Freely and independently start and stop any number of audio or MIDI loops – everything stays in sync. Live syncs everything and works in real time, so you can play and modify your musical ideas without interrupting your creative process.īut Live also features the revolutionary Session View: a unique notepad for improvising, playing and performing with musical ideas, without time limits. Special attention is given to instrument design (which is an integral part of the process of composition in this context) and the organisation of material.Ableton Live lets you easily create, produce and perform music in one intuitive interface. Meaning is touched upon, but left open-ended and ephemeral.Lastly, there is a practical attempt to put a technical description of the work into laymen’s terms, with the invitation to other composers and dancers to use the system for further creative exploration. These questions are(intuitively) presented in a metaphorical creative writing style as intimate fragments of the artist’s imagination. The modified boots are explained from an electronic music/ instrument design point of view, and a dialectic is set up between the technical existence of the work and the philosophical questions it asks. A socio- political milieu is constructed in which to locate the work: Ephemeral Gumboots is presented via description, analysis, and as poetry. Essential (Cagean) considerations surface too: whether music is an art form and how composition relates to music. The concept of process, which is at the heart of interactive art and music, is also located philosophically and historically. The notion of interactivity, its history, development, social meaning and the technology that has enabled it become objects for interrogation. These fields create a frame in which I present mycreative project Ephemeral Gumboots, a hybrid media artwork/musical instrument that takes South African Gumboot dance and extends it as an interface into an electronic music-making system. This paper explores a dialogue between art and technology in the fields of interactive art,interface design and interactive music. The curatorial rationale, methodologies applied to the proof of concept and live performance of the works, as well as the results achieved are discussed. Whilst Decibel may not be the first to attempt these adaptations and approaches, they have presented a number of Australian premieres of Lucier’s work and have carefully documented the process of their realisation in this paper. This is articulated in the consideration given to spatialisation of sound reproduction, the placement and assignment of performers to electronic sound generators and the use of software to facilitate performance requirements. In addition, Lucier’s compositions provide an opportunity to demonstrate how vital the performance of electronic sound generation and manipulation is when combined with live instruments. The adaption of certain analogue electronic components in the works using digital software and hardware has facilitated many of these suggestions. Different possibilities for his works - such as alternative instrumentation, lengths, and live or recorded versions of pieces - were suggested in many his scores. Lucier has made clear that he sees technology as a tool, a means to an end. In May 2010, they presented a concert of works by American composer Alvin Lucier (b1931), applying a range of new approaches to the reproduction of this important artists’ works. New music ensemble Decibel is a group of musicians, composers and improvisers who pursue music that combines acoustic and electronic instruments.
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These services include research, analysis, advising, consulting, benchmarking, acquisition matchmaking, and video and speaking sponsorships. Moor Insights & Strategy provides or has provided paid services to technology companies like all research and tech industry analyst firms. Note: Moor Insights & Strategy co-op Jacob Freyman contributed to this article. I am excited to see the innovative ways that Nvidia will continue to use AI to improve gameplay in the future. Implementing frame generation with AI is an ingenious way for Nvidia to improve the performance of its graphics cards. Not only do the RTX 40 Ti have quadruple the TFLOPS compared to the RTX 2060 and twice the TFLOPS compared to the RTX 3060, but they also leverage AI to improve performance and enable systems to perform at higher resolutions. Nvidia has added tremendous value across its entire GeForce RTX 40 series of desktop graphics by introducing Ada Lovelace and DLSS 3. These AI technologies make the rendering crisper and better looking without sacrificing performance in frames-per-second. It has also previewed future AI capabilities that use neural rendering and neural textures. The RTX 4060 Ti will start at $399 for the 8GB VRAM model and $499 for the 12GB VRAM model, while the RTX 4060 will start at $299. The biggest difference between ray tracing and DLSS 3 is that Nvidia offered ray tracing at a premium, yet now Nvidia has slashed the retail price of the GeForce RTX 4060 by $30 compared to the RTX 3060. Software features like DLSS 3 can be optimized for lower-end GPUs as well as more premium chips, whereas most of the differentiated features between the higher-end and lower-end GPUs are at the hardware level. It reminds me a lot of the early days of ray tracing, when it was less about making graphics cards better in