is going to do its job properly.

The live sound industry has been transformed by wave after wave of remarkable innovations, making it the biggest earner for everyone in the music industry, just as the revenues from recorded music have declined. But it’s not enough to put the artist on the stage and shout, as did the members of Joy Division to a reluctant Ian Curtis, “sing, you twat.”

Audiences expect – and get – sound that more closely resembles what they own on vinyl, CD or laptop than ever before, and it’s this validation of the presence of the artist that puts the bums on the seats and buys the drinks. Live sound is, quite literally, right on the money. How do they do it?

Immersive sound
By far the most exciting development in live sound currently is the technique variously described as ‘immersive’, ‘360’ or ‘spatialised’ audio, a paradigm shift from channel-based mono or stereo into object-based reproduction: each individual sound source becomes a movable ‘object’ in a 180° or 360° field. It’s challenging, but there’s no doubting its impact on the listening experience.

“Over the past decade we’ve seen how sound has become increasingly critical to the immersive model,” says Matt Czyzewski, president of Renkus-Heinz, the maker of high-end sound reinforcement loudspeakers in California. “Technologies such as digitally steerable audio help place specific sound on specific locations. This allows a theatre to wrap a viewer in the audio experience as much as the video offering. It allows for walkable installations to alter sound as customers progress. And it has allowed some of the most intricately designed spaces – such as ornate churches – to improve audio quality across the board. The result in each is bringing the audience closer to the performance, no matter what that performance may be. It’s an empowerment of the performer and the audience.”

The challenges are faced not by audiences, but by production companies. “For rental companies, audio takes the longest to get a return on investment,” says Steve Jones, application support and education at d&b audiotechnik, home of the Soundscape immersive audio platform, “even though eventually it has greater shelf life than video and lighting. Plus, most people think ‘immersive’ means putting speakers everywhere, so production will hate that. In fact, it’s more or less the same gear used differently.”

If these challenges are overcome, we may even see a new branch of the audio profession coming to light. “In pop and rock there is always a defined video designer and lighting designer – never a defined sound designer,” says Scott Sugden, product manager at L-Acoustics, who regularly supports his company’s L-ISA Live shows – a proprietary immersive format gaining many followers.

“Even in theatre it’s the musical director or the composer who has the ideas; the sound guy’s job is just to reproduce them. However, I do believe that these conversations are going to start happening.”

In common with previous live sound game-changers such as in-ear monitoring, line array loudspeaker configurations and digital mixing consoles, the immersive audio workflow will take time to win over busy and dedicated sound engineers. The key will be the almost seamless integration of its techniques into everyday touring systems in a way that does not interrupt their deployment.

Digital and networking
Digital consoles are now universal. It has meant a sea-change in technique, but the benefits bring almost studio-quality sound to the live arena –
particularly through the use of digital signal processing (DSP) stages inside the console known as plug-ins. “When Avid went into live sound I saw
a natural step from studio world to live world through plug-ins,” says Chris Lambrechts, application specialist for live sound at Avid, the digital console manufacturer. “The digital revolution began in the studio, and by the time (Avid’s leading console) VENUE Profile was launched, most studios had gone digital, but digital live consoles were still new. Avid’s major contribution was to migrate that studio digital technology to live sound – today including theatre and live broadcast as well as touring.”

DSP, by which the audio signal can be manipulated with unprecedented flexibility, is now married to digital audio networking, so that access to and dispersion of the audio can take place over Ethernet-enabled rings and devices. Even lighting companies are now seeing the benefits of connecting audio in this way, including Belgian-based Luminex Network Intelligence and its data distribution equipment for pro audio, lighting and video. As these markets converge, CEO Bart Swinnen observes many synergies.

“Since we moved into audio and video,” he says, “and support for advanced clocking mechanisms, we’ve seen that they have much more sophisticated protocols than lighting. Timing is much more accurate, sample and refresh rates are much higher and so is bandwidth usage, so the impact of shaping it and running it at the right priority on the network is way more critical. And for AV, unlike broadcast, the video must remain compressed for the greatest efficiency.”

