The Sadness of Sound

The Sadness of Sound

A meditation on the state of sound in our lives and ruminations on fixing it.

Let there be no noise made, my gentle friends, unless some dull and favorable hand will whisper music to my weary spirit. - Henry V, Act 4, Scene 3.

Alright, this may come off as a bit of ‘much ado about nothing’ to some, but the state of sound all around us is frustratingly bad and only getting worse. We live in a world where we are constantly bombarded by a cacophony of noise that distracts and dulls the senses; like the ever-present background radiation of the universe, we have come to accept, however begrudgingly, its intrusive presence. 

An international parasite seems to have wormed its way into our heads, hearts, and souls, dragging down our expectations like Jacob Marley’s chains. In 1991, Karlheinz Brandenburg opened Pandora’s box by successfully converting Suzanne Vegas’ Tom’s Diner into the digital domain(as an MP3), bringing us the blessed curse of quantity over quality.

The Meh! Of Mediocrity 

The remarkable achievement of digitizing music has fulfilled its promise to ‘democratize’ access to songs from around the world, breaking new bands and saving niche artists from obscurity. The technology requires balancing file size and sound quality, compressing data where possible while providing good enough delivery. The palpable joy of carrying hundreds of complete discographies in a pocket comes at the cost of losing many rich elements that add depth and lushness.  

The overwhelming ubiquity of MP3, originally seen as a tool to level the playing field, dulls our senses with mediocre audio and takes the soul out of sound. The MP3 foundation agrees, officially killing off professional licensing in 2017, stating: “The codecs of the AAC family, for example, are included in billions of devices today and provide excellent sound quality at low bit rates.”

Cut Throat Communication 

 So, here we are, conditioned to accept that ‘just good enough’ is more than adequate. Live events folks like to throw around the phrase ‘good enough for rock n’ roll,’ but this is a great misnomer. From symphonic metal to lo-fi grindcore and punk, the sound generated is carefully crafted. Why do we accept the sub-par sound in our daily lives, especially in business communications?

 

During the pandemic years of remote work, universal distance learning, and streaming presentations, audio quality was clearly an afterthought, even when we realized that the situation was to be a marathon. It is possible that many saw investment in upgraded hardware as a temporary hiccup and not as a wise use of company money. Yet, the situation was terrible for years prior. 

I am an avid listener to Bloomberg radio, not that I have any real money to invest, but the socio-economic ramifications of market changes fascinate me. As such, I get to hear a ton of earnings calls from companies large and small, and boy, howdy are they terrible. The sound is akin to kids shrieking over tin cans connected by a fishing line; in reality, two guys are shouting into a speakerphone.

 While some put money behind comprehensive conference systems, why is there resistance to one-on-one or huddle rooms?

The Curse of Audiophiles

Various attempts have been made to inspire a popular uprising by consumers, playing off ingrained cultural desires for the latest and best and one-upping their friends. So far, the results have been lackluster. Star-backed platforms like Neil Young’s (now defunct) Pono and Jay-Z-fronted TIDAL have made inroads with a niche demographic—generally wealthy status-conscious men. Surveys and polls show that most music listeners put availability over audiophile aspirations, at least regarding the cost of file formats.   

There is an oft-told joke about modern vinyl fans: What attracts them to the format is its expense and difficulty in making it work right. Comedic simplifications aside, there is no better example of the overwrought and avarice of so-called audiophiles than the now-defunct Rocky Mountain Audio Show. This yearly gathering of self-important audio mystics chanting over meteorite-sourced metal tweeters and rare wood cabinets smoothed by exotic virgins from lost islands has killed the better audio aspirations of the masses. 

Seriously, why would anyone think they can join the League of Better Sound when comment boards are filled with claims that crystal-infused slate platforms and naturally damping volcanic cones dramatically improve audio from a CD player? Add to this ‘essential components such as $1000 Streaming DACs, $8000 tube amplifiers, $20k speakers, and $600 hokum accessories- oh my! 

Seriously, while looking at the hope diamond is lovely, anyone insisting that to be truly fashionable, you must wear jewelry of equal value and ostentation is socially deaf and damages perceptions. Are we, as an industry, guilty of the same?

Making Presence A Priority 

We want our voices to be heard when we speak with a group of friends, on a conference call, or during a Zoom meeting. Ensuring everyone on a conference call is distinct should be a priority for everyone, not just the geeky AV folks. When properly punctuated, a voice imparts presence, giving ideas and statements a sense of authority and gravitas.

