Audio Production – Borealnet http://borealnet.org/ Tue, 21 Sep 2021 17:11:48 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://borealnet.org/wp-content/uploads/2021/06/icon-3-150x150.png Audio Production – Borealnet http://borealnet.org/ 32 32 Expo 2020 Dubai Host Broadcaster Selects Eurovision Services For Free Worldwide Satellite Distribution https://borealnet.org/expo-2020-dubai-host-broadcaster-selects-eurovision-services-for-free-worldwide-satellite-distribution/ https://borealnet.org/expo-2020-dubai-host-broadcaster-selects-eurovision-services-for-free-worldwide-satellite-distribution/#respond Tue, 21 Sep 2021 16:44:00 +0000 https://borealnet.org/expo-2020-dubai-host-broadcaster-selects-eurovision-services-for-free-worldwide-satellite-distribution/ DMI Dubai Media (DMI), host broadcaster of Expo 2020 Dubai, has selected Eurovision Services to provide daily live satellite broadcasts of the event on the global Eurovision network. Eurovision Services will launch six months of free live satellite broadcasts to broadcasters around the world with the opening ceremony of Expo 2020 Dubai on September 30, […]]]>

DMI Dubai Media (DMI), host broadcaster of Expo 2020 Dubai, has selected Eurovision Services to provide daily live satellite broadcasts of the event on the global Eurovision network.

Eurovision Services will launch six months of free live satellite broadcasts to broadcasters around the world with the opening ceremony of Expo 2020 Dubai on September 30, 2021. Live broadcasts will then continue daily throughout the year. event from October 1, 2021 to March 31. 2022.

The global reach of the Eurovision Services distribution platform, which is used to provide broadcast services to the world’s largest live events, will ensure that broadcasters from the 192 countries represented at Expo 2020 Dubai can receive signals live, whether they are in the Middle East, Africa, Americas, Asia-Pacific or Europe.

“I am delighted that DMI and the organizers of Expo 2020 Dubai have trusted us with this unprecedented use of our WorldFeed / WordLink service,” said Jorge Simao, Head of Eurovision Services Middle East. “Never before have we had six months of daily WorldFeed transmissions available for free on our network, alongside the many sporting and news events that we also cover. It is a prime example of the strength and flexibility of the global Eurovision network, which draws on over 60 years of experience in providing broadcast services.

The live broadcasts will be broadcast via the Eurovision Services WorldFeed service, which provides free access to live satellite broadcasts for editorial use. The files will also be available for download for 30 days after each transmission – also free of charge – on Eurovision Services’ WorldLink video-on-demand platform. This gives broadcasters full flexibility in planning their coverage of the first World Expo in the Middle East, Africa and South Asia, with a program of events spanning 182 days from an exhibition site that is twice the size of Monaco and where, for the first time each time, each participating nation has its own pavilion.

“We are pleased to announce the alliance between DMI, Host Broadcaster of EXPO 2020 Dubai UAE, and Eurovision Services as the chosen World Feed distributor,” said Rashed Amiri, Deputy Managing Director of Channels Affairs, Dubai Media (DMI). “We are delighted to be working with our long-time partner Eurovision Services to bring Expo 2020 – The world’s largest trade fair – to a global audience. “


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Impact of smart technology in the acoustic reinforcement industry https://borealnet.org/impact-of-smart-technology-in-the-acoustic-reinforcement-industry/ https://borealnet.org/impact-of-smart-technology-in-the-acoustic-reinforcement-industry/#respond Mon, 20 Sep 2021 17:19:00 +0000 https://borealnet.org/impact-of-smart-technology-in-the-acoustic-reinforcement-industry/ CHICAGO, September 20, 2021 / PRNewswire / – The music industry continues to grow due to the growing reach of various streaming services such as Apple Music, Pandora, and Spotify, among others. The music industry is witnessing a trend where consumers are moving from physical media to streaming and digital media. Bluetooth speakers are one […]]]>

CHICAGO, September 20, 2021 / PRNewswire / – The music industry continues to grow due to the growing reach of various streaming services such as Apple Music, Pandora, and Spotify, among others. The music industry is witnessing a trend where consumers are moving from physical media to streaming and digital media. Bluetooth speakers are one of the most widely used audio devices for streaming music around the world. With the introduction of music streaming services, the demand for Bluetooth speakers is expected to experience a significant increase in demand during the forecast period. Arizton has a dedicated product vertical that focuses on the smart technology across geographies. These market research reports cover a detailed analysis of supply chain disruptions induced by COVID-19, technological innovations, equipment financing, economic impact and a detailed study of the competitive landscape. Arizton’s approach includes key market highlights such as trend and driver analysis, market share analysis, growth opportunities, and the impact of government initiatives in smart technology.

1. Wireless Speaker Market – Global Outlook and Forecast 2021-2026

The Global wireless speaker market should reach $ 63.38 billion by 2026. The future of the global wireless speaker market is promising as end-users become aware of product concepts and suppliers introduce new models according to lifestyle and consumer choice. For example, Bose Corporation offers Bluetooth devices under the SoundLink brand. The company’s innovative outlook will help it maintain its leadership position in the Bluetooth speaker market. HARMAN International (JBL) offers a wide variety of wireless Bluetooth speakers for portability and wireless home audio.

Highlights:

  • The Global Multi-Room Wi-Fi Speakers Market Has Been Valued At $ 17.37 billion in 2020 and should reach $ 43.84 billion by 2026, with a CAGR of 16.69%.
  • Voice assistants are growing exponentially in other industries such as healthcare and banking, opening up new opportunities for players in the global wireless speaker market.
  • Several international wireless speaker market players are expected to expand their presence around the world during the forecast period, especially in the rapidly developing APAC countries and Latin America to gain more market share.
  • AI voice interaction is the next big thing in the global wireless speaker market.