terms of raw performance and more about making them better in terms of value optimization. Moore's law-which predicts that the number of transistors on a microchip will double with every new generation of silicon-is slowing down, so Nvidia, like every other chipmaker, must answer the question of how to keep increasing hardware performance to keep up with consumer demand for ever-faster software. With these new graphics cards, Nvidia is showing that the future of gaming is less about improving raw hardware performance and more about making intelligent software improvements using AI. Once more, if we think about where this frame generation happens, the more information stored in the L2 cache from the game motion vectors, the optical flow field and the sequential game frames, the better results you will get thanks to DLSS 3. Nvidia says that DLSS 3 reconstructs seven-eighths of the total displayed pixels. This frame-generation technology significantly increases the system's performance by mitigating most of the workload handled via traditional renderings. The biggest difference between DLSS 3 and its predecessor, DLSS 2, is that the new generation introduces a feature that uses AI to predictively generate new frames based on the geometry and effects of past frames. This leads to better performance, increased power efficiency and better ray-tracing results. This allows for more data to be stored in the faster L2 cache rather than needing to move across the memory bus to the VRAM. Among other improvements, Nvidia has reduced the VRAM traffic per frame by adding more L2 cache compared to previous generations. This is highly individualized as it depends on your job, lifestyle and habits.Ĭronometer provides a description of each activity level. The options are Sedentary, Lightly Active, Moderately Active and Very Active. Cronometer automatically does the calculations for you.įrom there, you input your activity level which Cronometer factors into determining your daily calorie requirements. If seeing a math equation immediately made your eyes glaze over, don’t worry. That means I need 2,035 calories a day just to keep my body functioning. Here’s an example of the formula using my biometrics: Women: (10 × weight in kg) + (6.25 × height in cm) – (5 × age in years) – 161 Men: (10 × weight in kg) + (6.25 × height in cm) – (5 × age in years) + 5 Think of it as the amount of calories your body needs to basically lay on the couch and not move all day. Jeor Equation, a formula created in the ‘90s that provides an accurate estimate of your basal metabolic rate (BMR).īMR is the rate at which you burn energy while at rest. These are things like your age, gender, height, weight, body fat percentage and body mass index (BMI).Ĭronometer uses this data to calculate your daily energy (calorie) requirements with the Mifflin St. In this article I’ll walk you through how Cronometer works and how you can start using it to make some gains and revamp your workouts.įirst you’ll need to create a profile and input your biometrics (your unique physical measurements and characteristics). Just focus on eating healthy and maintaining a healthy relationship with food. If you have a history of eating disorders or unhealthy habits around food, DO NOT TRACK YOUR CALORIES. It’s vast database, user-friendliness and detailed nutrient breakdowns make it superior to any other tool. There are other nutrition tracking tools available, like MyFitnessPal, but in my opinion Cronometer is by far the best. You’ll build a strong knowledge base and have an understanding of roughly how many calories are in a given meal. This doesn’t have to be a lifelong habit, but something I recommend doing daily for 3-4 weeks until you’re able to eat intuitively. In this case, you can only improve your nutrition and training by learning how to track your calories. Then I discovered Cronometer, a free online nutrition tracking tool that makes tracking your calories incredibly easy. Nor was I eating enough to recover, repair and build muscle when not training. I wasn’t consuming enough calories to properly fuel my workouts. I had never paid much attention to the quantity or quality of my calories. The foods necessary to fuel my training volume. I was fully plant-based, which meant I was eating a ton of fruits and vegetables.īut I wasn’t eating enough calorically dense plant foods. There was an answer to these questions and it was a simple one. Why wasn’t I able to gain muscle? Why did I feel lightheaded during runs? Why am I always sore the next day? I often wondered why I felt great during some workouts but weak and lethargic during others. Calories are your friend! Don’t you ever take another bite of birthday cake again in your life. Count your calories! Actually, eat as much as you like. Especially in this day and age where everyone can voice their opinion online. You’ve likely received lots of conflicting information in the media. So your entire life you’ve heard about calories and wondered what the fuss is all about. Note: Reclining Passenger Seat with Adjustable Headrest was a mandatory option with Leather trim, and was included in the 147.03 additional cost of Leather. The Reclining Passenger Seat option was provided with all leather trim installations. Maybe swapping out the crunchy options for a couple more acoustic models would have made it even more useful, but this remains an appealing six-string multi-tool and a genuine problem-solver for many gigging players. Optional