Audio Production – Borealnet http://borealnet.org/ Wed, 23 Nov 2022 02:45:06 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://borealnet.org/wp-content/uploads/2021/06/icon-3-150x150.png Audio Production – Borealnet http://borealnet.org/ 32 32 Niv Arts and Little Lamb join forces to produce Slate https://borealnet.org/niv-arts-and-little-lamb-join-forces-to-produce-slate/ Wed, 23 Nov 2022 02:16:00 +0000 https://borealnet.org/niv-arts-and-little-lamb-join-forces-to-produce-slate/ Level Art Films and Small lamb films join forces to produce a list of Malayalam and Bengali movies. The first collaboration and co-production “Whispers of Fire & Water” is part of the viewing room and Cinema bazaar Recommends segments of the National Film Development Corporation’s (NFDC) ongoing Film Bazaar 2022. Written and directed by debutant […]]]>

Level Art Films and Small lamb films join forces to produce a list of Malayalam and Bengali movies. The first collaboration and co-production “Whispers of Fire & Water” is part of the viewing room and Cinema bazaar Recommends segments of the National Film Development Corporation’s (NFDC) ongoing Film Bazaar 2022.

Written and directed by debutant Lubdhak Chatterjee, whose short ‘Aahuti’ was in Rotterdam in 2020, ‘Whispers of Fire’ is a Hindi, Bengali and English film set in eastern India. It traces the journey of a sound installation artist who visits the largest coal mining region in eastern India. There he encounters dwindling natural resources and a landscape shaped by fire and water.

Delhi-based Niv Art Movies, by Shaji and Aruna Mathew, has produced critically acclaimed films in the past, including ‘S Durga’, winner of the 2017 Tiger Award at the Rotterdam International Film Festival, and ‘Chola’, which won played at the Venice Film Festival in 2019.

Mumbai-based Little Lamb Films of Bauddhayan and Monalisa Mukherji has produced independent films such as “The Cloud & the Man” (Tallinn Black Nights and IFF 2021) and “The Violin Player” (Raindance Film Festival, 2016).

The slate also includes “A Miracle of Love” by Jiju Anthony, which previously premiered at the Asian Project Market in Busan in 2021. The film chronicles a mother’s attempt to break through with her autistic child and is inspired by the experiences Anthony’s personal. Anthony has already directed “The Forsaken” (“Eli Eli Lama Sabachthani”).

Bapi Bit, who has been directing television commercials for a decade, is preparing his first feature film, “Bairi. The Hindi-Malayalam project is a story of enmity between two fishermen that has serious consequences.

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Woven speakers by Paula Vogels pump out the sound of their own production https://borealnet.org/woven-speakers-by-paula-vogels-pump-out-the-sound-of-their-own-production/ Sun, 20 Nov 2022 06:00:00 +0000 https://borealnet.org/woven-speakers-by-paula-vogels-pump-out-the-sound-of-their-own-production/ Eindhoven Design Academy graduate Paula Vogels woven tubular speakers copper wire and nylon fishing line to create an installation that explores the sounds and working conditions in the textile industry. The Re-Sounding Yarns project, presented at Dutch Design Week 2022consists of eight overhead speakers that play a soundscape from different weaving environments, ranging from the […]]]>

Eindhoven Design Academy graduate Paula Vogels woven tubular speakers copper wire and nylon fishing line to create an installation that explores the sounds and working conditions in the textile industry.

The Re-Sounding Yarns project, presented at Dutch Design Week 2022consists of eight overhead speakers that play a soundscape from different weaving environments, ranging from the gentle rhythms of weavers to the thundering electric looms used in factories.

When a sound signal is emitted from the loudspeakers, the copper wire transmits this signal to small magnets attached to each end of the woven tubes, creating an electromagnetic field which vibrates and thus generates sound.

The Re-Sounding Yarns installation consists of eight double-ended speakers

“I allow the fabric to express its production,” Vogels explained.

A weaver herself, Vogels designed the installation to counter the perception of textiles as “silent” and highlight sound as an integral part of the weaving process.

“When my loom isn’t working properly, I don’t see it at first — I hear it,” she told Dezeen. “I started thinking about how I use the loom almost like an instrument, where I do these rhythms and the more rhythmic I get, the more productive I am.”

“And what weaving looks like in different contexts in the wider industry, which obviously ranges from hand weavers in specialist textile labs to mass industrial weaving facilities,” she added. “How do I actually understand sound as an indicator of what’s going on in that space?”

Vogels undertook extensive listening and ethnographic research to understand these different scales and found that – contrary to his own practice – sound in some industrial environments can be so loud that it actually poses a health hazard to workers.

And while workers in Western factories generally enjoy good protection, Vogels says this is not the case everywhere in the world.

Close-up of the woven speakers in the Re-Sounding Yarn installation
Speakers are woven from copper wire and colored monofilament

“Sounds are revealed not as unimportant by-products of textile production, but as indicators of the socio-political contexts of weavers, exploitative supply chains and working conditions,” she explained.

Vogels made its speakers from colored monofilament fishing line and copper wire, hand-woven together in a circular pattern that could be opened to form tubes.

The copper wire is responsible for carrying the electrical signal needed to vibrate the structure and produce sound, while the translucency of the monofilament is meant to show that there is nothing inside the enclosure emitting the sound, but the textile structure itself.