In order to change the mindset of just good enough to solid solutions, we need to provide clients with practical implementation without the Tiffinay boxes. Sometimes, this happens on a grand scale, an epiphany with angelic choir music. In reality, it takes baby steps, integrating higher-quality files, better headphones, and home entertainment. When people make better sound part of their everyday lives, they begin to demand it everywhere. 

How do you convince clients or yourself to pursue better sound daily? Or have we already stepped too far over the precipice?

This article was originally posted on AVNation.tv Features on February 24, 2024

Psychotic Reactions Go Bang

Originally posted on the AVNation.tv blog - July 22, 2013

This is Part 2 of the strange trip that Infocomm 2013 was.  It is highly recommended that you read Part 1 here  

I am unclear as to how I got here, ‘all these tubes and wires...’ to paraphrase Mr. Thomas Dolby.  The cottonmouth and clammy skin are indications of a night lost to the reveries as at least a witness, if not a participant, in the annual show ritual of parading half-consciously through the hotel lobbies. These indicators are only second to the throbbing of my temples and the insistent buzzing in my ears.  I feel as though I attended an all-night ‘silent rave’ with my headphones blaring Rancid covers of Mel Torme songs.  All apparent signs indicate that I made it home of my own accord. I last recall that there were great rumors afoot that Apple’s ecosystem had usurped the show with an empty hall and a single booth.

Great Armies were gathering.

My plan (or is that pram? My notes are a mess here) was to arrive early and report firsthand on the carnage. I could see it through the haze of the morning Floridian thunderstorms, ritual bonfires, burnt Ozone, and cannon smoke. Just now, I have the flash of memory of entering the hall bemused by the wake-like quiet and the low rumble of mulling crowds.  Rubberneckers, i thought,  members of the international society of Schadenfreude affectionado’s more likely - these bastards show up in every crowd.  I  was being paid to be here, quelling the nausea is a job hazard, one steels the self to take it all in and report the horrors to the sedate civilians. I made steadfastly toward the exhibit floor doors with the intent of getting a first view and a keen determination to inhale the acrid smells of battle mixed with the fresh linen scent of the pod people of Cupertino.  

Upon opening the door, there was the blinding light from the show floor, which caused me to reach out blindly, bumping into the grunting crowd similarly afflicted, all of us groping for a center with mad abandon, willing our pupils to dilate. White lab mice lay strewn before me, shuddering in disoriented jerks. Given a few more moments, I am sure my bearings would have returned, but then came the enveloping cacophony - a demonic surround sound on steroids - it was like Barry Bonds and Theo Kalomirakis merged V’ger like into Vladimir Gavreau’s love child.  The effect forced a full cerebral shutdown until the mass of stimuli could be processed.  As I began to fade into black, the air was a knife cut thick with hopeful chatter, morning coffee, eggs, a hint of mint, and latex -( While I will not dare to presume the reason for the last item, this is a trade show after all). All of these things I could literally pull out of the air like notes of music to a synesthete.

When I awoke, quivering under a  thermal blanket and warmed under the hot lights of the Chauvet booth an epiphany issued forth from the Jorge Luis Borges thousand typewriting monkeys in my head. No war had been waged, no remarkable battle, no charging light brigades - This is a Psycho-Billy Circus complete with over joyful slap revered guitars. Psycho-Billy, the punk of southern garage bands, mixing Johnny Cash with MC5 and a dash of B movie horror thrown in for spice - rock n’ roll’s sideshow barkers. To the uninitiated or those whose little grey cells are in need of more electrolytes, the show floor is an assault on the senses. It would seem that any manufacture of a device that can produce noise has ascribed to the late Phil Ramone’s ‘Wall of Sound,” accompanied by more flashing, blinking, pulsating lights that should be accompanied by photosensitizer warnings.  One does finally become accustomed to the sensory assault, but when the opportunity arises, leaving the floor into the lesser volume of the lobby can be just as disorienting, causing one to lose footing in a punch-drunk head space as the Cochlear nerve wiggles in its own version of a grand Mal seizure.  