Get more information on recent trends now! https://www.arizton.com/market-reports/wireless-speaker-market-analysis-2023

2. Healthy Reinforcement Market – Global Outlook and Forecast 2021-2026

The Global sound market size to reach 10 billion dollars in 2026, with a CAGR of 3.5% over the forecast period. The demand for sound equipment was mainly concentrated in developed countries such as the United States, Japan, Great Britain, Germany, and France. Suppliers in the sound reinforcement market are using new business models and focusing on developing their portfolio to drive growth. The rate of adoption of professional audiovisual solutions, including sound systems, among end users around the world has been impressive. In 2020, North America was the largest market for sound reinforcement products. In North America The demand for public address systems among commercial end users will further drive the growth of the market for public address equipment and solutions.

Highlights:

  • The global sound reinforcement market is growing and expanding with the presence of vendors such as Shure, Sennheiser, Audio-Technica, Bose, Harman, Sony and Yamaha offering products for a wide range of vertical markets.
  • Audio-Technica is one of the world leaders in sound systems and has been active in the market for 55 years. The company operates subsidiaries in Europe and Asia monitor its activities in the respective regions.
  • Many vendors are already exploring this area as IoT makes its way into the audiovisual industry, which is accelerating the growth of the global sound reinforcement market.
  • The advent of microphones has added new dimensions to music production capabilities. The sophistication offered by modern microphones helps both novice and seasoned performers perform at their best.

Get more information on recent trends now! https://www.arizton.com/market-reports/sound-reinforcement-market-size-growth-2024

3. Bluetooth Speaker Market – Global Outlook and Forecast 2020-2025

The Global Bluetooth speaker The market will grow at 11.37% CAGR during the period 2021-2026. With the increase of music streaming services in the market, bluetooth speakers are in high demand. In Europe, the presence of major manufacturers of Bluetooth speakers such as Bose, Apple, Samsung and Sony have a strong presence in the market. The latest bluetooth technology platform solutions can easily and flexibly integrate into all levels and types of products to be used outdoors or indoors, providing excellent audio quality over connection Bluetooth wireless. With the increase in technological innovations, the battery life of these products is also advancing, with a rapid increase in the runtime of these innovations.

Highlights:

  • APAC is expected to experience strong growth in demand for Bluetooth speakers during the forecast period owing to the rapid expansion of music streaming services and increased proliferation of internet in various countries of the region.
  • The adoption rate of Bluetooth speakers among end users in the United States, China, South Korea, and the UK is awesome. Due to the high demand, the market is witnessing the entry of many suppliers already present in the market for traditional speakers.
  • Bluetooth speakers are experiencing higher demand in the residential sector as they offer excellent features and have no installation hassles unlike their counterparts.
  • Key players in the regions of North America should focus on integrating all the latest upgrades into their product portfolios, thereby increasing their customer base towards the bluetooth speaker market.

Get more information on recent trends now! https://www.arizton.com/market-reports/bluetooth-speaker-market-analysis-report-2025

Read some of the top selling reports:

About Arizona:

Arizton Advisory and Intelligence is an innovation and quality-driven company providing cutting-edge research solutions to clients around the world. We excel in providing comprehensive market information reports and advisory and consulting services.

We offer comprehensive market research reports on industries such as consumer goods and retail technology, automotive and mobility, smart technologies, healthcare and life sciences, industrial machinery, chemicals and materials, IT and media, logistics and packaging. These reports contain a detailed analysis of the industry, market size, share, growth drivers and trend forecast.

Arizton comprises a team of exuberant and experienced analysts who have mastered incisive report generation. Our specialist analysts have exemplary market research skills. We train our team in advanced research practices, techniques and ethics to surpass the making of stunning research reports.

About Us:

Mail: [email protected]
Call: + 1-312-235-2040 / + 1 302 469 0707

SOURCE Arizton Consulting & Intelligence


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The original voice actor Aang of the last airbender? https://borealnet.org/the-original-voice-actor-aang-of-the-last-airbender/ https://borealnet.org/the-original-voice-actor-aang-of-the-last-airbender/#respond Sun, 19 Sep 2021 16:46:00 +0000 https://borealnet.org/the-original-voice-actor-aang-of-the-last-airbender/ Zach Tyler Eisen rose to fame at a young age as the voice of Aang in Avatar: The Last Airbender, but he hasn’t been seen much since. Here’s why. Zach Tyler Eisen rose to fame at a young age as Aang’s voice actor in Avatar: The Last Airbender, but fans may wonder what happened to […]]]>

Zach Tyler Eisen rose to fame at a young age as the voice of Aang in Avatar: The Last Airbender, but he hasn’t been seen much since. Here’s why.

Zach Tyler Eisen rose to fame at a young age as Aang’s voice actor in Avatar: The Last Airbender, but fans may wonder what happened to him as they haven’t seen him much since. That’s because, after a prolific career as a child star and voice actor, Eisen effectively retired from acting to focus on other interests in the entertainment industry. So what exactly has Aang’s voice been doing since the end of Avatar: The Last Airbender?

Eisen started acting in commercials when he was only four years old and went on to gain increasingly prominent roles in his prepubescence. He has voiced characters on Nick Jr. Little Bill and People at the back yard and starred in the animated feature film The tyrant of ants as the main protagonist Lucas Nickle. His most famous role, of course, is Aang in Avatar, but once the show was over, Eisen moved away from it and most of his other acting work.