To amplify the resulting audio, Vogels inserted a clear plastic tube into each woven sleeve and surrounded it with black listening cones. Together, the array of eight speakers, shaped much like double-ended trumpets, produce an audible hum similar to a white noise machine.

Vogels recorded most of the soundscape samples herself while visiting different factories and working in her own studio. These sound clips were then looped and overlaid with recordings of giant factories in Bangladesh, which she found on YouTube.

Vogels was part of the Design Academy Eindhoven Graduation Show 2022 at Dutch Design Week.

Other textile creations on display at the design festival included a collection of alternative leather clothing made from the earth and one burnt and mown carpet that visualizes how drought affects Dutch landscapes.

The photograph is by Ronalds Smits.

Re-Sounding Yarns was on view October 21-30 as part of Dutch Design Week 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events happening around the world.

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Musical Review The Fascinating Innovations of Heiner Goebbels https://borealnet.org/musical-review-the-fascinating-innovations-of-heiner-goebbels/ Wed, 16 Nov 2022 16:55:10 +0000 https://borealnet.org/musical-review-the-fascinating-innovations-of-heiner-goebbels/ Heiner GoebbelsA call house(ECM) HEINER GOEBBELS is a contemporary German theater director and avant-garde composer. One of his most notable productions is Stifter’s Dinge (Founder’s Things) – a multimedia poetic technological performance, first premiered in 2007, inspired by the nature writing of the 19th century Austrian Romantic writer Adalbert Stifter . An extraordinary 80-minute piece […]]]>

Heiner Goebbels
A call house
(ECM)

HEINER GOEBBELS is a contemporary German theater director and avant-garde composer. One of his most notable productions is Stifter’s Dinge (Founder’s Things) – a multimedia poetic technological performance, first premiered in 2007, inspired by the nature writing of the 19th century Austrian Romantic writer Adalbert Stifter .

An extraordinary 80-minute piece produced by the Swiss theater company Théâtre Vidy-Lausanne in association with Artangel in London for a 2008 production. It featured a host of invented instruments and a state-of-the-art audio production with the score published by ECM.

In 2013, as artistic director of the Ruhrtriennale Theater Festival in Germany, he directed the very first European staging of the play Delusion of the Fury by American composer Harry Partch, with the MusikFabrik ensemble.

The work is an amalgamation of a Japanese noh piece with a West African legend performed at the Edinburgh International Festival in 2014. A set of special instruments had to be made to play the microtonal score of Partch.

His new album ECM is a self-proclaimed fantasy notebook incorporating archival recordings from the composer’s extensive audio collection, including prayers, songs, speeches and compositions for full orchestra, recorded in 2021.

Other sources, on the 100-minute work spread over two CDs, include wax cylinders, news reports and ethnographic sources given a political or historical context and a musical response.

“The music is a direct response to the complexity and roughness of the vocals,” Goebbels explains in the liner notes. Beckett, Rumi and WW1 prisoners are all referenced in the score which incorporates vocals, jazz-rock, rhythmic dislocations and delicate solos.

The title of the album comes from a line from James Joyce’s Finnegans Wake, in early 19th century England, a gatehouse was a public space in which itinerant craftsmen could hire out their skills.

Through four thematic assemblages, the Ensemble Modern Orchestra, under the direction of Vimbayi Kaziboni, paints the picture. The first part, Stein Schere Papier (Stone Scissors Paper), opens the album. The saxophone and the slow and brooding jazz brass open up to give way to an orchestral chord and melodic notes from the orchestral sonorities of Pierre Boulez. Then the electric fuzz guitar comes in as a reference to Goebbels’ artistic rock band, Cassiber, of the early 1980s.

The monumental scale of the work is finely balanced, for a very complex mix, including towards the end of the piece, the street noise of a Berlin construction site recorded in 2017, is surrounded by light percussion and melodic brass.

Part II, Grain of the Voice, is based on string sections and rapid-fire woodwinds, using text from Roland Barthes’ essay of the same name, in which the French philosopher describes the power of language over death.

The tempo slows down giving way to Gamelan atmospheres and distant human cries winding around the dynamic cello and bass then trumpet and violin.

Part III, Wax and Violence refers to wax cylinders weaponized by pseudoscientific ideologues. The evocation of Komitas and the Armenian soprano Zabelle Panosian included. A recording of schoolchildren in the Namibian village of Berseba is deeply haunting.

Part Four, When Words Gone, includes recordings of Amazonian rituals conducted in lost languages ​​mixed with lines from one of Samuel Beckett’s last Worstward Ho texts from 1983 amid digital whispers winding around electric guitar , accordion and dulcimer.

The calm ending, using singing vocals, piano and bass, is fascinating. Goebbels continues to break boundaries with inspiring concepts and sometimes enchanting beauty.

A House of Call concert is scheduled for March 25, 2023 at 7:30 p.m. at the Royal Festival Hall in London. More details and tickets: 020 3879 9555, southbankcentre.co.uk

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Weekend Discussion – November 12, 2022 https://borealnet.org/weekend-discussion-november-12-2022/ Sun, 13 Nov 2022 00:00:00 +0000 https://borealnet.org/weekend-discussion-november-12-2022/ It’s another cold Saturday. The perfect day to play games and read this edition of Weekend Discussion! In case you missed it at Shacknews: Signalis is scary and definitely worth the trip. TJ dove straight into the game on this week’s Indie-licious. Watch the full episode here. The […]]]>

It’s another cold Saturday. The perfect day to play games and read this edition of Weekend Discussion!