But we were talking about what was on the inside, eh?  Just what were the presenters hawking Baptist ministers like from the company pulpits?   Oddly, there did not seem to be an overriding single theme this year; we’ve been trained to expect this, just like the film studios pumping out varying flavors of the same film over the summer and holiday seasons.  Is it really a coincidence that six studios released a film based on kids' games like Candyland and Chutes and Ladders?  The show floor did not seem to have this overly generic commonness, an associate of mine called it ‘evolutionary not revolutionary’. This, I think, hits the nail on the tail of things. The show itself was tremendous, but technology-wise, the industry has entered a tempo of sostenuto. 3D is dead (hooray!), but 4K is not like Savior-Faire (not everywhere), Apple - Apple everywhere, but some droids are creeping in; there is not so much vaporware there, but TIO might just be giving it a go, and Microsoft may be bleeding heavily from Surface losses, but Linq is inside everything (The song of HD-BaseT they sing).  Of new note is the oddly fascinating use of QR codes as a control and documentation interface by AMX

There is, not to put too fine a point on it, no bees in my bonnet as we watch everyone expand their product lines into places that overlap and hip-check current (soon to be former?) partners.   I am eagerly looking forward to next year's show, where we may witness a true Alaskan ‘Breaking’ party as the Ice cracks in the warm sun of Lost Wages, NV.   

What You Need to Know to Make Decisions About Web Streaming Services and Devices

 Originally posted to  Corporate Tech Decisions Magazine - April 29, 2013

Live Web streaming. If you mentioned these words only a few years ago, you would receive only a blank stare in return. Today's major product unveilings: Apple’s QuickTime series of products, Microsoft’s Internet Information Services media platform, and Adobe Media Server 5 are available and produce high-quality content. The result is that rather than traveling to attend a live broadcast, now people can attend right from their desks.

Streaming technologies are fast replacing the broadcast truck and satellite uplink for many meeting events looking to reach a national or global audience live. While Web streaming technology is not very new, its implementation in the event staging world is still emerging, and many users may be unfamiliar with the technology. However, on first look the technology and concepts for webcasting will feel familiar to most video-savvy people.

So What is a Web Stream Anyway?

 The simple answer is that it is video pushed out to an Ethernet LAN (local area network) / WAN (wide area network) or the Internet. Streaming is a transport medium that converts incoming video sources into a signal you can send across standard Ethernet networks. However, to get the video into an acceptable format, you need to modify it a bit.

The first step is to pass the incoming video, graphics, and audio through an encoder. This device converts the signal into a format that software players can handle. The encoded signal now needs to be molded or packetized in such a way that it can be received by a player looking like a single unbroken stream. Packetizing means the video and audio are not just digitized into a scheme of ones and zeros but that the output of the media encoder, often called the elementary stream, is divided into data packets of encapsulated sequential data. What this means is that the live video is converted into a digital format that an endpoint player can receive and reassemble in a logical flow as an orderly video.

Think of it like the old Pneumatic tubes business used to transport mail between floors. Because the system used bullet-shaped containers pushed by a cushion of air through the tubes, the mail often needed to be carefully bent to fit; the process of packetizing is a bit like this, only with thousands of mail a second arriving on your desk.

Unfortunately, the video squeezed into the transmittable container is still too large for all but the most robust and dedicated networks.  In order to get your video from one location to the next without compromising an entire data infrastructure bandwidth or that “real-time” feel, the signal must be made smaller. Continuing with the pneumatic tubes example, think of this as reducing the mail to be small enough to fit comfortably in the containers. The compression of 

The signal does degrade the image quality a bit, and here we have a balancing act of making the stream small enough to be sent and received in a timely manner with the quality of video “resolution.” This is a delicate balance. If too much compression is applied, the resulting signal can be unwatchable, the display size is too small, and networks may not be able to deliver the stream in a consistent manner.

Now that we have squeezed, molded, and stuffed the video into a deliverable product, we will have to undo it all at the receiving end. Once the video arrives at a destination, the software player has built-in tools to decompress the stream and decode the signal. In general, most computer media players have the ability to handle a good majority of the standard formats, such as Flash (as used by YouTube), Windows Media files (WMA), and H.264 (MPEG-4). There are some exceptions though, and depending a need for encryption security or level of high-quality video, a plug-in or proprietary player may be required. 

Data Movement on the Network

Most of us have at least a thirty thousand-foot view of how the Internet works. It consists of multiple servers and data switchers distributed across the globe, which we access via Internet Service Providers (or ISPs) such as a cable company or DSL. ISPs allow for simple, relatively quick, and mostly reliable service. Therein lays the rub. When connecting to a news page, a search engine, your local restaurant’s website, or even the cat videos on YouTube, the relatively quick and mostly reliable service is pretty much all you need. For the most part we do not notice the fluctuating download rates or are only mildly annoyed if we have to refresh a Web page to reconnect. 