Related: New Avatar Show: The Best Way To Continue Aang’s Story

During his teenage years, Eisen took a complete break in his entertainment career, eventually attending Syracuse University after graduating from high school, where he studied film and television production. In a 2021 appearance on the official Nickelodeon website Avatar: The Last Airbender Podcast Brave the elements, Eisen explained that he is more interested in working behind the camera as an adult. As such, he took on more work in audio, production, and directing, with his main focus being cinematography. He mainly worked in short films and more independent television productions like hunt, Mack, and Truth or Dare – a series he helped create in college – while doing other odd jobs in the industry.

Aang leaping through the air with his staff on the Imbalance blanket

Although Eisen may not be as active on the con circuit or as plugged into the Avatar fandom as former costars like Dante Basco and Jack De Sena, who voiced AvatarPrince Zuko and Sokka, respectively, he remains connected to the community and has spoken on several occasions in recent years of his gratitude for the opportunity to work on the series. Playing Aang was obviously a big part of his youth, after all. But the former star is now naturally more focused on her other creative pursuits.

Recently, Eisen has been a little more directly involved in the world of Avatar: The Last Airbender, appearing on streams with former castmates and doing more interviews about her time on the show. It is clear that most of his professional energy will remain devoted to his filmmaking career and the rest of his behind-the-scenes work. But with the modern resurgence of Avatar: The Last Airbender and new shows and movies going on, it’s also possible that fans will see a little more of Eisen in the community from time to time.

Next: How Netflix Airbender’s Latest Cast Stacks Up With The Age Of Avatar Characters

Tony Stark and Ten Rings in Iron Man

The MCU just confirmed how stupid Phase 1’s Ten Rings mess is


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Boston Dynamics robot is now a watchdog at Korean auto factory https://borealnet.org/boston-dynamics-robot-is-now-a-watchdog-at-korean-auto-factory/ https://borealnet.org/boston-dynamics-robot-is-now-a-watchdog-at-korean-auto-factory/#respond Sat, 18 Sep 2021 18:53:00 +0000 https://borealnet.org/boston-dynamics-robot-is-now-a-watchdog-at-korean-auto-factory/ GIF: Hyundai Motor / Gizmodo Group The spot may not be work for the cops more, but Boston Dynamics’ four-legged robot already has a new watchdog post at a South Korean auto factory. Cue a new wave of “Black mirror” memes. Its official role will be that of “factory security service robot,” according to a […]]]>

GIF: Hyundai Motor / Gizmodo Group

The spot may not be work for the cops more, but Boston Dynamics’ four-legged robot already has a new watchdog post at a South Korean auto factory. Cue a new wave of “Black mirror” memes.

Its official role will be that of “factory security service robot,” according to a press release from Hyundai Motor Group, which acquired Boston Dynamics from Softbank in June. The automaker announced this week that Spot is operating at Kia’s plant in South Korea as part of a pilot program.

To monitor and enforce safety rules at the factory, Spot is equipped with an extensive toolkit of high-tech features that ring true for slightly dystopian. Its integrated thermal camera and 3D LiDAR sensor can detect whether a door is open or closed or whether there are people in the immediate vicinity. It can also detect potential fire hazards and temperature spikes.

One of the most useful features of Spot is its ability to use image recognition powered by machine learning to learn custom tasks and skills, such as navigation patterns or how to play fetch. The robot can navigate the factory autonomously or be controlled remotely through a secure web page that broadcasts a live feed of its movements in real time.

Through this same web page, Spot sends regular updates to superiors on its activity log and photos of any on-site situations it encounters. If it detects a danger during its tour, its systems automatically send an alert to plant managers. Due to the robot’s small size, it can navigate tight spaces and identify blind spots that can be difficult for its fellow humans to see, Hyundai said.

Spot’s role as a factory security service robot marks Hyundai’s first collaborative project with Boston Dynamics, Dong Jin Hyun, head of Hyundai’s robotics lab, said in a statement.

“The Robot will make it possible to detect risks and ensure the safety of people on industrial sites,” he continues. “We will also continue to create intelligent services that detect hazards at industrial sites and help ensure a safe work environment through ongoing collaborations with Boston Dynamics. “

As part of its pilot program, Spot will conduct nighttime security patrols at the Kia plant. Hyundai will access the robot’s effectiveness once its trial is complete to determine whether to expand its patrol areas or give other sites their own spots.

Boston Dynamics under fire from critics earlier this year for partnering with the New York City Police Department to put the so-called Digidogs on the ground. Under the contract, most of Spot’s tasks would have involved mundane tasks such as performing safety inspections for network workers or scanning building plans for companies interested in new construction projects. However, given the NYPD long story misconduct, people were understandably worried that they had an army of robodogs in command.

Widespread backlash prompted the NYPD to quietly cut ties with Boston Dynamics in April. At the time, a company spokesperson said the New York Times its robodogs were never designed “to be used as weapons, to hurt or intimidate people or animals”.


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24th Street, The Wallis releases an audio-theater recording of RAPUNZEL SEUL https://borealnet.org/24th-street-the-wallis-releases-an-audio-theater-recording-of-rapunzel-seul/ https://borealnet.org/24th-street-the-wallis-releases-an-audio-theater-recording-of-rapunzel-seul/#respond Sat, 18 Sep 2021 00:01:44 +0000 https://borealnet.org/24th-street-the-wallis-releases-an-audio-theater-recording-of-rapunzel-seul/ A fully produced standalone audio theater recording of Rapunzel Solo by award-winning playwright Olivier Mike Kenny (Walking the Tightrope) is being released ahead of the world premiere production which will premiere live next spring. The live performances, presented by the 24th Street Theater in association with the Wallis Annenberg Center for the Performing Arts, will […]]]>

A fully produced standalone audio theater recording of Rapunzel Solo by award-winning playwright Olivier Mike Kenny (Walking the Tightrope) is being released ahead of the world premiere production which will premiere live next spring.