In case you missed it at Shacknews:



Signalis is scary and definitely worth the trip. TJ dove straight into the game on this week’s Indie-licious. Watch the full episode here.

The Retail Therapy team also had a great time opening new packs of the recently released Silver Tempest set. Watch more Pokemon fun here.

And now… Internet

Michelle Yeoh is having an incredible year. Are you going to try this Witcher prequel? Considering the recent Geralt redesign news, it looks like the franchise could use some positive news.


There was a ton of hype at Worlds 2022 last week. Glad to see esports getting so hyped on the state side.



It was nice to see Virtua Fighter 5: Ultimate Showdown on the list for EVO Japan. There’s a lot of hype, even when it comes to voice acting!



Well, Elon Musk has taken over Twitter and declared himself the final word. My friend drew a MODOk inspired version of the Twitter king.



Speaking of Mr. Musk, I found this Mad Men thread which I think was pretty accurate. Enjoy



I’m a huge Dark Souls fan and would love to see a metroidvania game in this world! Oh, what could have been.



That’s pretty disrespectful haha.



weekend mood

Doechii continues to show her versatility and I’ve been quite impressed with her lately.

Wakanda Forever was released this week. I’m going to the cinema tonight to see it. So, it seems fair to me that I drop Rihanna’s new song on the official soundtrack. Have a great night!


That’s all for this week folks. Thanks for reading and take the time to get those swipes on Shackpets! See you all next weekend.

Denny is the current Social Media and Community Manager for Shacknews. He enjoys being part of the conversation with readers and the gaming community at large. Denny is very passionate about making the gaming industry and associated media spaces more inclusive. He’s also a big fan of fighting games, hosting live tournaments with fun color commentary. When he’s not playing, you can find him rummaging through the trash can of discount comics or watching a horror movie with the lights off. He has also been a content creator on Twitch since 2015 and has spoken live at Twitchcon, C2E2 and several other events, while providing D&I advice for emerging brands in gaming.

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Solid State Logic launches SSL CONNEX: high-end USB microphone for conferencing, live streaming and recording; professional technology for everyday digital life https://borealnet.org/solid-state-logic-launches-ssl-connex-high-end-usb-microphone-for-conferencing-live-streaming-and-recording-professional-technology-for-everyday-digital-life/ Thu, 10 Nov 2022 16:14:15 +0000 https://borealnet.org/solid-state-logic-launches-ssl-connex-high-end-usb-microphone-for-conferencing-live-streaming-and-recording-professional-technology-for-everyday-digital-life/ The world’s leading manufacturer of professional music and audio production tools brings superior technology to the USB microphone. With four custom user modes and immersive recording capabilities, SSL CONNEX introduces a feature set never seen before in a portable device. Oxford, England – November 10, 2022 – Solid State Logic (SSL), the world’s leading manufacturer […]]]>

The world’s leading manufacturer of professional music and audio production tools brings superior technology to the USB microphone. With four custom user modes and immersive recording capabilities, SSL CONNEX introduces a feature set never seen before in a portable device.

Oxford, England – November 10, 2022 – Solid State Logic (SSL), the world’s leading manufacturer of music and audio production tools, has drawn on its 50 years of expertise in high-level professional markets to create SSL CONNEX: a revolutionary USB microphone that establishes a new standard for practical and high performance. quality audio capture. Whether it’s a conferencing, live streaming, or portable music recording application, SSL CONNEX is an elegant, no-compromise solution that’s portable, easy to use, and features advanced DSP straight from the SSL’s premier studio and broadcast production tools. SSL CONNEX is priced RRP/MSRP $199.99 but is available now for an introductory price of $149.99.

Compatible with MAC/PC and USB equipped tablets, SSL CONNEX works with all major video conferencing platforms and is not only the perfect high quality audio companion for the office, home office and remote video conferencing, but also suitable for podcasting, live streaming or music capture. . Its USB-powered design means great sound at home or on the go. Measuring just 9cm x 9cm x 4cm, SSL CONNEX can be used on a flat surface or easily mounted on a microphone arm or camera stand.

“SSL CONNEX is the ultimate ‘portable problem solver’ for today’s fast-paced digital age,” commented Solid State Logic CTO Enrique Perez. “We’re excited to apply our decades-long expertise to bring one of the most useful, high-quality, value-based audio products to the consumer market. Whether you’re a remote worker, an international jet-setter , an inspired content creator or a musician, SSL CONNEX is a very high quality solution that will help you deliver and capture your ideas with immediacy and clarity.

Microphone and DSP SSL CONNEX modes

SSL CONNEX is a technology powerhouse, in a sleek portable format. Its high-quality, precision-engineered quad microphone array is acoustically engineered through its efficient decoupling mechanism and powered by sophisticated studio-grade sound/DSP processing. Developed using Solid State Logic’s deep understanding of music and audio production, four custom “User Modes” are available to get the best sound in any scenario. For people pushing creative boundaries, an advanced immersive mode is also available:

White: Solo mode: Optimized for a single sound source from the front of the unit, e.g. conference/WHF calls or live streaming with a single presenter. SSL CONNEX is optimized for speech coming from the front while reducing unwanted sounds from the rear and side faces. Struggling to make clear calls in a busy office, cafe or airport lounge, “White: Single-player Mode” is the answer.

