This evening “Gwen Stefani’s "Make Me Like You" video will be acted out, filmed and broadcast live during a four-minute Grammys commercial break on CBS. It will be the first music video ever created on live TV. The challenging production will be directed by Sophie Muller of Jesse Dylan's Wondros Collective.”
Also, the trophies will bring another set of cameras to the event “As it turned out, the most practical way to build a Grammycam was to start with GoPro action cameras as an ingredient. The Recording Academy collaborated with GoPro's custom solutions team to put a custom version of the Hero4 Black camera and an antenna into each award's base, positioned for optimum signal strength. Using a GoPro technology called HeroCast, the camera can wirelessly stream video via RF to the broadcast truck where all the video feeds for Grammy Live and the TV broadcast get managed.”
And then there is what Intel is planning with Lady Gaga
Some band members and alumni were skeptical about bringing computers onto the practice field. One complaint: Students have for years rolled up their sheet music and jammed it into the horns of their instruments when they’re not playing, and you can’t do that with an iPad. Other, less specific grousing seemed to center on the concern that the use of tablets marked the first step toward a marching band full of robots. The band has worn the same uniform for 135 years; tradition is important.
Waters insists the iPads won’t change the core of the band’s performance. “This makes the process more efficient, but an iPad can’t perform a halftime show,” he says. “What they’re doing out there is an art form we’ve been perfecting for 135 years, and that’s not going to change.”
The iPod happened. Playlists happened. Pandora happened. YouTube happened. Spotify happened. SoundCloud happened. Shazam happened. I couldn’t believe them when I saw them. I couldn’t believe them when I heard them. But they are here, and they are changing everything about our relationship with music.
Still—like Fishbone said in a song I just heard on a streaming radio station—problems arise. Sometimes it’s a little too easy to get to a song: think, type, retrieve. What about calling up your friend, making him drive you to the record store, waiting patiently behind the guy who won’t move away from the “B” bin, and then flipping through to see what Beach Boys records (or Beastie Boys or Brothers Johnson or Buckingham Nicks) are left? All of that’s gone now. And, counterintuitively, because it’s gone, it’s harder and harder to truly fall in love with a song or album. What was your cost of entry? How hard did you have to work? Which leaves the ultimate question: How do you build a relationship with music? How do you find your way to those songs that draw you in and—like Eddie Floyd and Mavis Staples said in a song I heard just yesterday on a randomly shuffled playlist—never never let you go?
innocents is the 11th studio album from the electronic music iconoclast: a lo-fi, melodic meditation on vulnerability and humanity. What you make of it is up to you. Download new music from innocents. Then, enter your email to unlock 3 bonus tracks, 3 short films, art, and the album’s entire stem library. A song is only a starting point. You decide how the world will hear it.
Of course, the entire audio industry was roiled when the MP3 player came
on the scene. But even then, Bose managed to put itself in just the
right place. Indeed, the circumstances would almost uniquely benefit the
company: In the absence of physical media (LP, cassette, CD), digital
music didn’t require the complicated hardware that earlier formats did.
That would spell trouble for phonograph and cassette-deck makers, but
Bose wasn’t in those product lines—it just made speakers, and in the era
of the iPod (AAPL), speakers were basically the only thing that mattered. Bose’s SoundDock became the fancy iPod (and, later, iPhone) dock for that key market of discerning-but-not-obsessive-to-an-antisocial-degree customers.
Time (sub required) on the band which has a new album Random Access Memories
"We never actually made music with computers," says one-half of Daft
Punk, Thomas Bangalter, on the phone from their Daft Arts compound in
L.A. This is surprising given the digital sheen that glistens over so
much of their music. But he and his partner Guy-Manuel de Homem-Christo
made Homework in an "experimental lab, with wires everywhere," also
known as Bangalter's childhood bedroom in Paris. "We used hardware and
analog equipment that behaved in weird ways"--i.e., temperamental,
largely Japanese machines attempting to mimic drums and bass guitars and
failing into the future. Homework attracted attention from
budding-genius directors like Spike Jonze (Being John Malkovich,
Adaptation) and Michel Gondry (Eternal Sunshine of the Spotless Mind).
The resulting videos embodied Daft Punk's synthesis of rigid structure
and loose-limbed whimsy, featuring skeletons dancing on Q*bert
platforms, tomato-sauce tutorials and lovelorn bloodhounds.
It’s not necessarily the first tuner to incorporate visualization, but
Sandler thinks (Tunable) has a good chance of being the first one musicians
will find useful from the moment they open it. In addition to the pitch
history, Tunable also includes a tone generator and a metronome--a
fairly sophisticated little kit of tools--but there’s practically zero
learning curve for figuring them all out. Much of that is owed to the
app’s simple, sharp UI, which draws from an unlikely source of
inspiration: an old Ideo concept for futuristic digital books.
A 12x18 room, and a budget of $13,000 including installation and theater seats...from Electronic House
Dohman suggested a suit of Jamo D600 speakers mounted on the front wall with additional Jamo surrounds on the sides. Powering the speakers is a Pioneer Elite
SC-61 7.1 receiver which offers 125 watts per channel. Because the
receiver features both AirPlay and Bluetooth, the users have no trouble
connecting their smartphones for music listening. A cable DVR and Sony
Blu-ray player feed video into the room. All the components are housed
on a component rack in the back of the room.
The 12-foot wide wall is mostly taken up with a 112-inch 16:9 Severtson screen that gets lit up by a JVC DLA-X35 projector