#programmes de design audio

[musitechnicformation]

Découvrez les meilleurs programmes d'ingénierie musicale pour débuter votre carrière dans la production sonore, le design audio et les technologies musicales. Explorez les écoles et universités les mieux classées offrant des cours spécialisés qui combinent musique et ingénierie, avec une expérience pratique sur des équipements audio de pointe. Apprenez-en plus sur les points forts des programmes, les opportunités de carrière et comment trouver la formation idéale pour votre passion pour la musique et la technologie. Commencez votre parcours en ingénierie musicale dès aujourd'hui !

[dreamings-free]

‘A dirty nightclub in an arena’ – behind Louis Tomlinson’s Faith In The Future World Tour

Louis Tomlinson and his tight-knit touring crew traverse the world in close to 80 shows, fulfilling a ‘dirty nightclub in an arena’ brief with a dynamic live campaign.

Production Profiles 5 January 2024

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

Words: Jacob Waite Photos: Justin De Souza and Oli Crump

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Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

“A team effort is required to get this show off the ground,” explained Technical Manager, Sam ‘Kenny’ Kenyon, who has been a fixture of Louis Tomlinson’s live output since joining as Lighting Crew Chief in 2019. “This has been a complete redesign, and the production has expanded and gotten more complex, which requires different solutions to make it happen.”

Kenny and the team oversaw the deployment of an A and B rig. “We’ve been fortunate for the European stint that the venues we’ve toured have, mostly, been arenas. The main difference between the A and B rig is the addition of IMAG and further lighting header trusses. Aside from that, the A rig fits everywhere. If anything, we’ve run into weight issues, which we can overcome swiftly by removing overhead trusses.”

For the first few shows, Riggers, Ian Bracewell, and Alex Walker incorporated load cells on trusses to get an accurate rate and account of the weight of the load of each truss. In the UK, The Brighton Centre had a particularly low-rate roof with weight limitations. Production Manager, Craig Sherwood and Tour Manager, Tom Allen’s vendors of choice included: Altour (travel), Beat the Street, BPM SFX, CSE Crosscom, Colour Sound Experiment (lighting, rigging, and video), Hangman UK, Boxcat Studio and Two Suns Creative (video content), LED Creative, Ox Event House (custom light housings), Sarah’s Kitchen, Seven 7 Management (artist management), Solotech (audio), Stardes Trucking, and TANCK (production design and video content).

There was no video director, as the show’s visuals were programmed and interspersed with live footage and triggered by a lighting console at FOH, thanks in part to an intricate network setup. “There’s a lot going on in racks that people never see, but it has been stable thanks to the quality of kit supplied by our vendors, who have invested heavily, and the team taking the time to programme the show,” Kenny noted.

Key to the success of the operation was the incorporation of Central Control software, which takes a signal from a lighting console, be it ACN or Art-Net, and translates it to talk to various products – in this case, video. “There is a giant brain that nobody knows exists other than those that have programmed it,” he added.

Additional crew members joined the tour in Europe to aid the video deployment and lead to far more efficient load-in an -outs. “We are close to 80 shows in and on days where we have access to multiple trucks, it comes out very quickly, which for a show of this scale is impressive and credit goes to the team,” enthused Kenny. “The biggest hurdle is when you’ve only got a two-truck dock.”

Prior to the tour, the team had five days of production rehearsals spent in Connecticut’s Mohegan Sun. “When we came to Europe a week later, we had a week of re-prepping with a day of rehearsals at Hamburg’s Barclays Arena, the day before a show,” he described. “It’s been a fun and long run,” added Stage Manager, Torin Arnold. “We’ve visited a good range of venues and countries – especially the Eastern European legs, visiting places you wouldn’t ordinarily tour and experiencing how they operate. This show is designed so it can be accomplished in any part of the world.” Carpenter, Harry Reeves was also on hand to support the build.

The routing, however, was sometimes challenging with some late arrivals and difficult border crossings. “There were a few times in Eastern Europe where we were doing a ferry back-to-back to arrive at 11am, sitting at a difficult border crossing. We usually start with a 7am mark out, so knocking hours off your load-in is tough but everyone pulled together to overcome it,” Arnold explained, noting that touring without staging, and instead, using venue stages (particularly rolling stages), was a blessing during those late arrivals. “As with any tour, as dates progress you build a rhythm while maintaining the safety of the build,” he noted.

Arnold also highlighted the benefit of Lead Truck Driver, Neil Thornton and Truck Drivers, Matt Marlow, Ben Woods, Sarah Goldsmith, Bob Miles, Alam Minshall, Franco DeRosa, and Ollie Thornton who “speed up the process” and maintained a level of consistency.

The transitions between support acts before Louis hit the stage was equally seamless, with ample downstage space for the singer-songwriter to traverse during his performance. “Having a clean frontline means we have space to get the bands on and off,” he added. “Our vendors have also provided everything from an audio package standpoint for support acts, which also speeds up the load-in and -out.”

Highlighting a ‘bucket list’ show at Hollywood Bowl, working closely with US union officials as a “fun” and “interesting” experience, Arnold reflected on the entire tour with crewmembers he now considers close friends. “This is a close team and I’ve made some great memories and stories. It’s been a fun year!”

A DIRTY NIGHTCLUB IN AN ARENA Production Designer, Programmer and Director, Tom Taylor, and Francis Clegg of TANCK have worked with Louis Tomlinson ever since he made the leap to solo artist. “The production design has evolved into an angular, grungy, asymmetrical setup, borne out of the ‘dirty nightclub in an arena setting’ creative brief I was given,” Taylor said, citing the creative influence of Matt Vines and Seven 7 Management. “Louis is a phenomenal performer, and the crowd is captivated the entire time. We started knocking ideas around, speaking to Louis about his inspirations and influences, which we then developed into a creative deck, which I sketched in Blender, and imported into WYSIWYG for visuals, to create stills and pre-visualise.”

Taylor spent 10 days programming the visuals at Colour Sound Experiment, a firm he shares a “longstanding” relationship with. “They are always a call away regardless of the day or time. Their team is easy to get along with and I like their whole ‘production sphere’ – sometimes it’s nice to split lighting and video, but for a show like this, aligning those departments with one line of communication is ideal,” he said, underlining the support of Colour Sound Experiment Account Handler, Haydn Cruickshank.

With production rehearsals under their belt and recordings from Louis Tomlinson World Tour (2020–22), where TANCK piloted Central Control software, the creatives understood how the singer and his band moved on stage, developing a rhythm and consistency of when to implement visual cues and which camera angle fit best. This allowed the team to pre-programme the visual content to timecode.

Video content was made by a combination of TANCK, Two Suns Creative, and Boxcat Studio, with the latter creating 3D models and rendered content, all of which was broadcast across a unique set of video surfaces. “Having the abstract video columns on stage makes it much more interesting than your standard slab of LED at the back of the stage,” Taylor noted.

On stage boxes created by Ox Event House housed GLP JDC Line 1000 strobes with reflective panelling and fabric that were printed to look like heavy concrete slabs, ladened with custom LED Creative solutions. These boxes then moved up and down using Wahlberg Motion Design winches to provide a “low-level, clubby feel” to the set.

“The winches can only carry 50kg and the lights alone are 35kg, so we had to be careful not to overload them, but the result was cool. We also have one single lightbulb on a winch which comes up and down above Louis to create a classic lighting moment,” Taylor said, further highlighting Ayrton Huracán’s prismatic colour wheel as a ‘fan favourite’.

The lighting design saw a wall of GLP impression X4 Bar 20s at the rear of the stage in 12 columns. Further lighting trusses over the stage carried the Wahlberg winches for several automated looks. The DMX winches were utilised for three or four songs, either statically or moving up and down, while JDC Line 1000s provided colour and strobe effects, to achieve varied looks, with a relatively minimal overhead lighting package.

Taylor elaborated: “There are some shutters for one specific track which go directly in-front of some of the GLP X4 Bars to get the aura of the lights, instead of the lenses, which I really like the look of. Lighting and video complement each other during this show – there’s also a section with flickering fluorescent tubes on the video content with the X4 Bar 20s behind the LED screens flickering in a similar way.

Taylor was delighted with the performance of the crew. “Overall, it has been a great run, executed flawlessly,” he commented, citing the support of Lighting Crew Chief, James Box; Dimmer Technician, Rick Carr, and Lighting Technicians, Amy Barnett, and Kieran Hancox.

The wider lighting rig comprised Ayrton Eurus, CHAUVET Professional Strike Array 4, Claypaky Mini-B eLumen8 Endura 1Q120, and Robe BMFL fixtures with robo cameras, all fixed on various HOF MLT3, Litec QH40 and Thomas James Thomas Engineering Superstruss. The lighting riser featured Ayrton Huracan LT and GLP JDC1 fixtures.

Robe Spiider fixtures were situated on the up and downstage video trusses, with the floor package boasting the deployment of further Ayrton Eurus, LEDJ Spectra Flood Q15 and Chroma-Q Color Force 72 units, the latter chosen for key light. Atmospherics came in the shape of Smoke Factory Tour Hazer 2, Martin Professional JEM ZR45 and MDG Atmosphere ATMe hazers with TMB ProFans. “We had some challenging shows, implementing an arena-scale design into sheds in the US, but it’s been good to return to Europe and witness the fans enjoying the show,” added Lighting Crew Chief, James Box, who pinpointed the use of the multicoloured glass gobo in Hurricanes as among his favourite looks.

“There is a lot of effort put in by TANCK to ensure we get the utmost from every fixture on the rig, which is great to see, when the team has gone to the effort of assembling the show each morning. Seeing the looks they achieve from the rig and the extra details, with each advanced cue within the show, is a pleasure.

Almost every pixel on the JDC Line 1000 and X4 impression Bars are being used.”

Video Crew Chief, Dave Mallandain, formerly of Colour Sound Experiment, supervised the video build and the team of Video Technicians, Ed Driver, Frank Wlliams and Tim Curwen.