Green: Group mode: Designed for multiple sound sources, such as a panel discussion or a live broadcast with multiple presenters, SSL CONNEX’s four-microphone array and automatic smart mixer means all presenters are heard clearly and unwanted background noise is eliminated .

Magenta: Voice mode: Vocal mode is for when inspiration strikes and you just need to record that performance. Utilizing legendary SSL EQ and dynamics processing algorithms to enhance your recording or live stream, Vocal mode will reject sound from the sides and rear of SSL CONNEX, making your performance absolutely singing.

Blue: Music Mode: Designed for a group of musicians positioned around SSL CONNEX, Blue:Music mode captures creativity as a group in all its collaborative glory. SSL CONNEX intelligently changes the sensitivity of the microphone array to reduce background noise and unwanted background noise. Blue: Music mode accepts louder signals commonly found on acoustic instruments. Combine that with SSL CONNEX’s sophisticated studio-grade processing and you’re on your way to an exceptional soundtrack.

Immersive: All four modes feature an advanced immersive recording setting. This lets you access each of the four individual mic sources for immersive, spatial recordings or broadcasts.

High quality headphone output, smart interface

On the front of SSL CONNEX is a powerful, high-quality 3.5mm headphone output, which delivers ultra-clear sound to your headphones during video calls, recording sessions, or just listening to your favorite music through SSL’s professional-grade audio converters. The headphone output also has a loop-through option, which is useful for ambient “room” monitoring. A smart touch interface at the top of the unit offers options to adjust headphone levels, microphone mute, push-to-talk, and the ability to cycle through the four different DSP parameters, as well as enter immersive mode. A backlit, colored SSL panel allows users to quickly identify both the microphone mute status and the currently active DSP setting.

Main characteristics:

• Advanced portable USB microphone with high quality quad condenser microphone array for conferencing, content creation and recording.
• Sleek portable design, using high quality components.
• Optimized studio quality processing using SSL EQ and dynamic algorithms from professional studio and broadcast products.
• Acoustically designed decoupled microphone capsules.
• Four predefined user modes:
– Solo (directional; e.g. individual use for conference calls, podcasting, streaming)
– Group (e.g. round tables)
– Vocal (e.g. vocal recording, narration, rap)
– Music (e.g. recording of loud sources)
• Advanced immersive mode to access individual mic signals.
• Optimized mix settings to ensure everyone is heard.
• High power 3.5mm headphone output for crystal clear sound.
• Microphone loop-through option for ambient monitoring.
• Touch controls to adjust headphone level and mute microphone.
• Cough Switch’ and ‘Push To Talk’ functions to temporarily activate/deactivate the microphone.
• RGB backlit Solid State Logic logo indicates mute status and user mode.
• 1⁄4 inch camera tripod thread in base with included mic stand thread adapter for flexible mounting options.
• 2m USB Type C to C cable and USB Type C (female) to Type A (male) adapter included.
• Powered by USB.
• Compatible with Windows and Mac OS.
• Works with a USB laptop or tablet.

For more information, please visit the SSL CONNEX product page at: https://store.solidstatelogic.com/SSLCONNEX

About Solid State Logic

Solid State Logic is the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for music, broadcast, live and post-production professionals. For more information on our award-winning products, please visit: www.solidstatelogic.com

Media Contact
Company Name: Solid state logic
Contact person: Jeff Touzeau
E-mail: Send an email
Town: New York
State: New York
Country: United States
Website: www.solidstatelogic.com

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Behind the Scenes of OMTA’s Original Production, Portal – The Oberlin Review https://borealnet.org/behind-the-scenes-of-omtas-original-production-portal-the-oberlin-review/ Fri, 04 Nov 2022 21:03:17 +0000 https://borealnet.org/behind-the-scenes-of-omtas-original-production-portal-the-oberlin-review/ College sophomore Lila Iyengar Lehman, Charley Schmidt and Jaka Jacklin separately shared their experiences working in tech for the show Gate. The show is co-directed by College sophomore Abigail Nordan and College sophomore Becca Dulaney, and runs November 5-6. Gate The cast and crew were told they would not have access to the space they […]]]>

College sophomore Lila Iyengar Lehman, Charley Schmidt and Jaka Jacklin separately shared their experiences working in tech for the show Gate. The show is co-directed by College sophomore Abigail Nordan and College sophomore Becca Dulaney, and runs November 5-6. Gate The cast and crew were told they would not have access to the space they originally thought they would play just weeks before they opened. Lehman, who is in the lights, Schmidt, who designed the set, and Jacklin, who handles the sound, each faced individual difficulties when redesigning their original plans. Going behind the scenes of lights, sound and decor is a rewarding and rewarding but arduous process, and they are all happy with the end product of the show.

These interviews have been edited for length and clarity.

How did the change of scenery go for you as a lighting designer?