The live performances, presented by the 24th Street Theater in association with the Wallis Annenberg Center for the Performing Arts, will take place March 12-19 at Wallis, followed by a six-week run, March 26-May 1, at 24th Street. The audio recording will be available for free listening from Friday October 1 at www.thewallis.org/raiponce.

Commissioned by the 24th Street Theater, Rapunzel Alone is a sophisticated reinvention of the classic fairy tale that appeals to adults and children alike. It is 1944 and the bombs are falling in London. With her mom and dad on the front lines, Lettie is evacuated to the countryside, where she finds refuge on Miss Pearce’s farm. But at what cost ? Does finding safety for a 12-year-old Métis city dweller in a homogeneous rural community amount to isolating her in a tower?

“When Mike and I first envisioned the play, we wanted to tackle the growing isolation young people feel because of social media,” says Devine. “Then the pandemic struck, and the whole world fell into loneliness and isolation. Our message is how the comforting power of connection heals the agony of isolation.” The audio recording features the voices of Rayna Campbell, Brian Inerfeld, Jay McAdams and Feyisola Soetan and is told, compellingly, by the playwright himself. It is co-directed by 24th Street Theater Artistic Director Debbie Devine and Jesús Castaños Chima, who will also co-direct on-stage productions in 2022. The original music is composed by Bradley Brough. Audio production, sound design and Foley are by several award-winning audio producers Jeff GardnerAn additional art project created by local Los Angeles high school student Leah Abazari under the mentorship of Emmy-nominated designer Matthew G. Hill will be available for download alongside the play. “Lettie’s Journal,” a hauntingly beautiful visual recording of the character’s experiences – from goodbye to her mother at the train station, to her isolation and loneliness on the farm – can be viewed before, during or after hearing the play in order to deepen the listening experience.

“We are very happy to share such a beautiful audio recording as a wonderful preview of the live performance here at The Wallis next year,” said Wallis Artistic Director. Paul Crewes. “This project and its approach to telling this classic story are as impressive as the people involved in creating it. The Wallis Annenberg Center for the Performing Arts is a vibrant cultural center and community resource where local, national and International artists Share their artistry with an ever-expanding audience.Rapunzel Alone can be enjoyed by adults and children ages 7 and up.


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Austen’s “Persuasion”: Is This The Story We All Need Now? https://borealnet.org/austens-persuasion-is-this-the-story-we-all-need-now/ https://borealnet.org/austens-persuasion-is-this-the-story-we-all-need-now/#respond Fri, 17 Sep 2021 18:40:00 +0000 https://borealnet.org/austens-persuasion-is-this-the-story-we-all-need-now/ Jane Austen’s Regency World isn’t a bad place to escape in times of crisis, as I learned last year. Because beneath all the romantic and bucolic country walks, the characters resist insults and injuries from class, sex, displacement, and loss. No hero of Austen exemplifies this quiet endurance better than the persevering Anne Elliot of […]]]>

Jane Austen’s Regency World isn’t a bad place to escape in times of crisis, as I learned last year. Because beneath all the romantic and bucolic country walks, the characters resist insults and injuries from class, sex, displacement, and loss.

No hero of Austen exemplifies this quiet endurance better than the persevering Anne Elliot of “Persuasion.” This most moving Austen story is reigniting, with two film adaptations slated for next year and an off-Broadway adaptation by theater company Bedlam, currently in preview, slated until late October.

Why we wrote this

How relevant is Jane Austen’s work to a society going through a pandemic – and a racial calculation? With more and more stage and on-screen versions of “Persuasion”, an essayist considers the intersection of the Regency era and ours.

My literary journey has led not only to conversations about Austen’s six iconic novels, but also to a whole network of readers and thinkers, including those who reflect on the racial calculation triggered by the murder of George Floyd. What becomes clear is that Austen is for everyone and can help us through the times we are living.

“Even though… I’m reading it in 2021, these are my people,” says Damianne Scott, an assistant English teacher who is writing an adaptation of “Persuasion” in a modern black mega-church. “This is also what happens in my life in my world. And she talks to me.

Last February, during the long winter of the pandemic and almost a year after the lockdown, battling endless hours and freezing temperatures, I turned to Jane Austen. The plan was simply to re-read his six major novels. But this simple plan opened up for me not only new conversations about these iconic novels, but also a whole network of readers and thinkers.

It turns out that the Regency world of Austen is not a bad place to escape in times of crisis. Because beneath all the romantic intrigues and bucolic country walks, characters like Elizabeth Bennet in “Pride and Prejudice” don’t just dance in the hallways and drink tea; they also bear the insults and injuries caused by class, sex, displacement and loss.

No hero of Austen exemplifies this quiet endurance better than the languid and persevering Anne Elliot of “Persuasion.”

Why we wrote this

How relevant is Jane Austen’s work to a society going through a pandemic – and a racial calculation? With more and more stage and on-screen versions of “Persuasion”, an essayist considers the intersection of the Regency era and ours.

This most moving story of Austen is reigniting. Two film adaptations are planned for next year – one of Netflix and MRC Film starring Dakota Johnson and another of Searchlight Pictures starring Sarah Snook. And an off-Broadway adaptation by the Bedlam theater company, currently previewing, is slated to run through the end of October.

Portrait of Jane Austen (1775-1817), English novelist, dated 1810.