“Working with Colour Sound Experiment again, in a freelance capacity, certainly has its benefits,” he stated. “You get to know the workflows and personalities of the company. There is an element of trust there and our relationship is stronger because of that.” The 2.5m by 2.5m video screen, made up of Leyard CLM6 LED panels with Colorlight Z6 processing on the back end, was built in an abstract configuration – hung from varying size steel structures fixed on to lighting truss, spanning the entire stage, as opposed to a traditional backwall. “This setup requires us to build it quicker, so the backline can start building their world, but it’s very lightweight and easy to use, so once the local crew are up to speed, it flies up in no time,” he reported.

During the show, there was a lot of camera angles fed into a Blackmagic ATEM switcher, with content then fed into Resolume media servers which was processed and treated with video effects and filters to manipulate the content, monitored by the video team, and pre-programmed by Taylor via an MA Lighting grandMA3 console, operating in MA2 mode.

“The fan camera, which was one of Tom’s ideas, has evolved to the point where Frank and I are on stage during Out Of My System, pointing these cameras fabricated in an old VHS-style shell at Louis’ face in reference to the fisheye-lens inspired music video.”

A mixture of Marshall Electronics and Panasonic PTZ cameras ensured the wider on-stage action was captured. “While the visual content is the same, the shots differ based on the energy of the crowd from night to night,” he explained. “We have an overhead shot for the drums, and another behind Louis, which shoots over his shoulder to the crowd. We also have a PTZ camera on the ground in front of Louis which can rotate to capture crowd scans along with a little ‘bullet camera’ for each musician. It’s been a fantastic tour; everyone on this team has been phenomenal.”

The special effects and pyrotechnics package supplied by BPM SFX included Galaxis PFC 10-way receivers running Galaxis, with a main and a backup controller, which ran through an MA Lighting grandMA2 console, to trigger MagicFX Stadium Shot IIs and a single shot of red streamers. The latter, a “signature of Louis Tomlinson live shows”, according to BPM SFX Technician, Jack Webber – who toured with a new custom control rack, with much of the hardware integrated in one rack.

BPM SFX Account Handler, Matt Heap and SFX Technicians, Blake Harward and Phillip Mathew also provided Webber with support. “The one major change on this tour was putting the Stadium Shot IIs at the downstage edge, and adding lasers for the O2 arena show,” said Webber, who has been involved in past touring campaigns with the camp. “This is the first touring camp to take me to the US, so I feel incredibly privileged.”

Safety was paramount for the BPM SFX team, who implemented the safeguard of warning notices on-stage to ensure the band knew exactly when an effect was triggered. In closing, Webber referenced the ‘rainbow-inspired’ track, She Is Beauty We Are World Class, which demonstrated the strength of the special effects package. “There are about 22 rapid fire chase Comets all going off at the same time with a big lift, which differs in comparison to the other looks with eight units.”

MIXING IN A SEA OF SCREAMS FOH Engineer, John Delf mixed on an Avid S6L 32D console with onboard plug-ins. “I use the onboard plug-ins as much as possible because I want to keep it as simple as possible and know I’ve got a show out of the box without any added extras, which is particularly useful during fly-in gigs, where I have to use a house console or have limited time to set up,” he noted. Delf also toured with some choice pieces of outboard gear including a Rupert Neve Designs 5045 primary source enhancer for vocals, an Empirical Labs Fatso two-channel compressor for drums, and further Distressors for the bass guitar group and vocals.

“The bulk of my mixing is riding the DCA control groups and the vocals, balancing between them, and when there is a lead guitar solo, I’ll jump to that. Most of the mix should stay where it is, and I shouldn’t have to think about it, but every day you make major tweaks and refinements based on how the musicians are performing. Most of the gig is turning the band up and down without affecting the vocals because I have DCAs for drums, bass, guitars, keyboards, main vocal, backing vocals, and an ‘all’ DCA that includes everything but vocals,” he said, explaining his mixing wizardry modestly. “I also run snapshots in which I am changing the sub send amount for different songs, as well as reverb and delay times. If the band changes the set last minute, I have the desk synced to the timecode and that will trigger the snapshots.”

At the beginning of the set, the noise of the crowd can be between 112 to 116dB. “We have a little bit of headroom. When they are loud, I can push the mix, and when they are quieter, I can pull it back for the more introspective moments of the show,” he explained.

“My favourite section to mix is the transition from a cover of Arctic Monkeys’ 505 into Back to You. When that kicks in, I push the “All” DCA up to +10. We’ve built the set up to that point, where I’m able to throw it to the top before the end of the set. The three songs in the encore are also fun songs to mix,” he enthused, accenting the support of Solotech Account Handler, David Shepherd.

“I’ve worked with Dave for years, while he was at BCS Audio (now part of Solotech). He’s been my go-to account handler for a very long time, and Solotech has inherited this gig from them, so there was a natural transition.”

System Engineer and Head of Audio, Oli Crump walked TPi through the PA system: “We’ve been using L-Acoustics, which is our preference, since the start of last year’s tour. The main hang has been K1 with K2 downfill for both tours, however, we are touring with a much larger system this year with K2 on the sides instead of KARA-II. We’re flying subwoofers and carrying delays with us, which is also our preference in big arenas, like the O2 – it provides an even level of coverage across the audience,” the TPi Breakthrough Talent Award alumni said, explaining the thought process behind a larger sound system.

“The PA system is naturally bigger this year because we’re touring larger venues. The crowd is very loud, and we need to be able to compete with that at points of the show. The window of dynamic range we have without it being too loud is compressed because the background level from the crowd is so high, so we need to be able to get our level as consistent as possible from front to back. This setup really helps overcome that.”

Out of ear shot from Crump, Delf extolled the virtues of his partner at FOH: “Oli and I work well together. Every day, regardless of the venue, I know the system is going to sound consistent. We deal with different venue acoustics each day but as soon as I run up my virtual soundcheck, I’ve got the mix back to where I want it because the PA is at the same level every day. I used to walk the room a lot during sound check, but it always sounded consistent, so I’ve stopped doing that because I trust him explicitly.”

The PA generally sat in a standard location for an arena PA, 10.5m off centre and no wider than that, using the same basic system design as Louis Tomlinson’s past touring campaign, which Crump worked on with Kenny to ensure it didn’t impede the production design. “The number of boxes we deploy varies from show to show, based on the venue. The worst-case scenario [visually] is that the PA needs to be a little lower than usual and gets in the way of the IMAG screens slightly,” Crump detailed.

He designed the system using Soundvision, then imported his file into Network Manager, with a DirectOut Technologies PRODIGY.MP chosen for system processing. “I have visited many of the European arenas before so I’ve got fairly accurate plots, however, sometimes you will stumble across an error someone has made in building the models,” he continued. “Madrid’s WiZink Center had different CAD drawings for each layer of the venue and one of the layers was accidentally scaled wrong, so the bottom floors were fine but as you went up everything was out. You get curveballs like that occasionally but that’s why it’s important to verify drawings.”

An audience also changes the acoustics of a room, generally for the better, but sometimes not, so Crump was on hand at FOH to make tweaks when required. “As rooms get larger, they generally get more difficult, reverb time will go up purely as a factor of the room size, regardless of how you treat it. The O2 is quite tall seating-wise, so you end up having to angle the PA up into the roof a lot,” Crump noted.

Over by the stage, Monitor Engineer, Barrie Pitt mixed the five-piece band and frontman using a DiGiCo Quantum 338 console. “Louis and the band are good at verbalising what they want. They’ve been playing a long time, so it’s my job to translate those desires into the mix,” he explained. “DiGiCo has been my ‘go-to’ brand of console for the past 15 years. The 338 is an incredibly powerful console, which can do as much as any other on the market and more in a much less convoluted way. I know it like the back of my hand and how to get the best out of it and do the most complicated things at the push of a button. The Capture features are ridiculously powerful.”

Pitt oversaw 85 channels, 64 directly from stage, with additional channels for shouts, sends, returns, communications, and routing, among others. His outboard rack included a classic Lexicon PCM 91 digital reverberator for vocals. “The way I set up the communications and shout systems are the same across the board. For the layout, a lot of people have instruments on one side and vocal and effects on the other, however, I tend to adjust my banks of faders visually, how you would see it on stage, left to right, as a nod to my analogue mixing days. My second layer is usually tracks and any track content with reverbs next to the vocals, so they’re changed in unison. Sometimes, I’ll do a custom layer of [drum or spill group, two lead guitar channels and vocal] the things I use most, particularly if it’s a busy show input-wise.”

Pitt referred to the basis of his mix as ‘static’ with minor changes. “Louis changes a fair bit between songs I’m running upwards of 60 scenes with a lot of songs having multiple scenes for verse and chorus or specific sections,” he explained. The Monitor Engineer is a big believer in unifying the in-ear monitors, so what he hears is the same as those on stage. “We use Shure PSM1000s, JH Audio Roxanne in-ear monitors for Louis and JH16s for everyone else, except for the drummer, who is using Ultimate Ears IEMs. Louis and the band are solid, and they keep their ears in from start to finish. Louis wants the rock star mix; he likes to feel the weight of the mix. It’s not an overpowering mix but it’s a full mix with his vocal on top with Neve 5045 primary source enhancers on all vocals. Everyone else has a standard band mix at moderate level with their instrument and vocals high. The drummer has the most straightforward mix with his drums and shouts layered on top.”

A further pair of subwoofers stage left, and right were situated under the stage risers, providing the weight of side fills without the top end. “It’s a big rock show with drums and guitars, so the less noise I can have flying about the stage, the better,” he said.

The microphone package included a Shure Axient Digital AD4D two-channel digital wireless receiver, a AD2 vocal microphone with a KSM9 capsule for vocals. Sennheiser MKH 60 and AKG C414 XLS microphones captured the ambient noise of the room. “We track everything, including the two sets of ambient microphones for recording and virtual soundcheck, in case the band decides to do anything with the live content,” he noted.

Having collaborated with Solotech and previously BCS Audio multiple times, Pitt was pleased to see the company on the tour sheet. “They are a solid choice and I know Dave Shepherd well. They fix any problems swiftly, and all their gear is well packaged and maintained,” he said. “The band and crew are lovely. It’s rare to come across a camp so friendly on a show of this size.” Pitt thanked Solotech Monitor and Stage Technician, Matt Coton. “He is fantastic. He takes all the second guessing out of my day and is so meticulous and thorough that I know everything will be as it should be from the get-go. When there are issues, he knows exactly what to do to remedy it. He’s been a joy to work and hang out with.”