Yorick Brunke, of Germany’s pro audio network designer Optocore, points out that a fibre-optic infrastructure is arguably the most efficient for live sound. “We are protocol-independent,” he says, “because the conventional way of protocol transport is for the device to decode it, work with it and then, at the other end, put out either the same or a different protocol. The key is this decoding and manipulation. Optocore’s networks simply ‘tunnel’ the protocols without decoding – we don’t look at them or touch them. It’s transportation, and that’s it. We can even convert from one protocol to another without decoding it. With our Festival Box, that happens in conjunction with multiplexing so you can have unlimited channels on one fibre.”

The theatre market
Ornate theatre spaces need inch-perfect sound reinforcement, and in the last few years some highly sophisticated measures have emerged. It’s even possible that a fusion of column arrays – small line arrays encased in a single box – and immersive audio will change the game completely.

Jamie Gosney is an audio system designer at Stage Electrics, a UK specialist installer offering sound system design for every kind of live performance space – not least theatre. “There’s a number of good products out there right now,” he says, “but I’ve favoured the K-Array. It’s discreet, really good quality… not cheap, but it does the job in hand very well. It’s powerful, and the vertical dispersion from the column is very narrow – you can direct it where it needs to be and keep it off hard surfaces like the front of the balcony. Equally importantly, it fits into the fabric of the building architecturally and when a touring company comes in the theatre does not have to take it down.”

Stage Electrics has refurbished The Bristol Hippodrome, The King’s Theatre in Glasgow and The Edinburgh Playhouse, among many others, with permanently installed theatre systems designed for whatever type of production takes place. “We’re being asked to take down traditional theatre systems and remove all the black boxes – point source loudspeakers mounted on the prosceniums – and replace them with small, discreet columns very often covered in an acoustically transparent material that matches their housing,” Gosney adds.

The art of mixing
Musicality is at the heart of pro audio systems. Seasoned Front-of-House sound engineer Steve ‘Patto’ Pattison suggests that the evolution of the modern PA system is liberating his profession. “You get to relate the system to the style of music,” he reveals. “For example, if it’s jazz you can equalise the frequencies to remove unwanted sources at 8k and 60Hz. You’ve got the framework, and you get to colour it in according to what the music demands: do you want a ‘60s Tamla kind of thing?; or a disco thing?; or dance, or rock, or thrash metal…? Everything has its own textures, and you can steer the system in that direction. But – and this is the fun bit – you can model a C&W sounding drum kit in amongst something completely different, or whatever strikes you creatively.”

And creativity is the defining outcome: pro audio is not plumbing. Audio quality has advanced at every stage of the signal chain from microphone to loudspeaker, revealing new details and ranges of mood that the engineer can exploit. “You do get the chance to change or undo everything instantly, and to switch from thrash metal, to country, to rock… with any effect you want at your fingertips. Everything’s in wide screen, in vivid colours.”

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10 Immersive Sound Systems for Your Home and Computer - Interesting Engineering

You may be using the speaker of your TV or computer, but a good sound system can improve the quality of your movie night and game sessions. A multi-sound system in your room can make the movies you watch more immersive and you'll feel like you're in the adventure games you play. Also, you don't have to spend thousands of dollars to get them.

The best audio systems from the market pioneers for your home and computer are on this list.

Home Audio Systems

If you think bigger sound the better, you're in the right place. You may be living in a small apartment or you may have a huge living room. Browse the list for options for every budget. 

Feel every bass note and drum at every corner of your home. 

Whether your room is small or large, it'll fit any room size. It allows you to enjoy millions of songs and radio stations. It's compatible with Alexa, so you can live the hands-free experience. 