Austen’s last complete novel, “Persuasion,” published months after his death, is steeped in nostalgia (or languid, as romance lovers call it), as the two protagonists – Anne and Captain Frederick Wentworth – have been separated but still inhabit each other’s dreams. Due to the radical interiority of Austen’s writing, known to critics as his method of “free indirect speech,” readers live and breathe intimately and yearn – and ultimately survive – alongside Anne.

“Anne has been my imaginary friend for more than half of my life,” says Sarah Rose Kearns, the playwright behind the Bedlam production, who first read the novel while in college and commune with Anne since. Ms. Kearns says Anne handles her anxiety and depression with grace, but Austen’s literary technique lends emotional depth.


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[App Friday] Kayak Co-Founder’s New Podcast Discovery Service Aims To Be The TikTok For Audio https://borealnet.org/app-friday-kayak-co-founders-new-podcast-discovery-service-aims-to-be-the-tiktok-for-audio/ https://borealnet.org/app-friday-kayak-co-founders-new-podcast-discovery-service-aims-to-be-the-tiktok-for-audio/#respond Fri, 17 Sep 2021 00:09:34 +0000 https://borealnet.org/app-friday-kayak-co-founders-new-podcast-discovery-service-aims-to-be-the-tiktok-for-audio/ Paul English, which revolutionized travel search with Kayak.com, is back to solve another discovery problem. This time it’s podcasts, and he wants to help people find better ones. In June, Paul teamed up with a Colorado entrepreneur Mike Chambers to throw Moon Beam, an ML led podcast discovery application. They believe that find new podcasts […]]]>

Paul English, which revolutionized travel search with Kayak.com, is back to solve another discovery problem. This time it’s podcasts, and he wants to help people find better ones.

In June, Paul teamed up with a Colorado entrepreneur Mike Chambers to throw Moon Beam, an ML led podcast discovery application. They believe that find new podcasts in a sea of ​​audio content – there’s more four million podcasts in progress today, according to Podcast index – is the biggest problem facing the industry.

With Apple podcasts and Spotify locking horns in big budget audio production, independent podcast makers and hosts are finding it increasingly difficult to create, grow and monetize their audience.

Moonbeam wants to “level the playing field”. “As podcasting gains in popularity, traditional podcast platforms are failing to bridging the gap between hosts and listeners. From a listeners perspective, it’s harder than ever to find great content. From a hosts perspective, it’s harder than ever to build and monetize an audience. It doesn’t have to be that way, ”said CEO Mike recently wrote on LinkedIn.

The application mixes machine learning with manual curation offer a custom podcast feed to each listener. It not only helps in the discovery of newer, niche, and less known podcasts that are lost in larger audio ecosystems, but also allows creators to connect, engage and develop better their audience.

Moonbeam passed 12,000 downloads in three months

Essentially, Moonbeam wants to be the TikTok for podcasts.

It follows the design principles of the application owned by ByteDance. Similar to TikTok’s “For You” page, Moonbeam features 100 to 120 second podcast clips on a known sweepable flow as the ‘Shine‘. If listeners don’t like the content, they can skip to the next clip (or swipe down to the previous one). This is also similar to Instagram Reels.

The goal of Moonbeam is to surprise listeners with stimulating discoveries instead of running repetitive algorithmic feeds which usually only include well-known shows or celebrity podcasts. Unlike other podcast discovery apps, listeners also have the ability to designer tips directly from the application. Moonbeam does not take any cuts.

However, it monetizes through Moon Ray Console – a unique tool allowing hosts to “claim” their programs by creating stand-alone clips to tease the full episode and control content that appears on the app. The console also allows creators to request advice from listeners and access user analysis to improve the audience experience.

Moonbeam has passed 12,000 downloads on Android and iOS. Until September, more than 400 podcast hosts had claimed their shows using Moonbeam Console. Users are currently averaging 23 minutes per session on the app.

Moonbeam is rated 4.5 / 5 on the Google Play Store and 5/5 on the Apple App Store.

Over 400 podcast hosts have claimed their shows on Moonbeam Console

Application distribution

After creating an account, Moonbeam wants you select topics for the content you would like to discover. You can choose from About fifteen genres (arts, business, comedy, education, health and fitness, history, children and family, recreation, music, news, religion, science, sports, television and film) and 120 subgenres. (Selected topics can also be edited later.)

You are ready to ‘start to shine’ now. The home page is a sliding flow arranged automatically standalone podcast clips based on your chosen topics.

Just like scrolling through Instagram or TikTok, you can swipe up or down, like, share or subscribe to clips, or hit ‘keep listening’ to access the full podcast. Standalone clips are usually a few minutes long and aim to tease listeners with the best parts of the show.

Moon Beam feeds its ML algorithm based on how listeners react to clips, and learn more about the type of podcasts they might want to discover on their feed.

Moonbeam shows users a TikTok-style stream of short audio clips cut from podcasts

Sometimes users also like to listen to it as autonomous consumption to live. It gets better application engagement and also reduces the fatigue of discovering with podcasts.

When you switch to the full podcast, Moonbeam lets you record episodes at the library, download episodes, together sleep timers and reminders of new episodes, read public notices, change reading speed, filter explicit content and tip creators.

You can also click on the “Discover” button to browse thematic podcasts curated by the editors of Moonbeam. It even allows you import podcast subscriptions as OPML files from other podcast applications.

Finally, the Search tab (which looks like Spotify’s search feature) allows you to enter a keyword to find related podcasts.

Moonbeam also plans to roll out software updates every two weeks and launch tools that allow listeners to interact with the teams behind their favorite podcasts.