Audio Technicians, Matt Coton, Tim Miller, Kim Watson, Elliott Clarke, James Coghlan, Matt Benton; Bassist and Keyboard Technician, Chris Freeman; Guitar Technician, Dan Ely and Playback Technician, Scotty Anderson made up the sound team.

CURATING A HOME AWAY FROM HOME Sarah Nicholas of Sarah’s Kitchen and Caterers, Rebecca Henderson, Helena Robertson, Chris Carter, Matty Pople and Tamsin Manvell provided band and crew catering, ensuring morale stayed high and stomachs were full on the road. Making a name for themselves as One Direction’s caterers, the outfit now cater for each of the band members’ individual tours and private functions, amassing a dedicated online following. “I started catering for Louis and the rest of One Direction during their first theatre gig in Watford and I feel very privileged to have that connection. At dinner time, we perform a plate service, which I think is important – our reputation is not only built on really good food but the entire hospitality package, creating a nourishing environment away from home,” Nicholas said.

Sarah’s Kitchen provided a range of vegan, gluten-free and vegetarian options. “We also provide disposable products and water coolers, and our runner regularly collects fresh, local produce from markets based on where we are in the world,” she explained.

The wider European crew featured Security, Kristian ‘Ches’, Ross Foster, Ben Major, and Gav Kerr; Merchandisers, Jon Ellis and Maddy Stephens; Bus Drivers, Aivaras Arminas, Frederico Antunes, Scott Pickering, Chris Grover; Entourage Bus Driver, Paul Roberts; Merchandise Truck Driver, Warren Dowey; BTS UK Account Handler, Garry Lewis; Stardes Account Handlers, Tyrone Reynolds, and Alam Minshall; CSE Crosscom Account Handler, Hannah Evans and Altour Travel Account Handler, Alexandra Gati.

Having wrapped up the best-selling livestream of 2020 – a lofty achievement given the proliferation of remote productions amid the grounding of live events with in-person crowds – Tomlinson shows no signs of slowing down post-pandemic, making the leap from sold-out theatres to arenas across the globe with his trusty crew in tow. “Live From London was great because the crew and I really needed it,” Delf said. “It gave us some much-needed work amid the lockdown, and all the proceeds went directly to the crew, which was an incredibly honourable thing to do. To come back out on the other side of lockdown was great. It was a dark time back then for everyone, but to be back out on tour surrounded by friends, who feel more like family, it’s special.”

-> read here on Issuu

[msrlunatj]

¿Qué Distribución de Linux Deberías Usar Según tus Intereses? / Which Linux Distribution Should You Use Based on Your Interests?

Introducción / Introduction

Español: Linux ofrece una vasta gama de distribuciones, cada una diseñada para diferentes intereses y necesidades. Ya sea que te enfoques en el desarrollo de software, la administración de sistemas, la creación de contenido multimedia, o simplemente busques una alternativa a Windows o macOS, hay una distribución de Linux que se adapta a ti. Además, Linux proporciona ventajas significativas sobre otros sistemas operativos en muchos de estos escenarios. En este blog, exploraremos cuál distribución es ideal según tus intereses y las razones por las que Linux puede ser una mejor opción en comparación con Windows o macOS. Presentaremos esta información de manera accesible para tanto hispanohablantes como angloparlantes.

English: Linux offers a wide range of distributions, each designed for different interests and needs. Whether you focus on software development, system administration, multimedia creation, or simply seek an alternative to Windows or macOS, there’s a Linux distribution that suits you. Additionally, Linux offers significant advantages over other operating systems in many of these scenarios. In this blog, we’ll explore which distribution is ideal based on your interests and why Linux might be a better choice compared to Windows or macOS. This information will be presented in a way that is accessible to both Spanish and English speakers.

1. Ubuntu: Ideal para Principiantes, Desarrollo y Diseño Gráfico / Ubuntu: Ideal for Beginners, Development, and Graphic Design

Español: Ubuntu es la elección perfecta para quienes son nuevos en Linux o buscan una distribución estable y fácil de usar para el desarrollo de software. Su amplia compatibilidad con aplicaciones como GIMP, Inkscape y Blender también la convierte en una excelente opción para diseñadores gráficos e ilustradores. Además, Ubuntu ofrece soporte para una variedad de herramientas de desarrollo, lo que la hace ideal para programadores.

English: Ubuntu is the perfect choice for those new to Linux or looking for a stable and user-friendly distribution for software development. Its broad compatibility with applications like GIMP, Inkscape, and Blender also makes it an excellent choice for graphic designers and illustrators. Additionally, Ubuntu offers support for a variety of development tools, making it ideal for programmers.

2. Fedora: Para Desarrolladores, Seguridad y Creación de Contenido Multimedia / Fedora: For Developers, Security, and Multimedia Creation

Español: Fedora se destaca por estar a la vanguardia en términos de tecnología y seguridad. Es una distribución ideal para desarrolladores y aquellos interesados en seguridad informática. Además, Fedora es compatible con una amplia gama de software para edición de video, audio y animación, como Kdenlive, Audacity y Blender, lo que la convierte en una opción sólida para creadores de contenido multimedia.

English: Fedora stands out for being at the forefront of technology and security. It’s an ideal distribution for developers and those interested in cybersecurity. Additionally, Fedora supports a wide range of software for video editing, audio production, and animation, such as Kdenlive, Audacity, and Blender, making it a solid choice for multimedia content creators.

3. Debian: Para Administradores de Sistemas, Usuarios Avanzados y Diseño 3D / Debian: For System Administrators, Advanced Users, and 3D Design

Español: Debian es conocida por su estabilidad, lo que la hace ideal para administradores de sistemas y usuarios avanzados. Su entorno sólido también es adecuado para diseñadores 3D que buscan un sistema confiable para trabajar con software como Blender o FreeCAD. Debian proporciona un entorno de trabajo predecible y seguro, ideal para manejar proyectos de gran escala y complejidad.

English: Debian is known for its stability, making it ideal for system administrators and advanced users. Its solid environment is also suitable for 3D designers looking for a reliable system to work with software like Blender or FreeCAD. Debian provides a predictable and secure work environment, ideal for handling large-scale and complex projects.

4. Arch Linux: Para Usuarios Avanzados, Personalización Extrema y Jugadores / Arch Linux: For Advanced Users, Extreme Customization, and Gamers

Español: Arch Linux es la distribución preferida por aquellos que desean un control total sobre su sistema. Es ideal para usuarios avanzados que buscan personalización extrema y desean optimizar su sistema para el rendimiento en juegos. Arch te permite configurar tu entorno de juego con precisión, optimizando el rendimiento con herramientas como Steam y Proton para jugar títulos de Windows en Linux.

English: Arch Linux is the preferred distribution for those who want full control over their system. It’s ideal for advanced users seeking extreme customization and who want to optimize their system for gaming performance. Arch allows you to finely tune your gaming environment, optimizing performance with tools like Steam and Proton for playing Windows titles on Linux.

5. Linux Mint: Alternativa a Windows para Escritorio y Creadores de Contenido / Linux Mint: Windows Alternative for Desktop Users and Content Creators

Español: Linux Mint ofrece una experiencia de usuario familiar para aquellos que buscan una alternativa a Windows, siendo particularmente amigable para el uso en escritorios. También es una excelente opción para creadores de contenido que necesitan una distribución simple y efectiva para trabajar con herramientas como OBS Studio, GIMP y Audacity. Mint combina facilidad de uso con estabilidad, facilitando la transición desde Windows.

English: Linux Mint offers a familiar user experience for those seeking an alternative to Windows, being particularly user-friendly for desktop use. It’s also an excellent choice for content creators who need a simple and effective distribution for working with tools like OBS Studio, GIMP, and Audacity. Mint combines ease of use with stability, making the transition from Windows smooth.

6. Pop!_OS: Para Desarrolladores, Gamers y Diseño 3D / Pop!_OS: For Developers, Gamers, and 3D Design

Español: Pop!_OS es una distribución basada en Ubuntu, optimizada para desarrolladores y jugadores. Incluye soporte nativo para GPUs, lo que la hace ideal para jugar y trabajar en proyectos de diseño 3D con software como Blender. Además, su enfoque en la productividad y el flujo de trabajo eficiente la convierte en una excelente opción para desarrolladores que buscan un entorno de trabajo optimizado.

English: Pop!_OS is a Ubuntu-based distribution optimized for developers and gamers. It includes native GPU support, making it ideal for gaming and working on 3D design projects with software like Blender. Additionally, its focus on productivity and efficient workflow makes it an excellent choice for developers looking for an optimized work environment.

Ventajas de Linux Sobre Windows y macOS / Advantages of Linux Over Windows and macOS

Español: Linux ofrece diversas ventajas sobre Windows y macOS, incluyendo:

Costo: La mayoría de las distribuciones de Linux son gratuitas, lo que reduce significativamente el costo en comparación con las licencias de Windows o macOS.

Seguridad: Linux es conocido por su robusta seguridad, con menos vulnerabilidades a malware debido a su arquitectura y modelo de permisos.

Rendimiento: Linux es más eficiente en el uso de recursos, ofreciendo mejor rendimiento, especialmente en hardware más antiguo o limitado.

Personalización: Con Linux, tienes un control total sobre tu sistema, permitiendo ajustar cada aspecto según tus necesidades, lo que es ideal para usuarios avanzados y creadores de contenido.

English: Linux offers several advantages over Windows and macOS, including:

Cost: Most Linux distributions are free, significantly reducing costs compared to Windows or macOS licenses.

Security: Linux is known for its robust security, with fewer vulnerabilities to malware due to its architecture and permission model.

Performance: Linux is more resource-efficient, offering better performance, especially on older or limited hardware.

Customization: With Linux, you have full control over your system, allowing you to tweak every aspect to fit your needs, ideal for advanced users and content creators.