Lila Iyengar Lehman: It was definitely stressful for me, especially since I’m fairly new to lighting design. Last year, in the fall semester, I worked on the production of hand dance. I wanted to be an assistant stage manager, but they needed a lighting designer, and I thought, “I guess I can learn how to do lights.” The second show I did was The theory of relativity last year in Wilder Main Space. Because it was in Wilder, I was like, ‘Okay, I know how it works, I can totally design lights for Gate.” So when we had to change locations, it was very weird for me. This transition not only required moving all the lights, but also learning a lot of new gear that I had never dealt with before. The lighting design itself wasn’t that difficult, it was more about whether the design could be done with fewer lights, since we didn’t have access to that many lights. We have these three big trusses, which are like 10-foot-tall tripods, and each of them can hold four lights. We had to limit ourselves and how many lights we used because I could have had 24 or 25 in Wilder; it was my plan. So I just had to rework the plot a bit, which wasn’t that hard. The hardest part was trying to work with fewer lights.

Was this abrupt change a learning experience for you in any way?

LIL: Honestly, it’s been good in so many ways. The Oberlin Musical Theater Association asked people to help me through the process. Nelson Gutsch and Andrew McCracken, two second-year dual degree students, both work in the lighting studio. On the actual day of the move they had to show me how everything worked with the trusses and installation. It was the kind of thing where having someone who understood a little better than me to answer all my questions was really nice. When this was all thrown at me, I just wanted a month or two of practice and experience with the equipment before I had to put it into action immediately. I’m sure there are things that could have been done more thoroughly had I had more experience with the equipment. It was stressful for me, but it was also a great learning experience. I learned a lot of details about how to hook everything up, all the different cable connections, how everything is wired up and how everything needs to be set up. We also received eight new LED lights. I learned a lot, but right now, right in the middle of production week, I’m having a hard time seeing this as a silver lining, because I’m so overwhelmed.

How did the cast and crew handle this together?

LIL: The community is so beautiful. I didn’t have a lot of time to get to know all the actors, but they’re all amazing people. At first we weren’t even sure if we would get a show as we were told that Wilder was unavailable and they were trying to find us a new space. It was all really up in the air for a few days, and we had to let the cast know. When we told them they were all very supportive. Nobody thought about giving up, which was really motivating for us. Everyone totally stuck to it throughout the process. It’s disheartening when tons of things go wrong, and we’ve all really felt that, especially during these last few days of tech rehearsals. However, everyone has been super, super supportive of each other. I think that’s what really makes a show survive and succeed – the people involved. Each theatrical performance is about the unique group of people presenting it.

What does your work as a scenographer consist of?

Charles Schmidt: Interestingly – and probably a problem on my part – when I first signed up, I thought my job as a set designer was just to design the set. It turns out that the designer of any specific aspect of technology also manages the process. So, I designed the set, set the budget, bought the materials, built the set and moved it into Langston Hall.

How did you physically manage the new space?

CS: We took the piano out of the room and put all the chairs to one side. In Wilder you have a lot more space, and the way we were oriented it was a much longer space and not as wide. The hardest part was probably the windows. They’re such gorgeous, beautiful, huge windows, and that’s not really an issue for me, it’s much more of a lighting issue – it interferes with the lighting in the theater.

The directors already had an idea of ​​what they wanted the set to look like. So I was looking at the drawing, and from there I just needed to make it work in space. I wanted to use what we had in stock to keep the budget low. For this reason, I looked at what we had and what we could use. Then I figured out how I would take those things to make the most realistic version of what the director wanted. It’s a very collaborative process, so you really have to be in touch with the other people in the project.

How was the change of location for the sound?

Jaka Jacklin: From a technical point of view, the change between rooms went well for the sound. The majority of my work consisted of recording lines and creating sound effects. For the sound effects side, it was easy. I just needed to transport the audio files and my computer from place to place, no changes needed. However, for one particular’s lines, this one was a bit different. The lines and recordings themselves were adapted to the location; we were going to give the impression that there was someone talking on stage and who wasn’t really there. Because we changed stages, that obviously meant the effect was ruined. The week before Tech Week was a rush for me and the GLaDOS voice actor. The hardest challenge was just making sure we got all the lines in on time, because the change of location really upended that plan. We had about a third of the entire show’s lines recorded and adapted to our original location when the directors told me what happened. Other than that, nothing else was difficult. It was really a problem, but in the end I think I created something that I can be proud of at least sound-wise. Location doesn’t matter when we’re doing the show itself.

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How the new wave of synthetic audio can save European media from themselves https://borealnet.org/how-the-new-wave-of-synthetic-audio-can-save-european-media-from-themselves/ Wed, 02 Nov 2022 09:46:04 +0000 https://borealnet.org/how-the-new-wave-of-synthetic-audio-can-save-european-media-from-themselves/ No one can deny that the media industry has been struggling for quite some time. As a young journalism student in the early 2000s, I witnessed the changes taking place in the media space. By the time I was finishing college, several magazines had already closed and the rest were trying to make the transition […]]]>

No one can deny that the media industry has been struggling for quite some time. As a young journalism student in the early 2000s, I witnessed the changes taking place in the media space. By the time I was finishing college, several magazines had already closed and the rest were trying to make the transition from print to digital, many of them without much success.

Today, in the third decade of the new millennium, things are still happening in media – but there are now more resources available to publishers. For Matthias Lehmandirector of operations of Aflorithmicthe the world’s first fully automatable solution for end-to-end audio, print journalism has missed the mark when it comes to the internet.