Moonbeam combines ML with manual curation to personalize podcast feed

Verdict: can be a disruptive force

If the experts are to be believed, then abbreviated audio is the future of podcast discovery. This That’s why Spotify acquired Podz (a podcast discovery app that creates 60-second episode highlights) less than 10 days before Moonbeam launched.

Just as TikTok disrupted the video with short content, becoming a sensational worldwide success, the crowded audio space also waits to be caught off guard by an upstart. Moonbeam can be that one. In fact, he wants be the only one.

Founder Paul has publicly stated that he inspired by TikTok’s advanced discovery algorithm, which he wishes to bring to the world of audio, in particular to podcasts which are multiplying hour by hour.

“Similar to TikTok, Moonbeam’s advanced technology allows the app to predict your interests better than your friends, so your new favorite podcasts are right at your fingertips,” he said in the launch release.

Moonbeam’s approach to fair discovery puts large studio-backed podcast hosts and small independent creators on the same level. While personalization of the content will make it sticky to listeners, paying attention to hosts can also make Moonbeam a designer favorite.

Then there is the industry-leading tilting function (Clubhouse tips, but it’s not a podcast app) which is likely to be ape by other players in the days to come.

Maybe the only problem with Moonbeam right now is his limited content library compared to established players like Apple Podcasts, Spotify, Google Podcasts, etc. This could be because the app is only three months old and will only get better.

What Moonbeam doesn’t offer in terms of breadth of content, it makes up for with clips which are an absolute delight and will lock out new users in the app instantly. Sophisticated user interface on top of that enhances the listener experience.

In a world where audio is the new buzzword, Moonbeam is just getting started.

Edited by Teja Lele Desai


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Sennheiser MKE 200 mobile kit review https://borealnet.org/sennheiser-mke-200-mobile-kit-review/ https://borealnet.org/sennheiser-mke-200-mobile-kit-review/#respond Tue, 14 Sep 2021 19:52:22 +0000 https://borealnet.org/sennheiser-mke-200-mobile-kit-review/ The filmmakers and broadcasters of yesteryear never thought that it would be possible to capture great videos without a full audiovisual team. Yet here we are at a time when anyone can shoot a short film or report with a handheld device. While the camera quality of smartphones has improved dramatically over time, smartphone mics […]]]>

The filmmakers and broadcasters of yesteryear never thought that it would be possible to capture great videos without a full audiovisual team. Yet here we are at a time when anyone can shoot a short film or report with a handheld device. While the camera quality of smartphones has improved dramatically over time, smartphone mics still have a way to go.

Fortunately, there is the Sennheiser MKE 200 mobile kit: a cost-effective audio solution to help filmmakers step up their smartphone video game.

Who is the Sennheiser MKE 200 mobile kit for?

  • YouTubers or online content creators who needs a compact audio solution for video can appreciate the unobtrusive design here.
  • Vloggers Who need a portable setup for filming on the go can pack the MKE 200 Mobile Kit and take it around the world.
  • Independent filmmakers Looking for a small microphone on the camera for videography or scratch audio, you should consider this set.
  • Mobile filmmakers who use a smartphone with a headphone jack can use this mic setup.

How is Sennheiser MKE 200 built?

The Sennheiser MKE 200 shotgun microphone mounted on a black smartphone.

The Sennheiser MKE 200 microphone is premium, without the premium price.

The build quality of the Sennheiser MKE 200 is a marked improvement over the company’s older shotgun pickups. The MKE 200 sports a sturdy and lightweight black aluminum construction, which should withstand any accidental impact in a bag.

See: The best gun mics

The microphone also has an internal shock mount to reduce handling noise and a built-in windshield. This is a very smart move on Sennheiser’s part, as the all-in-one design reduces the overall size. A small footprint allows camera operators to install additional accessories on the camera, such as monitors or lights, next to the microphone.

The Sennheiser MKE 200 is mounted on an LG Android smartphone using the included tripod and smartphone holder.

The Sennheiser MKE 200 mobile kit can connect to your smartphone with the included TRS to TRRS cable.

A cold shoe mount sits under the shockproof microphone mount, so you can attach the Sennheiser MKE 200 to most camera housings and cages. There is also a 1/4 inch screw hole under the cold shoe mount for tripods or magic arms.

Besides the microphone, the Sennheiser MKE 200 mobile kit comes with everything you need to start recording except the camera. TRS and TRRS cables are coiled and bent, so you are unlikely to bend or damage them during normal use. While we at SoundGuys are more focused on the audio components of the kit, the smartphone clamp and tripod are great additions. The aluminum clip features multiple locking joints to secure your smartphone and accessories.

The Manfrotto tripod is also sturdy and easy to use. You can mount the ball head on a smartphone clamp via the 1/4 inch screw and adjust it by pressing hard on the Manfrotto logo.

What accessories do you get?

Top view of the Sennheiser MKE 200 mobile kit on a wooden table.

The Sennheiser MKE 200 mobile kit contains everything you need for smartphone video.

  • Sennheiser MKE 200 directional microphone on camera
  • Smartphone clamp
  • Manfrotto PIXI mini tripod
  • Lockable 3.5mm TRS to TRS Coiled Cable
  • Lockable 3.5mm TRS to TRRS Coiled Cable
  • Windshield (aka Deadcat)
  • Storage pouch

What does using the Sennheiser MKE 200 mobile kit look like?

Using the Sennheiser MKE 200 mobile kit is quite similar to the Sennheiser XS Lav USB-C: just plug it in and you’re good to go. The cold shoe mount makes the MKE 200 universally suitable for any camera, and you can connect the mic with the 3.5mm cable. The microphone is powered by the camera, so you won’t have to change the batteries mid-shot. If you’re recording for too long, you might want an external battery to run the camera.