Conclusión / Conclusion

Español: Elegir la distribución de Linux adecuada puede mejorar significativamente tu experiencia, dependiendo de tus intereses y necesidades. Desde Ubuntu y Fedora para principiantes y desarrolladores, hasta Arch Linux para usuarios avanzados y jugadores, y Pop!_OS para creadores de contenido y diseño 3D, hay una distribución que se adapta a cada perfil. Linux ofrece notables ventajas sobre Windows y macOS, convirtiéndose en una opción atractiva para una amplia variedad de usuarios.

English: Choosing the right Linux distribution can significantly enhance your experience, depending on your interests and needs. From Ubuntu and Fedora for beginners and developers, to Arch Linux for advanced users and gamers, and Pop!_OS for content creators and 3D design, there’s a distribution that fits every profile. Linux offers notable advantages over Windows and macOS, making it an attractive option for a wide range of users.

[giallofever2]

NEW by Severin Films

RELEASE DATE 7/25/2023

THE SENSUAL WORLD OF BLACK EMANUELLE [ BOX BLU-RAY ]

24 Feature Films, 2 Soundtrack CDs And A 356-Page Book

Disc 1: BLACK EMANUELLE (1975) / BLACK EMANUELLE 2 (1976)

Black Emanuelle Special Features:

XXX Inserts

Audio Commentary With Film Programmer Jazmyne Moreno

Exoticizing Blackness And Erotic Sovereignty In BLACK EMANUELLE – Interview With Adult Film Historian Mireille Miller-Young

I Am Your Black Queen – Audio Interview With Actress Laura Gemser

The Reluctant Icon – A Tribute To Laura Gemser By Film Historians Kier-La Janisse, Stephen Broomer And Manlio Gomarasca, With Animation By Leslie Supnet And Ashley Thorpe

Black Emanuelle’s Groove – Interview With Composer Nico Fidenco

Trailer

Black Emanuelle Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions

Region A

Run time: 96 mins

Black Emanuelle 2 Special Features:

XXX Inserts

Adalberto AKA Bitto – Interview With Film Historian Davide Pulici

Diva '70 – Interview With Dagmar Lassander

Trailer

Black Emanuelle 2 Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions

Region A

Run time: 91 mins

Disc 2: EMANUELLE IN BANGKOK (1976) / EMANUELLE IN AMERICA (1976)

Emanuelle in Bangkok Special Features:

Audio Commentary With Professor Of Film Aaron AuBuchon

A Reflection Of The Times – Interview With Actress Debra Berger

Ivan The Terrible – Actor Ivan Rassimov Discusses EMANUELLE IN BANGKOK And EMANUELLE AROUND THE WORLD

Trailer

Emanuelle in Bangkok Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions

Region A

Run time: 94 mins

Emanuelle in America Special Features:

Audio Commentary With Film Historian Kat Ellinger

Archival Audio Commentary With Film Historians Bruce Holecheck And Nathaniel Thompson

The Danish Man – Interview With Actor Lars Bloch

The Confessions Of Diana Smith – Interview With Actress Maria Piera Regoli

The Art Of Sexy & Gore – Interview With Art Director Marco Dentici

The Cutting Of The Flesh – Interview With FX Artist Giannetto De Rossi

The Devil’s Trick – Interview With Makeup Artist Maurizio Trani

The Journalist – Maria Pia Fusco And Piero Vivarelli On The Origins Of D’Amato’s Emanuelle

The Naked City: Emanuelle In New York – A Location Tour With Journalist Michael Gingold

Trailer

Emanuelle in America Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions

Region A

Run time: 100 mins

Disc 3: EMANUELLE AROUND THE WORLD (1977) / EMANUELLE AND THE LAST CANNIBALS (1977)

Emanuelle Around the World Special Features:

Around The World With Emanuelle – Interview With Film Historian Stephen Thrower

I’m Not A Guru – Interview With Actor Luigi Montefiori

The Beautiful One – Interview With Actor Gianni Macchia

A Tribute To Karin Schubert: The ‘Nackedei’ Actress – Video Essay By Kier-La Janisse And Stephen Broomer, Written By Jean-Luc Marret, Author Of Pornification: Vie De Karin Schubert

Trailer

Emanuelle Around the World Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions

Region A

Run time: 102 mins (Unrated Cut) / 88 mins (Theatrical Cut)

Emanuelle and the Last Cannibals Special Features:

Audio Commentary By Film Historian Stephen Thrower

The World Of Nico Fidenco – An Interview With Composer Nico Fidenco

A Nun Among The Cannibals – Interview With Actress Annamaria Clementi

Dr. O’Brien M.D. – Interview With Actor Donald O’Brien

From Switzerland To Mato Grosso – Interview With Actress Monica Zanchi

Dressed To Eat – Interview With Costume Designer Silvana Scandariato

Theatrical Trailer

Emanuelle and the Last Cannibals Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions / English Subtitles

Region A

Run time: 93 mins

Disc 4: PORNO NIGHTS OF THE WORLD (1977) / EMANUELLE AND THE PORNO NIGHTS OF THE WORLD (1978)

Porno Nights of the World Special Features:

Master Of The World – Interview With Co-Director Bruno Mattei

At The Dining Table – Interview With Producer Franco Gaudenzi

The Naked Eye: Sex And The Mondo Film – Documentary With Film Historians Elizabeth Purchell, Mark Goodall And Joe Rubin

English Opening Credit Sequence

Trailer

Porno Nights of the World Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions

Region A

Run time: 88 mins

Emanuelle and the Porno Nights of the World Special Features:

Crazy, Crazy World – Interview With Makeup Artist Pietro Tenoglio

After Hours With Joe D’Amato – Interview With Director Joe D’Amato

Trailer

Emanuelle and the Porno Nights of the World Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions

Region A

Run time: 85 mins

Disc 5: SISTER EMANUELLE (1977) / EMANUELLE AND THE WHITE SLAVE TRADE (1978)

Sister Emaneulle Special Features:

Audio Commentary With Film Scholar Lindsay Hallam

Trailer

Sister Emanuelle Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions

Region A

Run time: 93 mins

Emanuelle and the White Slave Trade Special Features:

Audio Commentary With Film Programmer Lars Nilsen

The Bohemian – Interview With Actor Venantino Venantini

Come In Un Film: La Vera Storia Di Gabriele (Gastone) Tinti – 2016 Documentary By Riccardo Marchesini

Trailer

Emanuelle and the White Slave Trade Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions

Region A

Run time: 88 mins

Disc 6: VIOLENCE IN A WOMEN'S PRISON (1982) / EMANUELLE IN PRISON (1985)

Violence in a Women's Prison Special Features:

Archival Interview With Director Bruno Mattei

Brawl In Women’s Block – Interview With Writers Claudio Fragasso And Rossella Drudi

Two For One – Interview With Producer Roberto Di Girolamo

Radio Spot

Trailer

Violence in a Women's Prison Disc Specs:

Aspect ratio: 1.78:1

Audio: English Mono / Italian Mono

Closed Captions

Region A

Run time: 98 mins

Emanuelle in Prison Special Features:

Audio Commentary With Author And Critic Annie Choi And Film Editor Perri Pivovar

Jailhouse Rock – Interview With Composer Luigi Ceccarelli

Razor Blade Smile – Interview With Actor Pietro Angelo Pozzato

Franca Stoppi: Matron Of Hell – Video Essay Written And Narrated By Film Critic Rachael Nisbet

Trailer

Emanuelle in Prison Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono

Closed Captions

Region A

Run time: 88 mins

Disc 7: BLACK COBRA (1976) / BLACK VELVET (1976)

Black Cobra Special Features:

Audio Commentary With Film Critic Samm Deighan

From Prague To Hong Kong – Interview With Actress Michele Starck

Joe D’Amato At Eurofest

Black Cobra Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions

Region A

Run time: 96 mins

Black Velvet Special Features:

Black Velvet – Interviews With Stars Annie Belle And Al Cliver

The Roots Of Evil – Biographer Alberto Pezzotta On Director Brunello Rondi

A Relationship Of Confusion – Film Critic Joseph Fahim On VELLUTO NERO

English Opening Credit Sequence

Italian Theatrical Trailer

English Theatrical Trailer

Black Velvet Disc Specs:

Aspect ratio: 2.35:1

Audio: Partial English Mono / Italian Mono

Closed Captions / English Subtitles

Region A

Run time: 96 mins

Disc 8: EMANUELLE'S PERVERSE OUTBURST (1983) / PORNO ESOTIC LOVE (1980)

Emanuelle's Perverse Outburst Special Feature:

Audio Commentary With Author Bryan Connolly And Film Programmer Amber Adams

Emanuelle's Perverse Outburst Disc Specs:

Aspect ratio: 1.85:1

Audio: French Mono

English Subtitles

Region A

Run time: 97 mins

Porno Esotic Love Special Features:

The Lovemaker – Interview With Actor Mark Shannon

Trailer

Porno Esotic Love Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions

Region A

Run time: 103 mins

Disc 9: DIVINE EMANUELLE (1981)

Divine Emanuelle Special Features:

Includes FANATICO...WHEN THE GODDESS CALLS (Workprint of Christian Anders' Director's Cut)

Deleted Scenes

Trailer

Divine Emanuelle Disc Specs:

Aspect ratio: 1.66:1

Audio: English Mono / French Mono (Divine Emanuelle Only)

Closed Captions

Region Free

Run time: 99 mins (Divine) / 104 mins (Fanatico)

Disc 10: EMANUELLE: QUEEN OF THE DESERT (1982)

Emanuelle: Queen of the Desert Special Features:

Includes THE DIRTY SEVEN (Longer Alternate Cut Of The Film Under Its Original Title)

Violent Cyprus – Interview With Actor Giovanni Brusatori

Sunlight And Violence – Interview With Cinematographer Nino Celeste

Trailer

LOOKING GOOD – Workout Video Hosted By Laura Gemser (58 mins)

Audio Commentary With Film And Television Historian Amanda Reyes And Podcaster Erik Threlfall

Emanuelle: Queen of the Desert Disc Specs:

Aspect ratio: 1.66:1

Audio: English Mono

Closed Captions

Region Free

Run time: 89 mins

Disc 11: AMORE LIBERO - FREE LOVE (1974) / EMANUELLE - A WOMAN FROM A HOT COUNTRY (1978)