10 Immersive Sound Systems for Your Home and Computer
Source: Bose/Amazon

It's built with high-performance drivers to fill your largest rooms with deep, rich, true-to-life sound. Also, it is easy to carry around which makes it ideal for your get-togethers.

If you're living in an apartment or a small place, Nakamichi Shockwafe Pro is definitely designed for your home. The soundbars give you an immersive sound experience and make you hear the soundtracks as the director intended during your favorite movie.

10 Immersive Sound Systems for Your Home and Computer
Source: Nakamichi/Amazon

Even if it's not a popular brand, it has a powerful sound system. You'll discover the new dimensions with the lifelike surround effects. 

It perfectly fits your bookshelf and all the smaller places in your home. It's featured with a USB input, wireless NFC Bluetooth system, and a built-in CD player. You can stream music directly from a smartphone to your audio system.

10 Immersive Sound Systems for Your Home and Computer
Source: Sony/Amazon

It looks a little retro, and it might be good for your CD collections which will make you remember the old days. 

With 6 speakers, it covers your living room, so if you have a large room, then don't think too much and get this sound system. For the price, it's the best home theater kit for starters. 

10 Immersive Sound Systems for Your Home and Computer
Source: Acoustic Audio by Goldwood/Amazon

It has a simplistic design and is a sound system with a powered subwoofer. It can connect up to five devices simultaneously.  

Rockville is your best bet if you want to customize your room with different lighting. It will provide an excellent surround sound system on a low budget. Thanks to the remote control system, you'll never have to leave the comfort of your chair. 

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10 Immersive Sound Systems for Your Home and Computer
Source: Rockville/Amazon

It features two full-range 3” front speakers, two full-range 3” rear speakers, a center speaker, and an 8” subwoofer.

Computer Speakers

Using headphones can be disturbing after a long time, especially if you're a gamer who wants to experience the immersive sound and feel the action in your room. Therefore, it's a good idea to consider the computer speakers as a better alternative. 

Don't let their size fool you! Even if they look small, their sound power is stronger than you can imagine. These small speakers will fill every room with music. It works with all your devices via Bluetooth. 

10 Immersive Sound Systems for Your Home and Computer
Source: Audioengine/Amazon

There's no network setup, no hassle, and no passwords needed. It's rated 5 stars by Amazon users, and most of the users love its sound quality. 

Although it's known as a gaming speaker, Z623 has a THX certification which means it can be used for so much more. Thanks to the THX sound quality, your movies and games come to life. 

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10 Immersive Sound Systems for Your Home and Computer
Source: Logitech/Amazon

If you want studio-quality sounds when listening to music and watching movies, Logitech is a brand that you can trust.  

Prepare your ears and eyes for the most immersive gaming experience ever. Logitech G560 speakers are designed for gaming. RGB lighting colors are activated by the audio in popular games. 

10 Immersive Sound Systems for Your Home and Computer
Source: Logitech G/Amazon

You can also create custom lighting when gaming. 

If gaming is at the center of your life, the Razer Nommo Pro is what you're looking for. It has an unpleasant price tag, but it offers immersive audio and a high-quality sound system that'll improve your setup. You'll feel the games in your living room.  

10 Immersive Sound Systems for Your Home and Computer
Source: Razer/Amazon

This one is specifically used for gaming sessions. Dolby Virtual Surround Sound technology creates a cinematic immersion. 

Good things come in aesthetic packages. Soundsticks looks like an artwork in a modern art museum. The speakers come with a large subwoofer that will impress music lovers with extra bass. 

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Source: Harman Kardon/Amazon

It offers excellent compatibility with other audio components. It can be used with MP3 players, portable CD players, and computers. 

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PP Presisi Anggarkan Capex Rp 1 Triliun - Suara Pembaruan

Jakarta, Beritasatu.com - Perusahaan konstruksi PT PP Presisi Tbk (PPRE) akan melakukan pembelian kembali saham (buyback) milik publik dengan alokasi dana sebesar Rp 293 miliar.