The Sennheiser MKE 200 used in a vlogging setup on an iPhone 12 as a human video chat.

The Sennheiser MKE 200 mobile kit is a great compact solution for content creators.

You can easily attach the Sennheiser MKE 200 to a smartphone using the clip and the 3.5mm TRRS cable. Those whose smartphones don’t have a headphone jack should use a dongle adapter with the cable. With Sennheiser marketing this product as a mobile kit, it would also have been nice to see a USB-C or Lightning cable in the box.

The Sennheiser MKE 200 mobile kit works well with DSLRs, but is not perfect with smartphones. At first, when I connected the microphone to my iPhone 12, iPad Air, and MacBook Pro, I heard a low frequency hum throughout all of the recordings. That low hum was gone when I replaced the cable with a spare. This problem persisted for a bit, but now the original cable works fine. I don’t know what fixed the problem, but it wasn’t the plug-and-play experience I was hoping for.

Close up of Sennheiser MKE 200 deadcat / windshield

Sennheiser includes a windshield (deadcat) that helps fight light to medium winds when shooting outdoors.

Once the Sennheiser MKE 200 is up and running, its stunning design really shines in use. The built-in shock mount is not as beefy as those made by Rycote, but it effectively absorbs handling vibrations.

I don’t hear any significant handling noise when recording with the MKE 200, except when I accidentally slip in the middle of a take (oops). The windshield, which replaces the foam coating on most shotgun microphones, does a great job of reducing light wind and plosives, especially when recording outdoors.

Recommended: How to Troubleshoot Common Recording Problems

What does the Sennheiser MKE 200 mobile kit sound like?

The rear of the Sennheiser MKE 200 showing the make and model name.

The shockproof suspension does not take up much space, which allows you to mount other accessories alongside.

For a microphone kit under $ 130, the Sennheiser MKE 200 itself produces very good sound.

Voices come out loud and clearly from the microphone, and it attenuates very low frequency sounds. While this is useful when you need to silence a noisy air conditioning unit, it can make lower-pitched vocals more distant than expected. However, the speech still seems intelligible, so that shouldn’t be much of a problem.

Example of a Sennheiser MKE 200 microphone:


While the Sennheiser MKE 200 is technically a directional shotgun microphone, it is not as directional as you might expect. Its off-axis rejection is decent enough to avoid picking up distant traffic and passers-by to the side, but it’s not ideal when absolute silence is needed. Recording a dialogue between two people in the hope of isolating the voice of a single speaker will not turn out as you would expect.

Sennheiser MKE 200 background noise sample:

Please wait..
Loading the survey

Hold on! Something is missing:

This section is usually where we display a frequency response graph to show you exactly where the audio output shines and where its gaps are. Unfortunately, we encountered a technical issue during our testing. To combat this we have an SCM-3 mic and will add a speaker with standardized output samples to update our testing and data collection. It will take some time to reach our office in Canada, but we will update this review (and many more!) These will be made evident by an announcement explaining the change and a new graphic aesthetic.

Thank you for being with us, and we hope to see you again once we have everything sorted out.

Should I buy the Sennheiser MKE 200 mobile kit?

The Sennheiser MKE 200 mobile kit is a fantastic audio solution for people looking to improve the video production quality of their smartphone, if you can get it to work.

The Sennheiser MKE 200 mounted on an LG smartphone using the included smartphone clip.

The Sennheiser MKE 200 mobile kit is an excellent audio solution for phones with a headphone jack.

The microphone itself is well built, produces good sound for smartphone video, and comes with all the accessories you need for a mobile video setup. That’s a pretty good deal, considering what comes with the kit for just under $ 130.

Related: Shure MV88 + Video Kit Review

However, with more manufacturers phasing out headphone jacks from flagship smartphones, the omission of a USB-C or Lightning cable is a real failure. The low-frequency humming problem caused me to take a long time in my day just to identify the problem and determine if the cable, adapter, or microphone was the cause. Still, you’d be hard pressed to find a better mobile audio solution at this price point.

Sennheiser MKE 200 mobile kit

All prices shown in USD, unless otherwise specified. Prices may change over time and vary by region. Unfortunately, we cannot list Amazon prices on the site, as they vary widely by currency.


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A mysterious musical murder intended to mystify the public https://borealnet.org/a-mysterious-musical-murder-intended-to-mystify-the-public/ https://borealnet.org/a-mysterious-musical-murder-intended-to-mystify-the-public/#respond Fri, 10 Sep 2021 18:26:09 +0000 https://borealnet.org/a-mysterious-musical-murder-intended-to-mystify-the-public/ Hallie Unruh (left) plays Rachel Hopewell and Jessica Rumrill plays Marjorie Baverstock. Ashlee Larrison storyPhotos of Ralph FresoCUU Information Office Mysterious characters. Secret passages. And a most despicable murder. You name it and the Ethington Theater production of “The Musical Comedy Murders of 1940” has it. John BishopThe 1987 black comedy transports audiences to 1940s […]]]>

Hallie Unruh (left) plays Rachel Hopewell and Jessica Rumrill plays Marjorie Baverstock.

Ashlee Larrison story
Photos of Ralph Freso
CUU Information Office

Mysterious characters.

Secret passages.

And a most despicable murder.

You name it and the Ethington Theater production of “The Musical Comedy Murders of 1940” has it.

John BishopThe 1987 black comedy transports audiences to 1940s New York and follows a team of performers auditioning for a musical at the Elsa Von Grossenknueten theater financier mansion. However, memories of the team’s last show, in which three choir girls were murdered by the mysterious “Stage Door Slasher,” linger as a series of quirks begin to plague the auditions.