Amore Libero - Free Love Disc Specs:

Aspect ratio: 1.77:1

Audio: English Mono / Italian Mono (TBC)

Closed Captions (TBC)

Region A

Run time: 86 mins (TBC)

Emanuelle - A Woman From a Hot Country Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Spanish Mono

Closed Captions

Region A

Run time: 87 mins

Disc 12: BLACK DEEP THROAT (1977) / PORNO NIGHTS OF THE WORLD N.2 (1978)

Black Deep Throat Special Feature:

Ajita Wilson: An Elusive Icon – Video Essay By Film And Gender Studies Scholar Matt Richardson

Black Deep Throat Disc Specs:

Aspect ratio: 2.35:1

Audio: English Mono

Closed Captions

Region Free

Run time: 87 mins

Porno Nights of the World N.2 Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono / Italian Mono

Closed Captions

Region Free

Run time: 94 mins

Disc 13: INFERNO ROSSO: JOE D'AMATO ON THE ROAD OF EXCESS (2021) / SCANDALOUS EMANUELLE (1986)

Inferno Rosso: Joe D'Amato on the Road of Excess Special Features:

Introduction By Nicolas Winding Refn For Venice Film Festival Premiere

Two Of A Kind: Talking About Joe – Director Manlio Gomarasca And Giona A. Nazzaro (Artistic Director, Locarno Film Festival) In Conversation

Outtakes

Trailer

Inferno Rosso: Joe D'Amato on the Road of Excess Disc Specs:

Aspect ratio: 1.78:1

Audio: English 5.1 / Italian Stereo

Closed Captions / English Subtitles

Region A

Run time: 73 mins

Scandalous Emanuelle Special Features:

Scandalous Christina – Interview With Actress Jenny Tamburi

Peeping Lilli – Interview With Actress Lilli Carati

Trailer

Scandalous Emanuelle Disc Specs:

Aspect ratio: 1.85:1

Audio: English Mono

Closed Captions

Region A

Run time: 91 mins

Disc 14: NICO FIDENCO’S GROOVE CD

Disc 15: BLACK EMANUELLE’S RARITIES AND B-SIDES CD

THE BLACK EMANUELLE BIBLE: Designed by Luke Insect with a cover illustration by Kim Thompson, this fully illustrated 356-page book is the most substantial collection of writing ever devoted to the series, with essays by Kevin John Bozelka, Costas Constandinides, Rachel Harrison, Alexandra Heller-Nicholas, Kier-La Janisse, Jennifer Moorman, Xavier Aldana Reyes, Jorge Rivera-Gutiérrez and Erin Wiegand; additional capsule reviews by Bryan Connolly and Craig Ledbetter; and archival interviews with actress Laura Gemser and screenwriter Maria Pia Fusco.

Severin Films

[the-tzarina-alexandra-paracosm]

I just drew some characters from what is going to be a rewrite of that fanfic from 2019 but as an original work

Since the story took place in contemporary times even the first time around, I decided to place it in Romania because placing it anywhere else felt arbitrary (ie served no """worldbuilding""" purpose at all).

The action begins sometime in 2014/2015 and ends in late 2019 (again, I decided upon this year because that's the year when I wrote the first version)

Close-ups and details

Laurențiu

(RO)

Data nașterii: 26 feb 1991

Ocupație: programator, designer web

Hobby-uri: jocurile video (mai ales cele cu împușcături), creerea de mod-uri pentru respectivele jocuri, arhivarea digitală, muzica rock și metal, filmele horror clasice, "dezbaterile" pe diverse forumuri și secțiuni de comentarii

(EN)

Date of birth: 26th February 1991

Occupation: programmer, Web designer

Hobbies: video games (especially shooters), creating mods for the respective games, digital archiving, rock and metal music, classic horror movies, "debates" on various forums and comment sections

Mădălina

(RO)

Data nașterii: 7 sep 1991

Ocupație: contabilă

Hobby-uri: colecționarea de antichități și obiecte de kitsch, moda (gotică, punk, vintage, etc), istoria comunismului, muzica rock și punk, filmele de epocă și documentarele despre criminali, romanele gotice și detective

(EN)

Date of birth: 7th of September 1991

Occupation: accountant

Hobbies: collecting antiques and kitsch objects, fashion (goth, punk, vintage, etc), the history of communism, rock and punk music, period dramas and true crime documentaries, gothic and crime novels

Andriy (Андрiй)

(RO)

Data nașterii: 9 nov 1990

Ocupație: brutar

Hobby-uri: cântatul la vioară, muzica clasică (dar și ce mai aude la radio), festivalurile și competițiile culturale și muzicale, filmele de acțiune și comedie, jocurile video (mai ales multiplayer), plimbatul prin oraș și călătoria

(EN)

Date of birth: 9th of November 1990

Occupation: Baker

Hobbies: playing the violin, classical music (but also whatever he hears on the radio), culture and music festivals and competitions, action and comedy movies, video games (especially multiplayer), walking around town and travelling

Teodora

(RO)

Data nașterii: 30 aug 1989

Ocupație: logoped, consilier școlar

Hobby-uri: grădinăritul (la bloc fiind, se rezumă la plante în ghiveci, mai ales flori), gătitul, plimbatul prin oraș cu bicicleta, ieșirile și excursiile, romanele și filmele romantice, teatru radiofonic

(EN)

Date of birth: 30th of August 1989

Occupation: speech therapist, school counsellor

Hobbies: gardening (living in a flat, she only keeps potted plants, especially flowers), cooking, cycling, strolling through the city, outings and trips, romance movies and novels, audio plays on the radio

Tiberiu

(RO)

Data nașterii: 7 sep 1991

Ocupație: om de afaceri

Hobby-uri: petrecerile de orice fel (în cluburi, acasă, la grătar etc), mersul la meciuri, concerte etc împreună cu prietenii, muzica pop, de petrecere, electronică, ieșirile în natură, pescuitul, înotul

(EN)

Date of birth: 7th September 1991

Occupation: businessman

Hobbies: parties of any kind (in the club, home, at a barbecue, etc), going to see sports matches, concerts etc with his friends, pop, "party" and electronic music, trips in nature, fishing, swimming

Răzvan

(RO)

Data nașterii: 13 mar 2001

Ocupație: elev (ulterior student)

Hobby-uri: istoria antică (mai ales a Egiptului), construirea de machete și rezolvarea puzzle-urilor, colecționarea de pietre, călătoria, cărțile de non-ficțiune (dar și romane fantasy și benzi desenate)

(EN)

Date of birth: 13th March 2001

Occupation: high-school (and later, college) student

Hobbies: ancient history (especially of Egypt), building miniature models, solving puzzles, collecting rocks, travel, reading nonfiction books (but also fantasy novels and comics)

_____

The relationships between characters:

Mădălina, Tiberiu and Teodora are siblings

Laurențiu and Răzvan are brothers

Laurențiu and Andriy are beloved mutuals online friends within relative visiting distance

Laurențiu and Mădălina get into a romantic relationship pretty early into the narrative

Teodora would absolutely find somebody like Andriy to be her type (and vice versa)

[robotikaile]

Las Vegas Sphere Eğlence Merkezinde Yeni Bir Gösteri Mekanı

Boyutları 112x157 Metre LED yüzeyi 15.000 m2 Çözünürlüğü 16K Programlanabilir Aydınlatma 54.000 m2 Maliyet 2,3 Milyar $ MSG Sphere Las Vegas, Las Vegas Strip'teki bir eğlence mekanıdır. Bu gösteri mekanı, The Madison Square Garden Company (MSG) tarafından inşa edilmektedir. MSG Sphere, 18.000 kişi kapasiteli bir konser ve etkinlik mekanı olacak şekilde tasarlanmıştır. Ancak MSG Sphere'ün en dikkat çekici özelliği, içerideki devasa bir küre şeklindeki ekran sistemidir. Bu dev küre, 360 derece görüntüleme sağlayarak izleyicilere benzersiz bir deneyim sunmayı hedeflemektedir. MSG Sphere, en son teknolojileri kullanarak yüksek çözünürlükte video ve ses gösterileri sunacak. İçerideki ekran sistemi sayesinde, izleyiciler tamamen sürükleyici bir deneyim yaşayacaklar. Ayrıca, sanal gerçeklik ve artırılmış gerçeklik gibi interaktif deneyimler de sunulması planlanmaktadır. MSG Sphere Las Vegas, büyük etkinliklere ev sahipliği yapmanın yanı sıra, konserler, gösteriler, spor etkinlikleri, konferanslar ve diğer özel etkinlikler için de kullanılacaktır. Ayrıca, mekanın restoranlar, barlar ve ticaret alanları gibi ek tesisleri olması planlanmaktadır. MSG Sphere Las Vegas'ın inşası hala devam etmektedir ve tamamlanması için belirli bir tarih henüz açıklanmamıştır. Ancak, tamamlandığında, Las Vegas'ın turistik cazibe merkezlerinden biri olması ve benzersiz gösterileriyle dikkat çekmesi beklenmektedir. 🎥 @wynnlasvegas & @spherevegas

LED surface area 15,000 m2 Resolution 16K Programmable Lighting 54,000 m2 Cost 2.3 Billion $

MSG Sphere Las Vegas is an entertainment venue located on the Las Vegas Strip. This show venue is being built by The Madison Square Garden Company (MSG). MSG Sphere is designed to be a concert and event venue with a capacity of 18,000 people. However, the most striking feature of MSG Sphere is its massive spherical screen system inside. This giant sphere aims to provide viewers with a unique experience by offering 360-degree viewing. MSG Sphere will present video and audio shows in high resolution using the latest technologies. Thanks to the interior screen system, the audience will have a completely immersive experience. Additionally, interactive experiences such as virtual reality and augmented reality are also planned to be offered. In addition to hosting major events, MSG Sphere Las Vegas will also be used for concerts, shows, sports events, conferences, and other special events. Furthermore, the venue is planned to have additional facilities such as restaurants, bars, and commercial areas. The construction of MSG Sphere Las Vegas is still ongoing, and a specific completion date has not yet been announced. However, once completed, it is expected to become one of Las Vegas' tourist attractions and draw attention with its unique shows.