PPRE Raih Restu Buyback Saham

Direktur Keuangan dan Sekretaris Perusahaan PPRE Benny Pidakso menilai, harga saham perseroan saat ini tak mencerminkan kondisi fundamental dan likuiditas yang kuat.

"Harga buyback mengacu harga 90 hari terakhir, buyback tidak akan kami lakukan kalau harganya mendekati harga IPO. Karena tujuan buyback untuk meningkatkan likuiditas dan kenaikan harga saham di pasar," kata Benny Pidakso usai RUPSLB perseroan di Jakarta, Jumat (31/1/2020).

Benny mengatakan, perseroan berharap lewat buyback ini PPRE dapat mencapai struktur permodalan yang efisien dan memungkinkan menurunkan biaya modal keseluruhan, fleksibilitas yang lebih besar dalam rangka mengelola modal jangka panjang. Selain itu, pengelolaan kelebihan arus kas bisa dilakukan dengan cara yang efisien dan benar disamping meningkatkan Earning Per Share (EPS) serta Return on Equity (ROE) secara berkelanjutan.

PP Presisi Targetkan Kontrak Baru Naik Jadi Rp 7 Triliun

Adapun sumber pendanaan buyback, kata Benny, berasal dari kas internal dan piutang perseroan yang ada di perusahaan induk PT PP (Persero) Tbk. Buyback saham tersebut akan dilakukan melalui transaksi di Bursa Efek Indonesia (BEI) di pasar reguler secara bertahap selama 18 bulan terhitung sejak 6 Februari 2020 hingga 30 Juli 2021.

Sementara terkait kinerja, perseroan menargetkan akan capai kontrak baru di tahun 2020 sebesar Rp 7 triliun atau tumbuh 20 persen dibanding tahun 2019. Pendapatan juga akan digenjot naik 20 persen. Perseroan pun menganggarkan belanja modal (capex) dibawah Rp 1 triliun yang sebagian besarnya digunakan untuk investasi alat berat, baik di sektor konstruksi maupun pertambangan.

Benny menyatakan sektor konstruksi atau civil work akan paling banyak berkontribusi terhadap kontrak kerja. Selain itu, di 2020 PP Presisi akan masuk ke sektor penambangan nikel sebagai kontraktor nikel, smelter, dan infrastruktur pertambangan.

Buyback Saham, PPRE Siapkan Dana Rp 293 Miliar

"Hal ini disebabkan tambang nikel cocok dengan perusahaan karena kapasitas kecil, dan tidak besar seperti batu bara," jelasnya.

Lebih lanjut, meski harga batubara saat ini kurang baik, namun langkah pemerintah yang memotong kuota batu bara 10 persen akan meningkatkan harga kedepannya. "Diversifikasi tidak berdasarkan bisnis yang kami lakukan tapi juga pasar di sektor pertambangan, infrastruktur besar," ucapnya.

Benny menambahkan, perseroan telah menyiapkan beberapa strategi untuk mendorong kinerja. Pertama, perseroan akan memperluas pangsa pasar di luar grup sehingga mampu bersaing di sektor konstruksi nasional.

Kedua, perseroan membidik kontrak baru di luar sektor konstruksi seperti, jalan tol, bandara, pelabuhan, bendungan dan sebagainya, juga infrastruktur tambang.

Ketiga, perseroan akan mengembangkan salah satu anak usahanya yaitu PT Lancarjaya Mandiri Abadi Tbk yang beroperasi dalam lini bisnis mining services sebagai diversifikasi usaha yang masih berbasis alat berat.

Sumber : Suara Pembaruan

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Ahok Buka Suara soal Heboh Revitalisasi Monas - detikFinance

Jakarta -

Mantan Gubernur DKI Jakarta Basuki Tjahaja Purnama alias Ahok buka suara soal proyek revitalisasi Monumen Nasional (Monas). Ia menceritakan rencana revitalisasi ikon Indonesia itu pada zamannya.