Black Leather and Vinyl interior (code 66) shown above. “The launch of the Acoustasonic Player Telecaster feels like a no-brainer move for Fender, spreading the potential appeal of what is virtually a whole new category of guitar. The feel of the bevelled arm rest and fingerboard edges says quality and comfort this is an inviting guitar and that Modern Deep-C neck will feel familiar to anyone who has played the electric Player series models.” A lovely dark rosewood fingerboard and bridge replaces the US version’s ebony, but that’s not anissue for us. Free shipping or Best Offer SPONSORED 64 65 66 Ford Thunderbird Convertible Hardtop Left Bucket Seat Bottom (Fits: 1966 Ford Thunderbird) 169.95 Free shipping or Best Offer SPONSORED 64 65 66 Ford Thunderbird Convertible Hardtop Bucket Seat Trim Cover (Fits: 1966 Ford Thunderbird) 79. “In terms of feel and build, we honestly can’t find a compromise between this Ensenada-made Player and the US Acoustasonics we’ve tried. MusicRadar: The onboard voice options might have been scaled down but the Acoustasonic Telecaster sticks the landing as a Player Series model, in what could be one of the guitars to make the hybrid build truly go mainstream.įender Player Series Acoustasonic Telecaster: The web says That, in sum, is the sort of thing the Acoustasonic format encourages. That said, it can be pressed into service of many different kinds of styles, perhaps some that are all your own. It is warmer, with a little more width than you’d expect from a Tele’s bridge pickup. Tilt and raise/lower works but seat doesn’t move in forward direction. Fender promises twang but this isn’t Pete Anderson levels of twang. I also used a piece of 3/16 flat to extend the track. Park yourself on position one for a more traditional electric guitar experience, but don’t necessarily expect a traditional Telecaster experience. I used the 6 way seat track from a 66 T-Bird in my 65 XL. 1964 to 1966 Thunderbird NEW Power Seat Switch - Chrome Knob 5 - Wire. In a sense, this is a sound that almost exists outside of the spectrum of acoustic/electric tones, and is sure to support pedalboard experimentation. 1962 to 1963 Thunderbird NEW Power Seat Switch - Chrome Knob 5 - Wire: 88.50 Each. The sound is just coming from the piezo and as you turn the blend control it adds drive. Here is where the true hybrid tones are, and as such, there are fewer references for what we are hearing. Always refer to a professional to verify correct fitment for your vehicle.The Lo-Fi voicings are interesting. Below is a thread on how to use a Thunderbird power seat in a Galaxie. Likewise, the 4-way and 6-way power seat switches are shared between the 1964-66 Galaxies and 1964-66 Thunderbirds. Its just the fabric pattern thats difference. The data has been provided by our suppliers and manufacturers and may contain errors or incorrect data. The good news is the 1964-66 bucket seats in Galaxies are interchangeable. The Vehicle Fitment Guide is to be used as a general reference. The more commonly known version of the song is the 3:50 single mix, in which the synthesizer riff is audible during the first chorus, an octave lower than on subsequent choruses, along with contrasting background vocals in the second verse - "You should know better" sung before "Dream of better lives.," etc. The original 4:11 album version features no call-and-response vocals in the second verse, and features a synthesizer break that begins at the second chorus. He subsequently employed a softer vocal technique on the rest of the album. Producer Hugh Jones encouraged Grey to softly sing the vocal track, as opposed to his natural inclination to shout. Musically, the song came together in the band's rehearsal space in London while recording their second album, After the Snow. In an interview, he described the song as a "love song", but more about the "good and bad in people The last thing we wanted was to write a song where boy meets girl, they go to the cinema and make love, and that's the end of it." The song depicts a couple making love while an atomic bomb is dropped. There'd be no power-you'd be at home with candles." These conditions and his fears of a nuclear war inspired "I Melt with You". The band's vocalist, Robbie Grey, described England at the time of the song's writing to be a bleak place, due to an ongoing economic downturn: "There was no money. The group signed with 4AD, a British independent record label, in 1980. Modern English formed in 1979 in Colchester, Essex, England. It reached number seven on Billboard 's Mainstream Rock chart in 1983 and a re-release reached number 76 on its Hot 100 chart in 1990 (after reaching number 78 in 1983). It became the band's most successful single, largely in the United States, where it was featured in the film Valley Girl and on MTV. The song, produced by Hugh Jones, was the second single from their 1982 album After the Snow. The Nouvelle Vague cover has been featured in episodes of MTV's The Hills (Season 3 Episode 11), Grey's Anatomy (Season 2 Episode 8) and a commercial for GMC's Acadia." I Melt with You" is a song by the British new wave band Modern English. "I Melt With You" has been heard in commercials for Burger King, Ritz crackers, M&M's, and Taco Bell. And he goes on saying that he'll leap past any hurdle to prove that the two of them are capable of great things together. This is captured in the verse, "You've seen the difference and it's getting better all the time." He begins the song