[merelyroleplayers]

Now playing in the Main House

Vigil: Tailor Made, Act Three of Five – As the innocents evacuate, hostilities escalate. The walls are closing in.

Coming next on 12 November – Vigil: Tailor Made, Act 4

Programme notes

This production contains strong language, drug use, gunfire, and gory fantasy violence.

Nominate your favourite podcasts for the 2024 Discover Pods Awards. Merely Roleplayers is eligible under Fiction and I Need A Miracle, the scripted audio drama Matt wrote, is eligible for Best New Podcast of 2024.

Luvvie alert! We simply must introduce you to The Thorne Files, a fellow Monster of the Week actual play podcast detailing the exploits and mysteries explored by agents of Thorne Investigations, a paranormal investigations agency, in 1952.

Dramatis personae and other definitions

Peggy Tailor: The prodigal daughter of a local family that dabbles in fey frolicking and organised crime, back in town to lay low after a grift gone horribly wrong.

Calistarius Softbinding: A local horror writer with a cult following, who sponsored the construction of a whole new wing of Sherrydown’s library. Calistarius Softbinding is a nom de plume.

Ed Kincaid: A once promising, now disgraced MI5 agent assigned to investigate the more … esoteric threats reported to the national security hotline.

Jinny Greenteeth: Proprietor of the Grove of Oddities, a tacky Sherrydown tourist attraction. In a past life, Jinny was branded a witch after a series of drownings in her Lancashire village.

Department of Omissions (DO, DoOm): The UK government department tasked with preventing harm to citizens from supernatural phenomena. Severely defunded under Tory austerity policies and currently prioritising major urban population centres.

Sherrydown, Brackshire: A historic English market town. One of the first towns to lose its DoOm office.

Omission effect: The rejection of certain beings and phenomena by long-term memory. Recently lifted.

Credits

COMPERE: Matt Boothman

STARRING:

Ellie Pitkin as Peggy Tailor, the Crooked

Chris Buxey as Calistarius Softbinding, the Expert

Chris MacLennan as Ed Kincaid, the Professional

Josh Yard as Jinny Greenteeth, the Spellslinger

with Chris Starkey as Cameron Jarvis

ROLEPLAYING GAME SYSTEM: Monster of the Week, designed by Michael Sands

MUSIC BY: Alexander Pankhurst

SOUND DESIGN BY: Matt Boothman

SFX AND INCIDENTAL MUSIC INCLUDES: Dragon and Toast by Kevin MacLeod; and may include others made available to use without attribution.

EDITED AND PRODUCED BY: Matt Boothman

Find us

On Instagram @MerelyRoleplayers

On Tumblr @merelyroleplayers

www.MerelyRoleplayers.com

[blog-submission]

Hiring The Proficient Web Development Company In Delhi!

An online business without web development is similar to fish without an aquarium. Any business leader, product head, or entrepreneur of a newly established e-commerce business needs a platform to showcase its product, services, and other necessary details to the audience. For that purpose, they will require the assistance and support of a proficient website development company in Delhi or anywhere within the nation.

The importance of web development for any small or large-scale business can be analyzed via the fact that web development services offer an array of business solutions to a firm. Depending on the clients' requirements, web developers build a web application ensuring cybersecurity, testing, UI/UX design, maintenance, and everything required. All these factors completely depend on the project and clients' needs. Overall, website development service in India cover a vast range of things that are best defined in the below details. 

Web Development: A Route To Building Online Presence! 

The ever-changing technologies and emerging needs & demands of consumers has led to high competition in the trading & e-commerce businesses digitally. Almost every second brand and enterprise are opting for innovative tools and applications in order to be at the top of the market. And this is the potential reason why web development service in India is so imperatively renowned and requested. 

Now, let's try to understand what web development exactly is and who performs it. Basically, it is a process for creating materials that build your business or brand's online presence. It requires intensive planning, well-identification of business needs & goals, research, analysis, content, and skilled coders. 

One can better understand web development business solution as a platform that turns visitors into customers. Every business owner needs a bridge to communicate and facilitate it's audience's needs. A custom web development is the same bridge that seeks what your customers are looking for and tries to cater to their needs in the most dignified and contented manner. 

Not only the publishing content about the product or services that the business deals in, but also adequate knowledge of handling social media and technical challenges must be in the loop. Web development services for any business requires publishing content, images, draft, audio, videos, themes, and so much more. Without the mentioned specifications, it's hard to build a website for any product, brand, service, or, eventually, business. Coming back to the track of who performs web development services, Developers or coders are the retorts. People who have an academic background in coding under specific or different languages write codes, prepare a website's structure, and verify the code's functionality to implement a proper operational web application or software solution. 

Roles/Tasks Of Web Developers: 

There are endless roles and responsibilities that a programmer has to take into consideration throughout the entire programming part. Though, there are many tasks that come under any developer's list. It all depends on the type of project, the client's requirements, and varying technological aspects. Below are some of the prominent roles and tasks of a web developer, whether freelancer or agency employed. 

Designing user interfaces and menus for mobility

Composing and evaluating website code, usually in HTML, XML, or JavaScript

Incorporating multimedia into a website

Web application testing

Solving issues with user experience or performance

Cooperating with stakeholders, designers, and developers

Types Of Web Developers: 

Not only just developing a website for any project of a client but also ensuring the user-friendliness, easy navigation, enticing color, graphics, designs, images, texts, and videos, a web developer has to embed a lot of things into a web creation. Substantially, webmasters are responsible for a lot of important factors for website development. That's why they are of different types, which we all need to understand profoundly. 

Web developers typically fall under either one or all of the below-mentioned categories. The competent ones are sometimes skilled in all three categories, which is why they are renowned and most called in the markets. 

Back-End Web Developers: They design the web site's structure be it under php website development or a custom website development, write the code, and check if that code is functional. Their duties may also involve controlling access points for anyone who should control site content.

Front-End Web Developers: They focus on the website's visual elements, or the columns that users see and engage with (also known as the user interface). They construct the actual page layouts, incorporate visuals, and improve the site with HTML and JavaScript.

Full-Stack Engineers: They handle both the front-end and back-end activities. These coders can create an entire website and may work for companies that lack the funding for a large website staff.

Webmasters: In essence, webmasters are website managers. Their main duty is to maintain the website and make sure that all of the connections and applications are functional on every page.

[maacsatara]

Game Design Principles: From Concept to Execution

Game design is a complex and multi-faceted process that spans from the initial concept to the final execution. It involves a harmonious blend of creativity, technical skills, and a deep understanding of player psychology. Institutions like a game design institute in Pune play a crucial role in training aspiring game designers. The following exploration outlines the key principles and stages of game design, illustrating how an idea transforms into a fully realized game.

Conceptualization

The first step in game design is conceptualization. This involves brainstorming and refining the core idea or vision for the game. Designers must consider the target audience, the game's genre, and the unique elements that will set it apart from other games. This stage often involves creating a high-level concept document that outlines the game's premise, main features, and gameplay mechanics.

Pre-Production

During the pre-production phase, the initial concept is expanded into a detailed plan. This includes developing the game's storyline, characters, and world. Designers create storyboards, concept art, and design documents to visualize the game. Key decisions about the game's mechanics, rules, and objectives are made, and a prototype or proof of concept is often developed to test fundamental ideas and feasibility.

Core Game Design Principles

1. **Gameplay Mechanics**: The backbone of any game, mechanics are the rules and systems that govern how the game is played. Good mechanics should be intuitive, engaging, and provide a balance of challenge and reward. Designers must ensure that the mechanics align with the game's overall vision and enhance the player experience.

2. **Balancing**: Balance is crucial to ensure that the game is neither too easy nor too difficult. This involves fine-tuning the game's mechanics, difficulty levels, and player progression. Balancing also extends to ensuring fairness, where all players have equal opportunities to succeed, especially in multiplayer games.

3. **Player Engagement**: Keeping players engaged is essential for a game's success. This can be achieved through compelling narratives, immersive environments, and varied gameplay. Designers must consider the pacing of the game, providing a mix of challenges, exploration, and rewards to maintain interest and motivation.

4. **User Experience (UX)**: A seamless and enjoyable user experience is vital. This includes intuitive controls, clear instructions, and responsive interfaces. Good UX design ensures that players can focus on the game itself rather than struggling with its controls or navigation.

5. **Aesthetics and Audio**: Visual and auditory elements significantly impact the player's immersion and enjoyment. Consistent art style, high-quality graphics, and appropriate sound effects and music enhance the game's atmosphere and emotional impact. Designers must ensure that these elements align with the game's theme and mood.

Production

The production phase involves the actual creation of the game. This is where programmers, artists, and designers collaborate to bring the game's elements to life. Game engines like Unity or Unreal Engine are often used to develop the game, incorporating graphics, physics, and sound. Iterative testing and development are crucial during this phase to identify and fix bugs, optimize performance, and refine gameplay mechanics.

Playtesting

Playtesting is a critical part of the game design process. It involves allowing real players to play the game and provide feedback. Playtesting helps identify issues with game mechanics, balance, and user experience that the developers might not have anticipated. This feedback is invaluable for making necessary adjustments and improvements.

Finalization and Release

Once the game has been thoroughly tested and polished, it enters the finalization stage. This includes final bug fixes, optimization, and preparation for release. Marketing strategies are developed to promote the game, and distribution channels are chosen, whether digital platforms like Steam or physical copies for consoles.

Post-Launch Support

The game design process doesn't end with the release. Post-launch support involves addressing any issues that arise after the game is released, such as bugs or balance adjustments. Additionally, designers may develop downloadable content (DLC) or updates to keep the game fresh and engaging for players.

Conclusion

From concept to execution, game design is a dynamic and iterative process that requires careful planning, creativity, and attention to detail. By adhering to core design principles and continually refining their work, designers can create games that are not only enjoyable but also memorable and impactful for players.