Menurut Ahok, rancangan revitalisasi Monas di zamannya yakni pengembangan kawasan bawah tanah.

"Dulu kita tuh bawah tanah yang saya tahu. Dari bawah tanah," kata Ahok usai menghadiri rapat koordinasi (rakor) peningkatan lifting migas di kantor Kemenko Maritim dan Investasi, Jakarta, Jumat (31/1/2020).

Di kawasan bawah tanah itu rencananya akan dibangun proyek Moda Raya Terpadu (MRT) yang akan melintasi kantor Radio Republik Indonesia (RRI) dan Balai Kota.

"Dulu desainnya sudah selesai kok dari bawah tanah bisa jalan. Kan ada MRT bisa lewat ke RRI juga bisa ke Balai Kota itu yang saya tahu," jelas Ahok.

Selain itu juga, rencananya ia mau membuat kawasan perbelanjaan dan parkiran mobil di bawah tanah Monas.

"Bisa toko-toko UMKM itu di bawah. Parkir juga, parkir mobil itu semua di bawah. Itu yang saya tahu dulu. Sudah ada design, sudah selesai," terang Ahok.

Namun, menurutnya dulu desain revitalisasi Ahok itu terhambat karena rencana Kementerian Pertahanan (Kemenhan) menaruh tank di bawah tanah.

"Tapi waktu itu terhambat, dulu kayaknya dari Menhan pengin nyimpen tank. Nggak mungkin kan," pungkas Ahok seraya meninggalkan gedung Kemenko Maritim dan Investasi.

Ahok Buka Suara soal Heboh Revitalisasi Monas

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'Ford v Ferrari' sound team makes the engines rev, race and roar - Los Angeles Times

“Ford v Ferrari” is many things. It’s a race-car movie, naturally. It’s perhaps surprisingly a character-driven story. But mostly, it’s a sound designer’s challenge.

Only a year after winning his first Oscar for “Bohemian Rhapsody,” sound mixer Paul Massey is nominated again, this time for his work on James Mangold’s best picture nominee. “Ford v Ferrari” is Massey’s fifth collaboration with Mangold and notably his first time working on a car-racing movie.

“I’ve known Jim 21 years now and it’s just wonderful getting back together and collaborating with him,” says Massey, who’s in London where he’s mixing Matthew Vaughn’s “The King’s Man” and the latest James Bond film, “No Time to Die.” “I knew the film was going to be very exciting and challenging, the overall stake of it and how it’s perceived by the audience as not only a car film but it also has this character development and story behind the scenes at its core. All of Jim’s films are like that — it doesn’t matter what genre he picks. The excitement, for me, was to uncover how he was going to do a character-driven story in a race-car overcoat.”

Much of Massey’s job relied on the sounds recorded by another set of nominees, sound editor Donald Sylvester and his team. (The editor collects all the film’s sounds, including dialogue and effects; the mixer then determines how the audience hears those sounds.)

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It was up to production recordist Steven A. Morrow, who is nominated alongside Massey and his fellow mixer David Giammarco, to capture the exact noises made by a period-accurate Ferrari and Ford GT40. The team miked specific areas of each car, from the engine to the rear axle to the exhaust, to ensure Massey and Giammarco would have enough variation during the final mix.

“Those really were the key,” Massey notes. “Once we had those two authentic engines from those two authentic cars recorded, we were all set. It would have been the worst thing in the world to try and re-create those specific engines from library recordings. Everyone who is a car freak would be up in arms. Donald and the team went to great lengths to ensure they got the exact replicas of those cars.”

During the mixing process, Massey and Giammarco worked closely with Mangold, who likes to do a lot of experimentation during the mix. Initially, Massey had over 70 tracks of dialogue and 110 tracks of musical score to incorporate, while Giammarco had hundreds of tracks of effects and background, including 28 tracks for each car. Every sequence became a balancing act of finding the right mix of sounds at the exact right levels.