First, publishers offered everything for free; then they bet on advertising. After losing classified ads to specialized platforms, many have turned to clickbait – a phenomenon that harms journalism. “So what is our solution to this? There is still a lot of news being generated. Our offering is that you can reuse the written content you already have and turn it into audio content,” says Lehmann.

Aflorithmic thus offers publishers a new format, easily monetized using podcast platforms. On top of that, media companies can save a lot of money by bypassing the traditional studio and sound engineering process.

Aflorithic team in Barcelona

It is possible for media companies to do this themselves. If they’re extremely efficient, they can probably produce audio content in about two days. But with Aflorithmic’s technology, they can do it in just 10 minutes. Time and money are two factors struggling media companies need to be aware of. Newsrooms are getting smaller every day and efficiency is always welcome.

The German case study

Heise is one of Germany’s leading high-tech news media that has created a successful daily podcast. This new format is starting to bring them publicity. Their problem started when they realized they needed to produce more audio content per day.

“Once a day in the modern world we live in is no longer enough. In a global society, if you don’t create something overnight, you’re out of date and you’re not really competitive enough,” says Lehmann.

The publication’s editor wanted to double the reach, but the podcast host, who was already going through the recording process once a day, couldn’t handle the extra workload. So they created a synthetic version of his voice, using Aflorithmic’s AI-based infrastructure. They were then able to launch a second version of the podcast, using the synthetic voice of the presenter, which received an excellent reception from the public.

“The best podcasts will always have a human speaker. But sometimes there is too much news to cover or a media outlet really wants to expand its reach but cannot because of its resources. This is where we come in. As a listener, you always get the news. Even the journalist’s work has improved because she has more time to focus on other work,” says Lehmann.

Benefits of audio

Aflorithmic is already working with different media companies in Spain, Italy and Germany on synthetic audio projects involving podcasts. The growing interest in audio stems from the fact that screen time is pretty much maximized, according to Lehmann. “You can’t put more content on a website that has already maxed out what a person can actually consume,” he says. Another important factor is accessibility and the laws that are going to be passed in the coming years – synthetic voice allows publishers to quickly convert written content into audio which can also be enjoyed by visually impaired users. But the most interesting part of the synthetic audio trend is that companies like Aflorithmic are creating an audio production tool that simplifies the entire production process.

According to Lehmann, media companies are well aware of the fact that they are losing revenue and are starting to look for a solution in audio. But many still lack the resources and know-how to get the most out of this format. “One thing that is sometimes hard for media brands to grasp is the notion that you can’t just take written content and then make it sound and expect people to listen to it. Written content is not designed for audio, so you have to be prepared to adapt it a bit,” adds Lehmann. However, when companies know what they are doing and use the right tools, these adjustments can be made in as little as 10 minutes.

Aflorithmic’s vision is to build a versatile infrastructure, so anyone can produce high-quality audio using synthetic media with the click of a button. To achieve this, they developed four “engines”.

The first is the podcast engine, which they use with Heise and other European publications in Spain and Italy. For the second engine, which focuses on AI advertising, they partnered with DanAds, a Swedish ad technology company for self-service ad management, to create synthetic ads and publish them directly to publisher websites. The result is professional-quality, ready-to-publish audio ads created in just seconds.

The third engine is called DCO (Dynamic Creative Optimization). It is very similar to the AI ​​ad engine, but users create several different versions of the ad at once, with up to 15 different background tracks, five different voices, and 10 different languages. The last engine is for video voiceover. In this way, Aflorithmic plans to become a one-stop-shop for all things audio production. Media companies are just the beginning, but the future promises even greater and more exciting reach.

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iZotope kills its Iris 2, BreakTweaker and Trash 2 plugins as Soundwide elimination continues https://borealnet.org/izotope-kills-its-iris-2-breaktweaker-and-trash-2-plugins-as-soundwide-elimination-continues/ Thu, 27 Oct 2022 09:50:30 +0000 https://borealnet.org/izotope-kills-its-iris-2-breaktweaker-and-trash-2-plugins-as-soundwide-elimination-continues/ Since Native Instruments and iZotope have been merged into a new company known as Soundwide earlier this year we have already witnessed the demise of Absynth from NIand now it turns out that iZotope Irises 2 synth, BreakTweaker drum machine and Trash 2 the distortion effect follows to the great connect retirement home in the […]]]>

Since Native Instruments and iZotope have been merged into a new company known as Soundwide earlier this year we have already witnessed the demise of Absynth from NIand now it turns out that iZotope Irises 2 synth, BreakTweaker drum machine and Trash 2 the distortion effect follows to the great connect retirement home in the sky.

A statement on the iZotope website says (opens in a new tab): “The iZotope Iris 2, Breaktweaker and Trash 2 products are no longer available for purchase on iZotope.com. Support for these products will remain in effect for 12 months from the date of purchase.”