When it comes to a live-streaming video of your presentation, such burps and blips are not what you want, and they can be downright devastating. There is no guarantee of the reliability of the network that the audience watching the show is using, but you can maximize the stability and availability of the content being delivered. Like the old adage of “garbage in equals garbage out,” we want to ensure we provide quality as far down the line as we can. This is where Content Delivery Networks (CDN) come in.

CDNs are just what the name says — a dedicated cluster of servers spread across multiple regions or locations that relay content such as Web objects downloads, applications, and streaming services from the source with reduced bandwidth costs and generally increased availability. A CDN network consists of thousands of nodes and an exponential number of servers providing the content to viewers via localized relay sites using what is called Point of Presence or PoPs. PoPs work to increase speed and reliability by delivering the media from a location nearest to the viewer rather than directly from the source, thereby distributing the workload and reducing delays or latency that would occur if a player were connected directly to the source location. 

Now that we have an outline of the transmission flow, you need to understand how the venue you choose can affect what you can do.

What You Need from the Venue

Clients and their designers choose venues based on a number of needs, including location, ability to accommodate the expected number of attendees, and aesthetics, but usually last on the list are the items that concern users the most. The technical capabilities of a building are often taken for granted, the thought being that if the venue is willing to accept a show, it must have all the requirements. This blissful attitude is doubly so when it comes to the Ethernet network. In most people’s mind an Ethernet network is just that like white bread in the grocery store, it is the same no matter where you go.  I just heard a collective sigh of “if only” from the AV/IT community.

The reality is far more disconcerting. The reliability and consistency of many presentation venues can be compromised by various factors, from poor design and maintenance to a fudging of the numbers. So, what do you need to know when verifying that a venue can support your need for a streamed broadcast?  The first question a Web streaming company you hire will ask is how many people outside the venue will be expected to watch some 

or all of the event. The question may seem irrelevant at first, but it is an essential one. Knowing the total anticipated viewership helps to calculate the viewer stream hours (VST). This number, the VST, will determine the minimum upload speeds the network will require. Making sure your vendor goes over this number with you is important as it will also affect the total cost. More viewers means more CDNs and more resources. Finding the VST involves a basic formula (Number of viewers x the bit rate (quality bandwidth) = VST).

In the pneumatic tube example, if the network of tubes is not maintained well or has complicated bends or turns, the mail department cannot send the letters in an expedient manner. This is also true for a venue’s Ethernet network or backbone. Asking and confirming the quality of the origination backbone (OG) is essential.  If the network or providing ISP has issues or inconsistencies, it will be big trouble for your streaming.

If you find that the backbone is fine, the next concern is network speed. Most ISPs, when advertising their quality of service, will tout download speeds, and while this is very important to the average home or business user for getting files, pages, or other content from the Web, the concern here is the upspeed. Not all ISPs treat the ability to upload the same and, in many cases, deliberately throttle the upload speeds and charge more, sometimes much more, for faster service. In some cases, ISP up speeds can be half to a third of the rated download speeds.  In streaming from our event venue to viewers webcasting is only concerned with the up speed, to be caught short could result in limiting the number of viewers, locations and quality of video. If at all possible, a minimum speed of 5 Mbits / second is recommended.

A lot of our discussion here has concerned the tools and processes to make a Web streamed video event stable and consistent. A static IP address for the streaming equipment is very important as well. Many large networks use Dynamic Host Configuration Protocol (DHCP) addressing, which automatically doles out or deactivates IP addresses from a table as needed or per a lease time rule. While broadcasting a Web stream upload via a DHCP address is not tragic, ensuring the system is using a static address can help make sure that any network rules or lease time issues will not interrupt the transmission.

If only you could eliminate the cable, life would be so much easier.  Do not, I repeat, do NOT use a wireless connection as the connection between the transmission rack and the ISP. An oft-repeated and sage commentary on Wi-Fi communication holds true that the wireless transmission of data is the single most convenient method of connecting to date, yet it is also the single most unreliable method ever concocted. Wireless, especially Wi-Fi, is highly unregulated and is, by extension, extremely congested. In even minor urban areas, the number of Wi-Fi routers, access points, and devices such as computers, tablets, and smartphones is awe-inspiring. All of this congestion means that the number of possible sources of interference is infinite, and the likelihood of causing disruption to your show stream is just too high. 

Why Go Pro?

At this point, you might be saying to yourself, “This all seems very complicated and requires a vendor to provide the service. My kids use Ustream and YouTube to stream to their friends — why can’t I use them too?”  The truth is you could, and services like Ustream, Stickcam, Bit Gravity, and the rest provide great service and tools. This may be a fair option for some shows, but beware that they also have some pitfalls.