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Sometimes, the solution was less is better — taking an effect out or removing a music cue rather than adding more sound in. The film builds to a climactic 25-minute sequence at the Le Mans race, which was re-created in California and proved to be the most difficult aspect of the mix.

“Ford v Ferrari” sound mixer Paul Massey in a 2017 Ford Shelby Cobra.

“Ford v Ferrari” sound mixer Paul Massey in a 2017 Ford Shelby Cobra.

(Mark Edwards)

“We couldn’t just go full-on, all-out adrenaline and muscle-car sounds for 25 minutes,” Massey says. “You’d completely wear out the audience and there’d be no heart to the story at all. We had to really refine the moments where the cars took the lead or the crowd took the lead or the music took the lead as we went through that. It took a long time to work our way through it. We actually had to break it up into four acts and then we had to balance the music or bring it in later or take cues out or think about whether we needed to be with [driver] Ken Miles [played by Christian Bale] more.”

Instead of simply laying the score over the dialogue and effects, Massey got each individual instrument recording from composers Marco Beltrami and Buck Sanders to play with what to highlight and what to reduce in a particular moment, an unusual amount of leeway for a sound mixer.

The team also had to re-record much of the dialogue done inside the production stunt cars, as the engines in those replica vehicles weren’t accurate. “They were cars made to look like the GT40 and the Ferrari, but actually inside might have a Honda engine or Chevy engine,” Massey explains. “So it was completely the wrong sound and had to be replaced, although we were able to salvage some of it.”

While the racing sequences took a lot of trial and error, especially when bringing depth to the crowd cheers and to the engine revs, the more intimate, character-driven scenes were often just as difficult.

“The scene with Ken Miles in the hangar listening to the [Le Mans] race on the radio was a very difficult sequence to put together in terms of what ambiences should be playing to show his loneliness and his defiance of admitting that he was lonely,” Massey remembers.

“It was a really touching sequence, with a lot of interaction from the radio source and the car effects that were being played on the radio and the airport background noises outside the hangar in real time. It took a lot of weaving to feel the emotion we wanted the audience to feel.”

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Sule Buka Suara soal Hasil Otopsi Lina Jubaedah, Katanya... - Kompas.com - KOMPAS.com

JAKARTA, KOMPAS.com - Komedian Entis Sutisna alias Sule turut menanggapi hasil otopsi dari mendiang mantan istrinya, Lina Jubaedah.

Sayangnya, menurut Sule, tak ada yang harus ditanggapi atas hasil dari otopsi yang resmi diumumkan pada Jumat (31/1/2020) ini.

Terlebih, Sule mengatakan bahwa dia sudah tak ada kaitannya dengan Lina Jubaedah.

Baca juga: Alasan Rizky Febian Tak Hadiri Pengumuman Hasil Otopsi Lina Jubaedah

“Ya enggak gimana-gimana, kan dari awal juga kita memang tidak berharap sesuatu hal yang tidak baik. Kita hanya ingin tahu, ya sudah selesai,” kata Sule saat dihubungi wartawan pada Jumat (31/1/2020).

Kemudian, Sule menyayangkan banyak yang meminta tanggapannya soal hasil otopsi tersebut.

Padahal, dia bukan sebagai pelapor. Sule pun merasa bingung dengan pertanyaan-pertanyaan soal hasil otopsi.

“Terus apa lagi? Toh saya kan juga mantan di sini, kan saya mah bukan pelapor, kenapa semua nanya ke saya?” ucapnya lagi.

Baca juga: Pihak Rizky Febian Bersyukur Hasil Otopsi Jenazah Lina Jubaedah

Seperti diketahui, otopsi dilakukan pada jenazah Lina Jubaedah sebagai buntut dari laporan Rizky Febian mengenai kecurigaan terhadap meninggalnya sang ibunda.