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Giorgia Meloni is to be sworn in as Italian Prime Minister. Some fear the right turn she promised to take https://borealnet.org/giorgia-meloni-is-to-be-sworn-in-as-italian-prime-minister-some-fear-the-right-turn-she-promised-to-take/ Sat, 22 Oct 2022 04:06:00 +0000 https://borealnet.org/giorgia-meloni-is-to-be-sworn-in-as-italian-prime-minister-some-fear-the-right-turn-she-promised-to-take/ Rome CNN — Giorgia Melonthe far-right leader who is to be sworn in as Italy’s first female prime minister, won the election on a campaign built around a promise to block migrant ships and support traditional “family values” and anti-LGBTQ themes. She leads an alliance of far-right and center-right parties, led by her own Brothers […]]]>


Rome
CNN

Giorgia Melonthe far-right leader who is to be sworn in as Italy’s first female prime minister, won the election on a campaign built around a promise to block migrant ships and support traditional “family values” and anti-LGBTQ themes.

She leads an alliance of far-right and center-right parties, led by her own Brothers of Italy, and is set to form the most right-wing government Italy has seen in decades.

Meloni’s victory in last month’s parliamentary elections suggests that the lure of nationalism remains intact in Italy – but his vow to take the country in a right turn still leaves many unsure of what will happen next.

The new government is made up of a coalition with two other right-wing leaders. One is Matteo Salvini, a former interior minister who became a darling of the hard-right in 2018 when he transformed his party, the League, once a breakaway party in the North, into a nationalist force.

The other is Silvio Berlusconi, Italy’s centre-right former prime minister who is widely remembered for his “bunga bunga” sex scandals with young women. Both men have previously publicly expressed their admiration for Russian President Vladimir Putin, prompting questions about the coalition’s approach to Russia.

And just this week – a few days before the start of consultations on the formation of the government – secretly recorded audio circulated in which Berlusconi seems to blame Putin’s invasion of Ukraine on Kyiv and boasts of having restored relations with the Russian leader.

“I reconnected with President Putin a bit, not badly, in the sense that for my birthday he gave me 20 bottles of vodka and a very sweet letter, and I responded by giving him bottles of Lambrusco “Berlusconi said in the clip. , published Tuesday by the Italian news agency LaPresse. The 86-year-old billionaire and media mogul was talking to members of the Forza Italia party at the time.

A party spokesman denied that Berlusconi was in contact with Putin, saying he told lawmakers “an old story referring to an episode many years ago”. Berlusconi defended his remarks in an interview with Italian newspaper Corriere della Sera on Thursday, saying they were taken out of context.

Amid backlash over the comments, Meloni, who has been a strong supporter of Ukraine as it battles the invasion of Moscow, sought to clarify where she and the coalition would stand once in power.

“I have been and always will be clear, I intend to lead a government with a clear and unequivocal foreign policy. Italy is fully part of Europe and of the Atlantic Alliance. Anyone who disagrees with this cornerstone will not be able to be part of the government, at the cost of not being a government. With us in power, Italy will never be the weak link in the West,” she said.

Nonetheless, liberals in Italy and across the EU fear what the promised rightward shift could mean for the country and its future – while conservative voters believe only a strong-armed politician like Meloni can take the country out of the crisis in a context of growing energy. costs and high youth unemployment.

“Meloni does not voice the voting choices of hard-right voters, because we have data that shows she was voted in mostly by the center-right,” political science professor Lorenzo De Sio told CNN. Luiss Guido Carli University.

“I would say that Meloni’s motto is to be a kind of new conservative, that is, the conservatism of the 21st century. She might have a distant connection to the post-fascist legacy, but that’s clearly not the core of her political platform now.

Meloni grew up in the working-class Roman neighborhood of Garbatella, a historically left-leaning part of southern Rome that was built during the fascist dictatorship of Benito Mussolini. She made her political debut in the Youth Front movement, a political organization with fascist roots.

She then created her own political party, Brothers of Italy, which in just four years rose from 4% of the vote to 26% in elections last month. Although this does not represent the majority of Italians, thanks to its partnership with Berlusconi’s Forza Italia and Salvini’s League, the coalition has enough seats in parliament to govern the country.

Back in the Garbatella district, among the fruit and vegetable stalls where Meloni went with her mother, some residents remember her as a child, long before she embraced politics. Opinions on what she will be as a leader vary widely.

“I know her very well. I had known her since she was little,” said Aldo, a fruit and vegetable vendor from Garbatella who has run his market stall for decades. “His mother used to come here to shop. She always had a book in her hand to study. If she moves forward like she did when she was little, she will be strong.

He added: “You have to have a strong fist. Period. You understand? This is how we move forward. Otherwise Italy, kapoof, it’s gone!

Gloria, a lifelong resident of Garbatella, said she was worried about her children's future freedoms after Giorgia Meloni's victory.

Just across the street from the market, Gloria, who was born and raised in Garbatella and helps her son at his Roman food stall, has very different views.

“What she’s said so far terrifies me,” she told CNN.

“There are a lot of people who connect with those kinds of conservative ideals because they’re racist, because they’re not progressive. I have three children and I wonder if my daughter will have the freedom to have an abortion if she wishes, to be a lesbian?

Meloni has lately sought to distance his party from its neo-fascist roots. His policy proposals have also evolved over time, including backtracking on some of his most anti-EU ideas.

In 2014 she said: “Italy must leave the euro!” and called on Congress to revoke sanctions against Russia. Now, according to her draft government plan and her latest comments, she wants Italy to be a “protagonist within Europe”.

Emiliano, a local who shopped at Garbatella market, said he didn’t bother to vote in the last election. “Neither the left nor the right deserves a vote. Before, politicians ate but we ate too. Now only they eat,” he said.