[pumaniq]

TIANJIN BINHAI LIBRARY

MVRDV and Tianjin Urban Planning and Design Institute (TUPDI) have completed Tianjin Binhai Library as part of a larger masterplan to provide a cultural district for the city. The 33,700m2 cultural centre featuring a luminous spherical auditorium and floor-to-ceiling cascading bookcases functions not only as an education centre but as a social space and connector from the park into the cultural district.

LocationChina Mainland

CityTianjin

Year2017

Surface33700 m²

StatusRealised

ProgrammesEducational , Cultural , Auditorium

ThemesArchitecture , Public , Culture , Interiors

The five-level building contains diverse educational facilities, arrayed along the edges of the interior and accessed through the main atrium space. The public program is supported by subterranean service spaces, a book storage, and a large archive. From the ground floor visitors can easily access reading areas for children and the elderly, the auditorium and the terraced access to the floors above. The first and second floors consist primarily of reading rooms, books and lounge areas whilst the upper floors include meeting rooms, offices, computer and audio rooms and two rooftop patios. Tianjin Binhai Library is part of German architects GMP’s 120,000m2 masterplan which aims to accentuate the characteristics of the surrounding districts. The complex is intended as a junction point for the CBD, old town, residential districts, commercial areas and the government quarter supplementing missing programmes in each. The library’s outer volume was stipulated in the masterplan thus the Eye and surrounding semi-public area are an internal space, an inverted icon, acting as a central point and folly in the building

“The Eye is the center of the library. It ‘hollows out’ the building and creates, out of bookshelves, an environment to sit, to read, to hang out, to climb and to access, to create an organic social space,” explains MVRDV co-founder Winy Maas. “In its heart is the auditorium which mirrors the environment, giving a 360-degree panorama of the space inside; a truly reflective and pensive environment.”

AD 100 China Award - Cultural Architecture category, Tianjin Binhai Library

Marco Gazzola at RigenerAZIONE - Architettura Raccontata, Pisa

Tianjin Binhai Library is MVRDV’s fastest realized project to date, taking just three years from the first sketch to the opening. The tight construction schedule forced one essential part of the concept to be dropped: access to the upper bookshelves from rooms placed behind the atrium. This change was made locally and against MVRDV’s advice. It rendered access to the upper shelves impossible. The full vision for the Tianjin Library may yet be realised. Until then the upper shelves of the library remain empty - with perforated aluminum plates printed to represent books – a remnant of the original design. The project is MVRDV’s second completed design in Tianjin. TEDA Urban Fabric, completed in 2009, provided 280,000m2 of mixed high and low-rise housing and retail. 

GALLERY

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© all rights reserved

CREDITS

Architect MVRDV

Principal in charge Winy Maas

Partner Wenchian Shi

Design Team

Concept design

Copyright: MVRDV

MVRDV Winy Maas, Jacob van Rijs, Nathalie de Vries

Partners

Co-Architect: Tianjin Urban Planning and Design Institute (TUPDI), Tianjin, China

Lighting designer: Huayi Jianyuan lighting design

Images: Ossip van Duivenbode

SHARE THE LOVE

#TIANJIN BINHAI LIBRARY

sijingr5 years ago on

65 Likes, 1 Comments - Vivian Ren (@sijingr) on Instagram: “The most beautiful library in 🇨🇳 #Hollanddesigner#mvrdvarchitecture #china#tianjin”huiwen.yang5 years ago on

60 Likes, 3 Comments - Huiwen Yang (@huiwen.yang) on Instagram: “亞洲最美圖書館 #讀書人 #tianjinbinhailibrary”marysiaandreevna5 years ago on

74 Likes, 6 Comments - MarusyA (@marysiaandreevna) on Instagram: “читайте. это развивает!”_grinsebacke_5 years ago on

139 Likes, 0 Comments - CARMEN MINA 可梦 (@_grinsebacke_) on Instagram: “Eine Bücherei ohne echte Bücher. 📚🤦🏻‍♀️ #justchinathings #Tianjin #tianjinbinhailibrary #daytrip…”aieadriani5 years ago on

45 Likes, 1 Comments - Aie Adriani (@aieadriani) on Instagram: “Perpustakaan Nasional Indonesia team di Binhai Library #tianjinbinhailibrary #library #literature…”eunoia.collective5 years ago on

32 Likes, 0 Comments - Eunoia Collective (@eunoia.collective) on Instagram: “Bibliophiles, here’s wonderland 🦄 ... #Repost @designboom ・・・ designed by @mvrdv, the…”a.d.venturers5 years ago on

139 Likes, 7 Comments - A.D.Venturers (@a.d.venturers) on Instagram: “Tianjin Binhai Library by MVRDV is the Jury and Popular Choice Award winning project for…”farukpinjo5 years ago on

88 Likes, 2 Comments - Faruk Pinjo (@farukpinjo) on Instagram: “book.nerds ... .. . Tianjin Binhai Library, designed by MVRDV. Photography by Faruk Pinjo, 2018. .…”JoshepAyya5 years ago on

“RT TIME "More than 1.8 million people have visited this library in Tianjin, China, which can hold over 1.35 million books t.co/8uxqeWKNuM t.co/lZc0xD3RB1"”cahulaan5 years ago on

“Time magazine releases its first list of top 100 places in the world: In the top places to visit category, Tianjin Binhai Library in Tianjin, China made the cut for its gleamingly white, terraced design that elevates the humble public lending library… t.co/CCzTAJn3fQ”Irene_Start5 years ago on

“Waar moet je echt naartoe dit jaar? Volgens @TIME horen de Skygarden in Seoul en de Tianjin Binhai Library (ontwerpen van @MVRDV) tot The World’s Greatest Places of 2018. t.co/QPktIYWvHL”lfjj_cwy07185 years ago on

4 Likes, 1 Comments - WeiyiChen (@lfjj_cwy0718) on Instagram: “Amazing library in Tianjin #tianjinbinhailibrary”travelstrongworld5 years ago on

44 Likes, 6 Comments - TravelStrong | WORLD (@travelstrongworld) on Instagram: “Not just any ordinary library 🇨🇳 📷: lielaine #travelstrong”kkkwang185 years ago on

26 Likes, 8 Comments - ZiXu Wang(Kevin) (@kkkwang18) on Instagram: “Back to 🏠#tianjinbinhailibrary”_ymi__5 years ago on

39 Likes, 2 Comments - Yang (@_ymi__) on Instagram: “#timelapse #MVRDV #gmp #gmparchitekten #binhailibrary #tianjinbinhailibrary #architecture…”iii_xvii_l5 years ago on

2 Likes, 1 Comments - @iii_xvii_l on Instagram: “📖 #vscocam #tianjin #tianjinbinhailibrary”silviazzolini_ph5 years ago on

19 Likes, 1 Comments - @silviazzolini_ph on Instagram: “Reading gives us some place to go when we have to stay where we are 📖 📚…”atelier_di_spera5 years ago on

297 Likes, 11 Comments - Atelier di Spera (@atelier_di_spera) on Instagram: “Tianjin Binhai Library, China - simply stunning!!! #tianjinbinhailibrary #tianjinlibrary #tianjin…”anggianiyo5 years ago on

212 Likes, 12 Comments - Anggiani Yo (@anggianiyo) on Instagram: “Nah, this aint 3d rendering✖️ #tianjinbinhailibrary #theeye #mvrdv #mvrdvarchitecture”best_views_around_the_world5 years ago on

206 Likes, 1 Comments - Best Views Around the World (@best_views_around_the_world) on Instagram: “Tianjin Binhai Library, China (📷: @youknowcyc_) . . . . . #tianjin #tianjinlibrary #library…”cnntravel5 years ago on

12k Likes, 326 Comments - CNN Travel (@cnntravel) on Instagram: “The Tianjin Binhai Library is a cultural center in Tianjin, China that features floor-to-ceiling…”

[musitechnicformation]

Découvrez les meilleurs programmes d'ingénierie musicale pour débuter votre carrière dans la production sonore, le design audio et les technologies musicales. Explorez les écoles et universités les mieux classées offrant des cours spécialisés qui combinent musique et ingénierie, avec une expérience pratique sur des équipements audio de pointe. Apprenez-en plus sur les points forts des programmes, les opportunités de carrière et comment trouver la formation idéale pour votre passion pour la musique et la technologie. Commencez votre parcours en ingénierie musicale dès aujourd'hui !

[easyshoppii]

Best Budget Affordable PC Gaming Accessories for Gamers

Welcome to a world where gaming dreams and budget realities collide! In the fast-paced world of PC gaming, where super-cool technology can be pretty expensive, every gamer is on a mission to find the right mix of power and affordability. It's like a treasure hunt for the perfect gaming Accessories that makes gaming awesome without costing a ton.

If you're looking to make your gaming experience better without spending too much, you're in for a treat. This blog is all about "Best Budget Affordable PC Gaming Accessories for Gamers" Get ready to discover a bunch of cool stuff that won't cost you a fortune. We've picked out some great stuff for you that shows you don't need a ton of money to improve your gaming setup without sacrificing quality. 

From Mechanical Gaming keyboards that feel great to use to Gaming headsets that make you feel like you're in the game, super-accurate gaming mice to Navigate with precision – we've looked around to find you budget-friendly PC gaming Accessories online that work really well. Let's explore this world of gaming gear that's affordable and awesome!

Best Budget Mechanical Gaming Keyboard: 

Logitech G413 Carbon Mechanical Gaming Keyboard: 

1. Pro-Grade Performance, unrivaled responsiveness, and durability: The Logitech G413 Carbon Mechanical Gaming Keyboard takes gaming performance to the next level with its Roomer-GTM mechanical switch. 

Illumination Perfected: The Roomer-G switch isn't just about performance; it's also designed to provide precise and clean lighting through each keycap. This means your keys remain visible and legible, enhancing your gaming experience even during those intense late-night sessions. 

 Power and Data at Your Fingertips: With an additional USB cable, the Logitech G413 goes the extra mile. The USB pass-through port isn't just for show – it offers 100% power throughput and data speed. Now you can connect your devices for charging without any compromise, or even plug in your trusty gaming mouse and ensure it's always powered up to take on your adversaries.