by saying that he's done everything in his power to carry forward but nothing compares to making love to the song's subject - presumably his ex. You get the sense that he's making personality or lifestyle changes with the intent of proving he's a "new and improved" upgrade of his former self. The vocalist is saying that he would stop the world to be with the person he's lost. The lyrics to the song can be interpreted as a well-versed plea to reclaim a love that has already been lost. Much of the song's popularity can be attributed to early-era MTV video play and the song's inclusion in the Nicholas Cage movie Valley Girl more than radio airplay. Although the song is widely regarded as an 80's classic, "I Melt With You" only peaked on the U.S. "I Melt With You" is a 1982 single from the British post-punk new wave group Modern English. The Tilt modifier measures the angle between the top (eraser) end of the stylus and the top (north) edge of the tablet. The Tilt modifier varies the angle of brush strokes when you vary the angle of the stylus on the tablet. The Pressure modifier varies the width of brush strokes when you vary the pressure on the stylus. This can be achieved by using the Brush tool Pressure and Tilt modifiers, and varying pressure on the stylus. If you have a Wacom pressure-sensitive tablet connected to your computer, vary the width and angle of the brush stroke. Use an imported bitmap as a fill when painting with the Brush tool. The new stroke that you paint appears 50% thicker, uniform and accurate without any non-tapering ends than the earlier stroke and (Changing the magnification of the Stage does not change the size of existing brush strokes.) Then, you change the magnification to 50% and paint again using the smallest brush size. For example, suppose you set the Stage magnification to 100% and paint with the Brush tool using the smallest brush size. So, the same brush size appears larger when the Stage magnification is lower. If you disable the Stage zoom level checkbox, the brush size for new strokes remains constant even when you change the magnification level for the Stage. If you want to revert to the earlier default behavior of brushes maintaining a constant pixel size even when you change the zoom level of the stage, you must disable the 'Stage zoom level' checkbox in the brush Property Inspector. This allows you to draw seamlessly adjusting to any zoom level and preview your work as you draw. Select a brush size and shape using the Brush tool modifiers.Īnimate scales the brush size proportionately to the changing zoom level of the stage. It creates special effects, including calligraphic effects. To draw from the center of the Stage, hold the Alt key when drawing a shape. For example, if you modify a rectangle and then draw a second rectangle. When either of the Primitive Object drawing tools is selected, the Property inspector retains the values of the last primitive object that you edited. After you create a primitive shape, alter the radius and dimensions by selecting the shape on the Stage and adjusting the controls in the Property inspector. And also the start and end angle, and the inner radius of ovals. The primitive shape tools let you specify the corner radius of rectangles using controls in the Property inspector. These shapes unlike the shapes you create using Object Drawing mode. When you create rectangles or ovals using the Rectangle Primitive or Oval Primitive tools, Animate draws the shapes as separate objects. In addition to the Merge and Object drawing modes, the Oval and Rectangle tools also provide the Primitive Object drawing mode. The Oval and Rectangle tools let you create these basic geometric shapes, and apply strokes, fills, and specify rounded corners. Quick share and publish your animations.Best Practices to optimize FLA files for Animate.Best practices - SWF application authoring guidelines.Best practices - Tips for creating content for mobile devices.Controlling external video playback with ActionScript.Export graphics and videos with Animate.Working with Custom Platform Support Plug-in.Best practices - Accessibility guidelines.Best practices - Organizing ActionScript in an application.Publishing AIR for Android applications.How to package applications for AIR for iOS.Creating and publishing a WebGL document.Automating tasks with the Commands menu.Apply patterns with the Spray Brushtool.Working with Illustrator AI files in Animate.Working with Adobe Premiere Pro and After Effects.Strokes, fills, and gradients with Animate CC. Creating and working with symbol instances in Animate.Transforming and combining graphic objects in Animate.Optimization options for Images and Animated GIFs.Export animations for mobile apps and game engines.Using web fonts in HTML5 Canvas documents.Use the Stage and Tools panel for Animate.Using Creative Cloud Libraries and Adobe Animate.Using Google fonts in HTML5 Canvas documents.Virtual Reality authoring and publishing.Best practices - Advertising with Animate.Add interactivity with code snippets in Animate.Create and publish HTML5 Canvas documents in Animate.Convert Animate projects to other document type formats.How to use mask layers in Adobe Animate.Working with Motion tweens saved as XML files.Editing the motion path of a tween animation.How to edit motion tweens using Motion Editor.How to work with classic tween animation in Animate.How to use frames and keyframes in Animate.Work with Multiple File Types in Animate. |