With the skyrocketing cost of energy, the risk for Italian businesses and households is high. According to Coldiretti, the largest agricultural aid association in Italy.

According to a recent report by Coldiretti, rising production costs have forced many small agricultural businesses to close for the season because they cannot cope.

Sabina Petrucci runs the family olive oil business, Olio Petrucci, and is also a member of Coldiretti’s European Young Farmworker Council. She is hopeful and thinks that the only way to solve the current problems is through strong political leadership.

“We need a very concrete government that helps us with energy costs and also to get the financial aid and the financial assistance that we may need in the future,” Petrucci said. “A lot of producers in the region are stopping their production, they are really afraid of the increase in costs.”

She describes rising energy costs as “the main threat to us”, adding: “We opened our factory, but production costs increased throughout the summer.”

Sabina Petrucci, director of family-owned olive oil company Petrucci Oil, said many in her industry are alarmed by rising energy and production costs.

Italy has the third-oldest population in the world, but Meloni and his party have worked to connect with Italy’s youth, the next generation of voters. She herself entered politics at the age of 15, after joining the Youth Front, the youth wing of the Italian Social Movement (MSI), a party created by Giorgio Almirante, who was a minister in the government of the fascist dictator. Benito Mussolini.

Francesco Todde is a leader of the National Youth Movement, a political movement set up by Meloni’s Brothers of Italy party in 2014 to connect with a younger generation of politically interested Italians who have been frustrated with the political status quo.

Francesco Todde, Elisa Segnini Bocchia and Simone D'Alpa are members of the youth movement of the Brothers of Italy.

“Giorgia Meloni comes from a background of political youth, so she has always paid a lot of attention to youth and made reforms for youth. At the beginning of her political career, she was Minister of Youth”, a- he told CNN.

Elisa Segnini Bocchia, another committed member of the National Youth Movement, responds to the reasons why some quickly associate this movement with fascism: “Our past is not our future. So we don’t look at the past. We seek the new future.

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Adobe previews the world’s first cloud camera integration with RED and Fujifilm https://borealnet.org/adobe-previews-the-worlds-first-cloud-camera-integration-with-red-and-fujifilm/ Wed, 19 Oct 2022 00:36:40 +0000 https://borealnet.org/adobe-previews-the-worlds-first-cloud-camera-integration-with-red-and-fujifilm/ Adobe previewed the world’s first cloud-camera integration with RED and Fujifilm. The new Camera to Cloud integrations built into RED Digital Cinema V-RAPTOR and V-RAPTOR XL camera systems and Fujifilm X-H2S Digital mirrorless cameras allow production teams to automatically transfer media from the production set to the cloud, allowing the post-production team to immediately begin […]]]>

Adobe previewed the world’s first cloud-camera integration with RED and Fujifilm. The new Camera to Cloud integrations built into RED Digital Cinema V-RAPTOR and V-RAPTOR XL camera systems and Fujifilm X-H2S Digital mirrorless cameras allow production teams to automatically transfer media from the production set to the cloud, allowing the post-production team to immediately begin working on the footage.

Recently announced Adobe Camera to Cloud integrations streamline the process by moving media directly from cameras into organized Frame.io folder structures, without the need for intermediate devices, saving both production costs and time. time. According to Adobe, the new evolution of the camera should become a standard within the next decade.

RED and Adobe have teamed up to introduce this technology so users can directly send RAW and proxy files to edit via the cloud.

Screenshot 2022 10 19 to 10 25 38

Since their launch, the RED V-Raptor and V-Raptor XL have been C2C compatible thanks to the use of the Teradek CUBE 655. With this new update which will be available at the end of 2022, the RED V-Raptor and V-Raptor XL
be able to upload 8K REDCODE RAW files directly to the cloud from the camera. While this currently requires access to a high-bandwidth network (wireless or Ethernet), it represents the next tangible step into the future of cloud-based RAW workflows. Productions will be able to deliver original camera files (OCF) directly to the post office as they are filmed. Virtual productions or complex visual effects can send OCF directly to the VFX house and ProRes files can be automatically delivered directly to production
offices for immediate assembly. For productions that want the highest
Quality dailies, RAW video and audio files can be synced, color-corrected and transcoded in the cloud thanks to our integration with Colorfront.

This new update will also enable a native ProRes proxy workflow that contains every ounce of asset metadata available in camera. ProRes files are supported for playback on Frame.io, so these high-quality files can be viewed, shared, and edited without requiring additional transcoding. This means that you will be able to shoot in 8K RAW with a
Frame-accurate ProRes proxy and download 8K RAW, proxy (or both) as fast as your internet allows. It also accurately captures off-speed recordings.

Screenshot 2022 10 19 to 10 27 08

The FUJIFILM X-H2S is the world’s first digital camera to natively integrate with Frame.io Camera to Cloud. When paired with the FT-XH file transfer attachment to establish an internet connection, photography workflows will be completely cloud-based, with Frame.io supporting high-resolution RAW files with tools for magnifier, navigation and annotation.

Screenshot 2022 10 19 to 10 28 16

The X-H2S can download ProRes and proxy video files. You can share files or publish them without ever having to swap out a drive or camera card or any other type of physical media. The expected firmware release date for the X-H2S and FT-XH is Spring 2023.