Polisi menindaklanjuti laporan Rizky Febian melakukan olah tempat kejadian perkara di rumah Lina Jalan Neptunus Tengah, Bandung, pada 6 Januari 2020.

Kemudian, pada 9 Januari 2020, makam Lina dibongkar dan jenazahnya diotopsi. Usai otopsi, jenazah Lina dipindahkan dan dimakamkan di Ujungberung.

Baca juga: Otopsi Ungkap Lina Jubaedah Mengidap Penyakit-penyakit Ini

Hingga akhirnya, pada 31 Januari 2020, diumumkan bahwa berdasarkan hasil otopsi terhadap jenazah Lina Jubaedah tidak ditemukan tanda-tanda kekerasan.

Selain itu, tidak juga ditemukan adanya racun dalam sampel jenazah Lina Jubaedah.

Sebaliknya, Lina Jubaedah terindikasi mengalami sejumlah penyakit. Di antaranya, tukak lambung, hipertensi kronis, batu empedu, dan pembesaran pada organ jantung.

Baca juga: Polisi Tegaskan Tidak Ada Racun di Tubuh Lina Jubaedah

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Thursday, January 30, 2020

Tri Buka Suara Soal Aturan Main Paket Kuota Internet Unlimited - Suara.com

Suara.com - Berbagai operator seluler menawarkan paket internet dengan kuota data tidak terbatas alias unlimited untuk menarik minat konsumen. Hal ini juga dilakukan oleh PT Hutchison 3 Indonesia (Tri).

Sebagai informasi, Tri menyediakan produk AlwaysOn Unlimited 6 GB seharga Rp 55.000 dengan dua jenis kuota di dalamnya.

Pertama adalah kuota++ 6 GB sebagai kuota utama. Kuota utama ini memiliki kelebihan masa berlaku panjang, mengikuti masa berlaku kartu. Jadi, kuota ini dapat terakumulasi dan dipakai hingga jangka waktu tahunan, tidak seperti kuota biasa yang kadaluarsa setelah satu bulan. Kuota ini bisa digunakan di seluruh jaringan Tri di Indonesia.

Kedua adalah kuota unlimited. Kuota ini dapat digunakan pengguna dari jam 01.00 hingga jam 17.00. Kuota unlimited diberikan 2 GB setiap hari hari sesuai dengan batas pemakaian wajar pengguna. Kuota unlimited ini akan diperbaharui/refresh setiap harinya, sehingga pengguna tidak perlu khawatir paket ini tidak bisa digunakan di tengah bulan.

Jika penggunaan melewati batas pemakaian wajar tersebut, pengguna tetap bisa akses dengan kecepatan pada 256 Kbps. Rata-rata pemakaian wajar setiap pelanggan adalah 500MB per hari. Di luar waktu ini, kuota utama akan setia menemani selama 24 jam, untuk pemakaian semua aplikasi.

Tri juga tidak membagi-bagi penggunaan paket unlimited ini untuk aplikasi tertentu. Artinya, semua kuota yang diberikan bisa digunakan bisa untuk aplikasi apa saja baik untuk mengakses aplikasi Youtube, Grab, Gojek, Spotify, Joox, WhatsApp, Facebook, Instagram, Netflix, atau Amazon Prime Video sekalipun, termasuk memeriksa email atau browsing web.

Produk AlwaysOn Unlimited 6 GB bisa digunakan pada seluruh jaringan Tri Indonesia. Produk dapat dibeli lewat menu *123# atau aplikasi Bima+ bebas sama sekali dari batasan daerah. Hanya produk yang dibeli lewat voucher fisik yang kuota unlimited-nya terbatas di area pembelian. Meski begitu, kuota utama 6 GB dari voucher fisik tetap dapat digunakan pengguna di seluruh jaringan Tri di Indonesia.