As with anything free or cheap, you have to ask yourself how the service provider makes its money and why it is free?  Many online portals generate revenue by providing only standard-definition video unless you purchase a pro package. They also make money from ads. Often, ads are placed in your stream every so many viewer hours, and you do not get to choose the ads. Imagine your competitor's ad coming up during your show.  These services offer rates that eliminate the ads, but most are yearly plans, so an ad-free, two-hour presentation will cost you a year’s subscription.

Hiring a professional webcasting vendor ensures that you will have a fully vetted system, venue and assured CDN’s. A professional vendor will also have the skill to help resolve any issues that may pop up anywhere down the transmission path.

Providing your viewers with the option of a presentation webcast opens new doors of revenue for your business, creative flexibility, and extended reach for the viewer.  A little understanding of the mechanics can go a long way

 

 

Their Faces Haunt Me, Even Now

*This is a repost from an earlier blog on Tumblr (which is now defunct). The original post was made circa 2008-ish). 

I wrote this brief first person a year ago for a friend who asked on his blog if anyone in the AV industry would be willing to share their experience of September 11th.  My story is not that of those far, far braver than me who were trying to escape the buildings, and it is irrelevant compared to those who charged into the buildings attempting to save others.  It is quite like the thousands who experienced the day firsthand and offer it up only as one record of a moment that is still not settled in my head. 

 While my story is not about escaping from the burning buildings, I was there on that fateful day; more precisely, I was about 20 blocks away.

The company I worked for then and ten years later worked for again installed and had service contracts on the multimedia components for the Museum of Jewish Heritage, the National Museum of the American Indian, and several offices in and around the WTC.  

On September 11th, I was walking down the West Side Highway, making my way to MJH, when the
first plane struck.  I did not see nor hear the plan roar in as I was, in a youthful bout of folly, listening to my music at an obscene level (wearing a pair of Sony MDR headphones, which I still own). 

Just before the impact, I received a pager message asking me to go to an installation job at the Guggenheim first.  I was pissed as this was on the east side and uptown- completely in the opposite direction. I cranked up my music louder and turned my heel to find the nearest subway station.  By my reckoning, I entered the Houston subway at about 8:35.

As I exited the subway at 85th and Lexington, I turned on my radio to listen to WNYC’s morning
edition in time to catch a report that a ‘small aircraft, possibly a helicopter, had crashed into the North Tower.  My first thoughts were of the B-25 bomber that crashed into the Empire State Building in
late 1945.  But that was a cloudy day with low ceilings; this was a clear, bright blue day- odd.  The news went on, and I went into the Guggenheim. 

We were finishing up some project rooms on the lower level when we heard a scream from a meeting room just down the hall. This was no ordinary scream - someone was hurt.  We ran down the hall to find a great deal of commotion, and on the room's large screen TV, the South Tower was also now on fire and visibly swaying.  A second plane just hit, someone told me. I don’t remember sitting down.

As we sat and watched the live feed, the news was reporting three, four, or more planes possibly being hijacked as flight control reported that their transponders were off.  No one knew yet if this was just an attack on NYC or if other cities were to be attacked, but we did know that the subways were stopped and Grand Central had gone into lockdown. Unsure of where the next strike would happen and what famous building would be struck, we decided to leave.  We got outside just in time for my radio to crackle to life with high-pitched voices describing the fall of Tower 1 - which we could see clearly from the front of the museum. 

I could describe the horror. The shock- but what I remember the most is the near-heavy quietness
that overtook the city.  The scream of sirens that seemed ceaseless and the roar of fighter jets flying crossing patterns over the island broke initially but eventually became swallowed up in the quiet shock.  

All of the above does not consume me - it plays out like a TV show in my head, nothing more. What still haunts me are the posters and fliers of the ‘missing’ that were everywhere almost overnight.  Thousands of faces looking back atop and surrounded by desperate pleas to call if someone found them (hopefully in a hospital bed with no ID).

About a week and a half after the event, I was asked if I would be comfortable heading down to ground zero to diagnose, set schedules, and prepare the museums - especially the Museum of Jewish Heritage - for re-opening.   Nothing could have prepared me for the devastation, the still smoldering steel, and the smell.  