The play is scheduled for 7:30 p.m. Friday and Saturday and 2 p.m. Sunday the next two weekends, September 10-12 and 17-19.

It’s a performance that the director Michael kary dit is better compared to a Clue game.

“This performance is kind of a tribute to those 1940s radio mysteries,” he said. “The bottom line is that we wanted to have the most fun welcoming people to the theater.”

After a full season of outdoor productions, there was no doubt in anyone’s mind that Bishop’s comedy should kick off the return to Grand Canyon University Ethington Theater.

Zac Ross plays Patrick O’Reilly.

The long-awaited Murder Mystery, originally slated for the 2020-2021 theater season, was the kind of performance that couldn’t be adapted for an outdoor scene and required an indoor release.

Why?

The simple luxury of being able to turn off the lights during certain scenes.

“There was just this simple, really easy rudimentary thing that kept us from telling the story effectively,” Kary said. “I think we were able to find some stories that could very well survive outdoors in this environment, but building a giant mansion on an outdoor stage is not something we could do last year. But we can do it inside.

And that’s exactly what they did.

The entire mansion provides a colorful and interactive environment for artists to explore. Even the simple turn of a desk clock activates surprises for the characters and the audience.

Gloria Hartung (left) plays Bernice Roth.

Manager Hannah hensley, who worked mainly on musicals, knew that working on a mystery murder was a hit she had to take.

“I knew it would push me further than I had ever been in a show,” she said. “With the intricacy and intricacy of the whole thing and all the sounds, all the lights and stuff, it definitely intrigued me because I knew it would make me grow.”

But Hensley isn’t the only student who grows on the experience. The performance itself has evolved since construction began at the start of last season.

“I’ve been a part of this show for over a year now,” Hensley said. “To finally see him come to life on stage is definitely something incredible.”

In addition to an impressive package, the show’s audio plays a major role in transporting the audience at the appropriate time.

Sound designer Daniella Brun says that in addition to old-fashioned classical music, radio work also plays a major role in the production.

“We have voices from our cast and our director that have been edited and edited to sound like they’re coming from regular radio,” she said. “There were a lot of moving parts, which was exciting, and we went 100% towards the greatest show we could do.”

The performance was also an opportunity for the cast members to play with what they could bring to their roles.

Nick Philips plays Ken De La Maize.

Philippe philips, who plays Ken De La Maize, says there was no shortage of talents he worked with on the show.

“My favorite experience so far has been really stretching out as an actor and working with this amazing cast,” he said. “We have really hard working people here, and it’s really fun to be on stage with all of them.

“It will be a really fun show for everyone.”

For Hallie unruh, who will play Rachel Hopewell (formerly Rodger Hopewell), the thrill of getting to work on the production stems from all the creative freedom artists have with their characters.

“With some directors, you get a block and you are told what to do, but he (Kary) just said, ‘Okay, go where you feel you should go. “” she said. “We were given a lot of creative freedom with jokes, songs and character voices.

“It’s terrifying but it’s also really cool to be able to build a character from body to movement through learning the lines.”

All in all, it’s a start to the season that the cast and crew say audiences won’t want to miss.

“I think it really shows how impressive this department is in terms of setting, sound and acting,” Hensley said. “It’s really something I’m incredibly proud of. I think it’s so intriguing and interesting to watch because something is changing every second.

“People should come and see the show only to be impressed and in awe of what we can do here.”

****

IF YOU ARE GOING TO

What: “The Musical Comedy Murders of 1940” by John Bishop

When: 7:30 p.m. on Fridays and Saturdays and 2 p.m. on Sundays from Sept. 10 to 19.

Or: Ethington Theater, GCU campus

Tickets: $ 12 entry. Discounted tickets for seniors, military, GCU and GCE employees, GCU alumni, children 12 and under, and GCU students.

Information: 602-639-8979 or [email protected]

Contact Ashlee Larrison at (602) 639-8488 or [email protected].

***

Related content:

GCU today: The student’s love for the theater fell into his hands

GCU today: Theater education graduates applying their GCU courses

GCU today: Ethington season welcomes audiences back inside

GCU today: Fine arts student enjoys the sound of theater festival work


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How 9/11 really changed everything – Reason.com https://borealnet.org/how-9-11-really-changed-everything-reason-com/ https://borealnet.org/how-9-11-really-changed-everything-reason-com/#respond Tue, 07 Sep 2021 20:23:48 +0000 https://borealnet.org/how-9-11-really-changed-everything-reason-com/ In this week’s edition of Reason round table, Matt Welch, Katherine Mangu-Ward, Peter Suderman, and Nick Gillespie reflect on their situation on 9/11, the policy changes we still see today, and the new Texas abortion law. Discussed in the show: 1:08: How September 11 affected our lives. 29:50: Weekly question from the auditor: Raison often […]]]>

In this week’s edition of Reason round table, Matt Welch, Katherine Mangu-Ward, Peter Suderman, and Nick Gillespie reflect on their situation on 9/11, the policy changes we still see today, and the new Texas abortion law.

Discussed in the show:

1:08: How September 11 affected our lives.

29:50: Weekly question from the auditor: Raison often argues that “if Republicans do x, what’s going to stop Democrats from doing x against Republicans?” However, is this a good argument when Democrats are already doing what Raison claim Republicans should be worried?

37:50: What the report tells us about the rights of social security and health insurance boards.

47:11: media recommendations for the week.

This week the links:

Send your questions to roundtable@reason.com. Make sure to include your social media nickname and the correct pronunciation of your name.

The sponsors of the day:

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Audio production by Ian Keyser
Production assistant by Regan Taylor
Music: “Angeline”, by The Steve brothers



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