Produk AlwaysOn Unlimited tersedia dalam dua varian. Perbedaannya ada pada paket kuota utama 6 GB (Rp 55.000) dan 10 GB (Rp 80.000). Pengguna akan mendapatkan pula manfaat paket unlimited yang sama pada keduanya.

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Dad posts hilarious video of baby noises that sound like AC/DC's 'Thunderstruck' - New York Post

Call it tot-o tune.

Social media is going gaga over this dad’s hilarious video of his baby’s noises expertly edited to sound like AC/DC’s “Thunderstruck.” The tiny bopper’s tribute has amassed almost 3 million views on YouTube.

The awwww-inducing clip posted by New Jersey’s Matt MacMillan features various coos and ahhs by his son Ryan that he immaculately compiled to the tune of the band’s famous anthem. MacMillan even includes clips of the tyke sneezing and hitting the floor to give the effect of cymbals and drums respectively.

Despite being only 90 seconds long, creating the adorable video was no easy feat, as MacMillan explains in a separate tutorial vid on Facebook. “I spent a year recording my son Ryan making all sorts of baby noises,” the freelance sound mixer says.

Baby Ryan aping AC/DC
Baby Ryan aping AC/DCMatt MacMillan / YouTube

After discarding all the noises without a tone, he says he “manually sorted the remaining 83 clips by pitch.” Using a piano, he explains he narrowed down the number of tones to 21 and matched them with the notes in “Thunderstruck.” The final product is a result of MacMillan organizing all the clips in a timeline.

Social media users were understandably thunderstruck by baby Ryan’s remix. “The editing required makes my head hurt,” exclaims one YouTube fan.

“I have always wanted to get into AC/DC, I just didn’t know where to start,” compliments another. “Thank you Mr. McMillan, you are a god amongst men.”

One comment section comedian jokes, “This child will own kindergarten show and tell … ‘so my dad made this video of me …'”

Baby Ryan isn’t the first cutesy cover artist to make it big on the internet. In October, a “Tiny Dancer” from Iowa melted hearts with an incredible impression of Elton John playing piano.

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Menkominfo: Netflix Siap Boyong Film Indonesia ke Pasar Dunia - Suara.com

Suara.com - Menteri Komunikasi dan Informatika Johnny Plate mengatakan pihaknya telah bertemu dengan Netflix dan perusahaan penyedia layanan film online tersebut sudah sepakat untuk mendukung perfilman nasional.

Plate mengatakan Netflix sudah sepakat untuk melakukan dua hal terkait industri film Indonesia.

“Netflix dengan senang hati akan, yang pertama, mengambil bagian untuk mengangkat film-film Indonesia yang hebat-hebat, untuk menghasilkan film-film dengan pesan kebangsaan,” ujar Plate di Jakarta, Kamis (30/1/2020).

“Kedua, film Indonesia memasuki jaringan internasional, ini bagus,” tambah dia.

Plate juga menyorot soal konten-konten yang berstatus Original dan License Netflix. Dia menjelaskan Original Netflix adalah film-film yang dihadirkan, baik asing maupun film Indonesia, yang hak ciptanya berada di Netflix.

Sementara, License Netflix, dia melanjutkan, adalah film-film yang ditampilkan oleh Netflix di platformnya, tetapi hak ciptanya berada di sineasnya.

Yang diminta Kominfo kepada Netflix adalah agar memperbanyak film-film yang hak ciptanya dipegang sineas Indonesia.

“Tapi kita juga mengajak Netflix untuk datang ke Indonesia sejauh itu bisa dilakukan dengan hak ciptanya berada pada sineas Indonesia,” kata Plate.

Dengan begitu, menurut Johnny, akan ada nilai tambah lebih baik lagi bagi sineas Indonesia, dan akan memberikan rangsangan kreativitas dan inovasi di bidang perfilman. Meski begitu, dia juga mempersilakan Netflix membangun Netflix Original Indonesia dengan menggandeng sineas Indonesia. [Antara]

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