The smell of concrete, dust, and charred flesh. The latter hung in the air like a sheer curtain and lodged itself in your nostrils.  The walkways were lined with plywood boards filled with photos of the missing, notes of love and grief, stuffed animals, flowers, and lockets.  It still causes me to stream tears when I think of it, even now. The sense of loss is too great to ever diminish completely. 

My Strongest memory is of walking into Grand Central two weeks after the event and making my way to the missing person's boards around the facility (something, it seems, that everyone did even though the pictures never changed). The quiet urgency that seemed to
become our new normal was broken by a cry that expressed pain, surprise, and something
completely unanticipated, joy.  

As if one, we gathered around the board, moving in almost instinctively.  Grim faces turned and contorted in ways many thought would not be possible again. I saw on the faces of those around me the same quivering lips and streaming tears as on my face, along with the biggest grins.  To this day, this moment, the memory makes me weep openly and smile - to have seen that missing post plastered with large red letters scrawled across - FOUND!  Thank You, NY!

I have never hugged so many strangers before or since.  It was a turning point. She was ALIVE! FOUND and in the company of those who loved her. To me, then and now, it meant hope was still possible.

John Frum Syndrome

This article was originally posted on rAVE July 9th, 2012

I am a simple man, really; I like my coffee sans sugar and my whiskey straight up. As a general rule I avoid writing on -very- recent current events or product reviews simply because this is generally well covered by the real journos who get paid to perform autopsies. I also get my opportunity to comment on this sort of thing often enough on the AV Week Podcasts.

Even so there are a few subjects for which I am passionate enough about to come out of my shell and shout out about from the rooftops. One of these subjects is the litigious enforcement of an outdated business model or technology. From integrators who still decry the the loss of a single profit source model (flat panel installations anyone? Really?) to box electronics stores and the deplorable act of physical media companies desperately forcing the use of outdated and unwanted formats.

Let us face the facts folks, the days of physical media are over - and unlike the Mark Twain remark - the rumors of its death are not exaggerated, not even slightly. I am of the age demographic that is, according to the research organizations, supposed to be vehemently resistant to digital music formats. While I do still have a rather large collection of vinyl and CDs, (over 1,800 according to my spreadsheet log), I cannot honestly say I have played any in over five years, let alone purchased one. Have you?

I began to think about this around ‘National Record Store Day’ in April. I must admit that I do have a soft spot in my heart for the feel of a record in my hands and the warm hiss of needle in groove. The coverage of the day in magazines like the Big TakeOver, Pitchfork and Alternative Press did indeed make me wistful for the days when I had the time to spend several hours a week in a such stores. The experience, of being on the floor of a record shop with the smell of unfinished wood bins and slightly musty cardboard while enveloped in the sound of the store clerk’s selection, is akin to the romance of used book stores or the stacks at New York Library. - it is impossible to replicate in the digital music arena (not even in Second Life). Despite the many attempts to socialize the process online, the physical act of purchasing music in a communal space and the emotional attachment it conveys cannot be matched.

The success and joy that National Record Store Day generates does so despite the mad dog foaming at the mouth antics of the RIAA and labels. Perhaps this is because we often take musicians as our personal thematic avatars whose songs take on more personal meaning - the soundtrack of our lives. Yet, most of us desire, nay DEMAND, that the content be available in the digital dominion, free of physical restrictions. We all know the major labels have continued to spin themselves into a tizzy about the lack of distribution control and fought hard alongside the RIAA and ASCAP to prevent the inevitable from happening. What I discovered during the recording of AV NationTV’s ‘The DIY show Episode 8 is that the indie, self publishing and alternative music community is divided on the issue as well. The main argument against is that the sound of MP3 sucks and will always suck, but more importantly that digital brings the profit margin to one-tenth of what it used to be - even for the regional labels.

I see the validity of the argument, but even more clearly see that at this point, the fight is merely a philosophical one where windmills are fought and honor is established. Victory will not come for those who would decry or disavow the on demand revolution - but acceptance will not come easy.

It is the John Frum Syndrome which is, as I define it, a near ritualistic desire to bring back the near effortless rolls of profit by simply willing it.

The religion of John Frum is defined as a ‘Cargo Cult’ in anthropological circles - it has many similarities to the modern mystic making of the Rastafarians (who believe that the late Haile Selassie I, Emperor of Ethiopia was God incarnate). The main preoccupation of the cargo cult devotees is in preparing for the arrival of material goods as gifts from the gods via cargo planes. The religious sect builds elaborate mock airports by clearing swaths of jungle for runways complete with mock air traffic towers and deplaning terminals out of wood and thatch. It is thought that the cult originated late in World War II when Allied forces, specifically American, swarmed into pacific island chains while pushing toward Japan. These forces stepped onto islands where the native inhabitants had never seen another type of person let alone the great cornucopia of material goods the Cargo planes brought in. To these isolated folks the goods appeared to just come out of the aether. John Frum is thought to be a derivation of ‘John From America...’ such as a pilot introducing himself to a local chieftain while his plane is unloaded.

The religion still exists with the congregations acting out ritualistic military parades and maintaining the landing sites in hopes of having the gods grace upon them the riches their devotion and keeping of the tenets has earned.

In both cases, the cults of John Frum and the physical medium could have been excused in the past when the ability to know better was more difficult. This cannot be said today.

Presumptions are Dangerous Boomerangs

It would appear that the editor of Daily  DOOH  has taken umbrage at rAVe [Publications] methodology of show coverage.  I posted this to my Google Plus account but after looking around on the DOOH site I found even more sniping on the part of Mr. Adrian J Cotterill, this time about the apparent age and gender of rAVe's journalists.   Really AC?  

While this will not endear me to Mr. Cotterill I posted the below on the rAVe blog post:

An interesting bit of vitriol Mr. Cotterill spits out. I say interesting in that midway through reading his screed I kept thinking his real message is 'Get Off My Lawn You Whippersnappers!"

In my view, this is a classic example of new media vs old.  Industry professionals like myself gravitate to news sources such as Rave because of the timing and format it is presented in.  

Balanced is a funny word, what exactly do you mean by it sir? Balanced in that you decide which exhibitors I get to hear about or is there some preordained hierarchy of who gets coverage or what I should be interested in if I were but a learned AV professional such as yourself? 

I have had the opportunity to work professionally with the American rAVe staff as a manufacturers marketing person and as associates (rAVe publishes my blog and hosts the AV Nation podcasts I am producer for). I have found the individuals Gary hires to be professional, accurate and remarkably interested in the AV industry from all angles no matter how small or large.  The intensity they show translates into interest from the readers - What could possibly be wrong with that?!

I do not write for rAVe nor agreed as one of AV Nations advisory board members to partner with them just for business reason, I admire the sense of community and engagement they foster.  The online community of AV folks gather around them for the same reasons. 

As I read through the article and comments I was reminded of the infamous Bill Gundy episode on Thames Television circa 1976. Whatever happened to good times Bill anyway?

If you are unfamiliar with Bill Gundy you can see the moment he killed his own career ( and the staff at the Thames Television technical staff)  on YouTube.  *Warning the content is not for those who find expletives disturbing *   

 

 Bill Gundy typhooned his career because he engaged in Character Assassination with a group who were more fearless and smarter -(on the whole and despite appearances) then the learned and esteemed journalist.   The video shows an interview with the group 'The Sex Pistols' where the right honorable Bill Gundy proceeds to goad the band with devastating results.  Love him or hate him John Lydon, aka Johnny Rotten, is a horribly intelligent person  who channels the prolific anger of the situationist  into an artful confrontation.   Even in this interview you can see his eyes alight with the ghost of Guy Debord.  

Mr. Gundy did not know what hit him - presumptions are dangerous boomerangs 

Hoist Meet Petard.

White Spaces - RF beyond the Aesthetics

 

White Spaces,  Sounds like something your Art History professor would use to describe ‘the   power’ of an unpainted space on a Jackson Pollock.  

In fact White Spaces is the name for a contentiously battled over area of RF (Radio Frequency Spectrum) and yes it effects you and your AV business.

Until just a few years ago television stations broadcast their signals via three separate signals, one each for Picture, Color information and Sound. These three signals would be recombined inside the circuitry of your TV  to produce the complete picture.  These three RF spikes, creating mountains and valleys could be clearly seen on an off air oscilloscope.  The valleys and spaces between the channel signals is where many wireless devices would ‘sit’.  In large metropolitan areas where every possible channel was used, such spaces were invaluable.  When it came to wireless microphones, this was doubly so.  

Then came digital television.  This beast, not to be confused with HDTV -(the former can carry the latter but it may not always be the case), generates one signal with all the information.  Great! you might think - with two less signals to worry about there will be more room for other lower powered RF devices, right?

Um, No.  

While there is now only one signal it takes up a wide swath of space in a continuous signal. Bummer no? Yet there is a bright hope here.  The FCC mandated that all analog broadcasts (the three spikes) were to have ceased broadcast by June 26th, 2009. The plan is to sell off all the remaining ‘empty’ space to facilitate new communications technologies and less the RF congestion that now plagues wireless.  

Great, Right?!, Maybe.

Manufactures and audio industry folks have been raising a ruckus to insure that a defined space is available for the use of itinerant wireless devices such as microphones and intercom systems - such as those used at live events.  Sadly it took a small skirmish but it appears things have been finally worked out.

I learned about the true value of the analog television signals on  February 26, 1993, the day the World Trade Center was bombed.  One of my responsibilities as a rental tech was to test and calibrate wireless mic systems going out on jobs.  One of the tools we used ( and actually still have) was an off air oscilloscope or IFR, to insure that the IFR was itself calibrated we would tune it to a TV channel’s Picture RF spike.  Once we knew that the RF spike from. say channel four was reading accurate - we could then be confident that our mic signal was accurate and tune it accordingly.  On that February day I was still only just becoming comfortable with the operation of the IFR.  

As usual I brought up the Television channel to see that the unit was operating  as expected when it happened, the spikes - all three dipped then disappeared.  I checked a few more channels and they too were gone.  “Oh no”, I thought, “i have broken a $10k piece of test gear”.  With a mild sense of panic and depression I told the service manager of my actions.  He was a bit irked with me to say the least and stormed to my test bench.  He found the same thing I did until he brought up NY channel two, he then brought up the audio - which is where we heard the news that the WTC had experienced an explosion that had shut down the transmitter atop tower one. (Channel 2 still used the antenna atop the Empire State Building).  That is when we looked  out the office window which had a direct view of the WTC, to see smoke billowing up. I recall this event every time I look at a oscilloscope and it is the mental image I have of when I think of what the analog transmission shut down must have looked like.

Now that I am back in the event staging / live events world I have an renewed interest in just how the new landscape of RF should be handled and lucky for me the good people at AV Nation have a great podcast special on just this topic. The special broadcast includes Sennheiser's Eric Reese  and Kent Margraves with host Michael Drainer discussing  the FCC laws and tips to get your wireless to work flawlessly.  I highly recommend it to anyone who works with audio for live events, this is great stuff.

 

 

8-bit Nostalgia and Miss September 63's Influence on Tactile Controls.

I love my wife’s new nano, the slickness of the interface, its ease of use and the fluid movement of pages on such a small screen is pretty darn cool.  I almost wish Apple would release a developer’s kit to add a control interface capability. Aww, com’on you know you agree, this would be the ultimate key fob.

Yet, am I alone in feeling that the new nano and even the iPad is well, soul-less? I am troubled- only somewhat mildly mind you (I DO work in the belly of the beast)- by the frictionless gloss of icons.  In fact, in the spirit of true disclosure I have to admit that I do not get surround sound, having compared it to overblown quad some years back on a pro AV forum on AOL.   I still, mostly, stand by that assessment today. 

Which brings me to my main point; I miss the tactile feel of a physical interface.  Perhaps it is simple nostalgia but I long for the clickty-clack-clunk of an 8-track tape, the solid mechanical ka-chunk of open reel tape decks, and the tactile feel and response of weighted gain knobs. I am not sure just why I love these knobs so much, the sheer pleasure of them in my hand – they just feel right, perfectly balanced in my fingers and against my palm.  I could make an innuendo here, which would be apt and very Miss September 63, but I think you get the gist.  So deep is my love for the classic high-end gain knob that I argued vehemently to include a version on a product, I was asked to do some preliminary concept work on. (I also wanted it to have a more ‘retro’ look with a maple or cherry wood front. Perhaps I do have too many vintage Playboys with their Cutty Shark ads).  The product got its gain knob but the front is basic black and silver.  

Additionally I tend to gravitate toward older looking games. I still watch in awe at the offerings G4 reviews and get that reflexive itch when I am near new game consoles but I am drawn by a greater gravitational pull – the text based Zork.  If you have ever played this game, you know what I am taking about.  It is a simple game really; it is a treasure hunt with fighting trolls, endless caverns, singing demons in hades and an abandoned dam.  All of this, and your action commands, are in text for which you have to draw maps if you are to get through it all.  It is work, hands on paper and brain imagining in 3 dimensions. Do you know the old saying, that things are far more provocative when a little is left to the imagination, yeah – Sophia Loren like.

So, why I am blathering on about all this? What point could I possibly be trying to make?  I really dig this video by HOLLERADO:

 The Video is a one shot, one chance to get it right, human analog of effects.  'There was a time when we made things with our hands'

 

 

 

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