Command Center on Your Keyboard:  Say goodbye to juggling multiple controls. The full function keys (FN) on the Logitech G413 allow you to seamlessly manage your gaming experience. Control volume, play and pause music, skip tracks, mute audio, toggle lighting effects, and even activate game mode – all directly from your keyboard. 

 Balancing Form and Function: The brushed aluminum-magnesium alloy top case of the Logitech G413 isn't just for aesthetics. This premium material serves as the keyboard's backbone, ensuring a strong and durable structure. The result? A minimalist design that doesn't compromise on essential features, offering you the best of both worlds.

ASUS ROG Strix Scope TKL Mechanical RGB Gaming Keyboard: 

ASUS ROG Strix Scope TKL Mechanical RGB Gaming Keyboard is not just a keyboard; it's a finely tuned instrument designed to elevate your gameplay. With its Xccurate Design featuring the wide Ctrl key, your in-game actions become more precise. Coupled with customizable Aura RGB lighting, this keyboard is the ultimate tool to enhance your performance and rise above the competition.

With its carefully crafted design, responsive Cherry MX switches, stealth features, and impressive aesthetics, this Gaming keyboard is more than a piece of equipment – it's an extension of your gaming prowess. Unleash your potential and embrace victory with every keystroke. 

Best Budget Gaming Mouse: 

Logitech G502 Hero High-Performance Wired Gaming Mouse

When it comes to the world of gaming, every move, every action, and every decision counts. The Logitech G502 Hero High-Performance Wired Gaming Mouse redefines your gaming experience with a suite of features that bring precision and customization to the forefront. It boasts a high-performance HERO sensor, offering a maximum sensitivity of 16,000 DPI, and is equipped with 11 programmable buttons. Moreover, its ergonomic design ensures a comfortable user experience.

This mouse stands out as one of Logitech's top-tier wired options, all while falling within the more affordable range of their product lineup. Its combination of budget-friendliness and impressive performance renders it particularly well-suited for budget-conscious gamers who thrive in fast-paced gaming environments.

Razer Viper Mini Gaming Mouse:

The Razer Viper Mini presents an excellent choice for individuals seeking a lightweight and precise gaming mouse. Boasting a 5G optical sensor, it reaches up to 8,500 DPI, all while maintaining a mere weight of 61 grams. The ambidextrous design further contributes to its remarkable comfort during use.

With 8 programmable buttons, this mouse offers extensive reconfiguration options, allowing the assignment of complex macro functions through Razer Synapse 3. This functionality empowers users to tailor the mouse to their unique gaming requirements.

Best Budget Gaming Headset:

Razer Kraken X Gaming Headset:

The Razer Kraken X Multi-Platform Wired Gaming Headset emerges as a compelling choice for those seeking performance and affordability. It inherits the legacy of the Kraken series, delivering immersive 7.1 surround sound, great comfort, noise-canceling communication, user-friendly controls, and excellent build quality. This headset is budget-friendly and gives you top-notch audio and lasting comfort.

ROG Strix Go Core Moonlight White gaming headset delivers immersive gaming audio:

The ROG Strix Go Core Moonlight White gaming headset stands as an affordable choice for gamers, that delivers immersive gaming audio and unparalleled comfort. You can use it on different devices like computers, phones, PlayStation® 5, Xbox® Series X and S, and Nintendo Switch. It uses special chambers and 40 mm ASUS Essence drivers to create a really good sound with deep bass. The headset is light and can be folded, making it super comfortable for long gaming sessions. It also has a feature that makes the sound feel like it's coming from all around you, and you can easily control the volume and mute the microphone.

Logitech G435 Lightspeed Wireless Gaming Headset

Logitech G435 Lightspeed Wireless Gaming Headset is a budget-friendly option that opens for endless gaming enjoyment. You'll experience clear sound and be able to chat without background noise. This headset lets you play with high-performance audio response, strong connectivity, & long battery life.

In the world of Online PC gaming, where innovation races ahead and costs usually soar, finding that perfect balance between performance and budget is a true quest. But in this blog, we've discovered some pretty affordable gaming Accessories online. We found out that you don't need to spend a ton of money to make your gaming setup cooler.

So, if you're a gamer looking to up your game without emptying your wallet, you're in luckiness. These online PC gaming accessories show that you can get quality stuff without breaking the bank. Get ready to dive into a world of gaming gear that's both awesome and affordable.  Visit reputable gaming accessories online store today & Equip yourself wisely, fully, and let the virtual realms bear witness to your victories. You can find affordable gaming accessories online, at one place easyshoppi.com, They provide great discounts on PC gaming accessories, Computer hardware & Graphics card. So go ahead, shop smart, and get ready for some awesome gaming!

[fredalan]

The Nickelodeon Music & Sound Box Set and CDs

The Nickelodeon Music & Sound Library 1996

In June 1984, Fred/Alan booked it’s first major job, the turnaround of Nickelodeon. MTV Networks boss, Bob Pittman, asked Fred and Alan to try and bring their perspective to helping the kids channel climb out of the ratings basement it in which it found itself. 

Aside from the strategic thinking we brought to programmers Gerry Laybourne and Debby Beece, we knew we needed some executional magic. And since we had a counter intuitive philosophy for a visual medium like television –that is, innovative visuals and programming should leap from the sound– we started a brainstorm as to what Nickelodeon should sound like. The amazing pictures would follow when the animators were inspired by the music.

We were fascinated with bringing back the jingle sounds of Top 40 radio. We finally got there in the early 90s on VH1, but at the Nickelodeon moment we were focused on a sound that in our little minds was a spin-off/adaptation of jingles. That is, the a cappella singing of Black Americans. We’d already experimented for The Playboy Channel and Showtime with our new friends Eugene Pitt and The Jive Five. We loved the results and realized Eugene’s group could be the perfect engine for Nickelodeon. (Most of the tracks on The Nick Nick Nick Collection below are the soundtracks of these aninmations.)

With little prompting, Fred will recall the moment that Alan improvised on the opening of The Marcels’ “Blue Moon“ ... “Ni Ni Ni Nick-el-o-de-oooonnn!” What kid could resist it?!

Alan went on to finish the now classic song with our colleague (and my former record company partner) Tom Pomposello and Eugene, and the rest is a small part of television history. (I can’t think of any other TV network that had such wonderful music [or any actual music] as its branding centerpiece.)

A decade later, Fred/Alan had closed, but Tom continued to produce  special work for Nickelodeon, Nick-at-Nite and other cable channels. And Nick’s super smart, super talented worldwide creative director, Scott Webb, commissioned song after sound after song, eventually there was enough that he thought it was time to collect it all for the then global Nickelodeons to use whenever they saw fit.

You can hear it all if you scroll to the bottom of this post, and right below here is the transcript of the essays by Tom and Scott included with the CD booklets included in the box set.

.....

When Geraldine Laybourne inherited the top position at Nickelodeon, the net­work had the unpopular reputation (with kids) of being the "good for you" channel. Parents thought the idea was great - but their kids wanted noth­ing to do with it. Her job was to tum Nickelodeon around and make it a place that really was for kids. For help she turned to one of the most media-savvy companies in the industry - the New York-based Fred/Alan, Inc. Partners Fred Seibert and Alan Goodman headed up a brain trust/consortium that specialized in creating network identities. Their track record was  impecca­ble, having helped launch the wildly  successful MTV (Music Television). At that time, I was a produc­er/creative director and composer associated with the company and the three of us immersed our­selves in our new Nickelodeon challenge.

Creating an identity for a network is almost like inventing a person. You have to decide what they'll look like, what they'll sound like and what they'll say. From the outset, we agreed to place equal emphasis on developing a visual style and an audio sensibility. Both qualities had to be appealing and unique to Nickelodeon.

Much of my work with Fred and Alan revolved around sound design ... and so began a series of great freewheeling conversations about what the sound basis of Nickelodeon would be. We started tossing around ideas and what kept coming up was doo wop music. The more we talked about it, the more sure we felt doo wop would be the ideal sound for a kids' network.

Doo wop developed as street-corner singing. It was a people's music. You didn't need expensive electronic studio equipment you just needed your vocal chords and a desire to make sound: a natural for kids. Anyone could sing along with those doo wop nonsense syllables. And the beauty of using "antique" doo wop harmonies as a signature for a kids' network was that, for kids in 1984, it was a brand new sound! Unlike what their big brothers or sisters were listening to on the radio, this music was just for them.

One of our friends, Marty Pekar, had recently start­ed a record label and was working on a revival of doo wop music. He was nuts about one of the groups he was recording: the Jive Five. We all remembered their hit records from our teen years - "My True Story" and "I'm a Happy Man" (the latter was perhaps the last doo wop record to make the charts, and was a hit in 1965 while the Beatles and the British invasion were in full swing). It wasn't long before I started working with the great gen­tleman of doo wop himself, the leader of the Jive Five, Eugene Pitt. 

Now, Eugene is one of the finest singers who ever emerged from the genre. He can sing baritone or falsetto, but he's as good a lead singer and doo wop balladeer as has ever been. Eugene truly is the unsung (pun intended) hero of the Nick sound and his contribution to Nickelodeon as a singer and lyri­cist can't be overstated. 

One of the best choices we made was to work with this real-life street corner rock 'n' roll group, rather than studio musicians or jingle singers. This was honest-rootsy-gritty-folksy-get-down-and-be-real a cappella singing. Kids intuitively know the difference between real and sanitized. And we committed ourselves to always be authentic in our communication to our audience.

The other coup was the decision to treat "Nickelodeon" as a sound rather than a word. (Who knows what a "nickelodeon" is anyway? To kids, it's just a funny-sounding word.) Entire songs were written in which "Nickelodeon" was the only word. Playing with the word "Nickelodeon" musi­cally turned it into the ultimate audio logo - as distinctive and infectious as a jingle, without any offensive sloganeering attached. Just pure, lively, good-time doo wop. 

Once our doo wop tracks were married with the also-celebrated animated IDs, the ftnishing touch was sound effects. The initial sound effect tone (this time no pun intended) was set by the wild English sound effects maestro, Tom Clack, of Manhattan's Clack Studios. Tom is a veteran of the BBC and has created sound effects for about a million radio com­mercials as well as for TV and film soundtracks and record albums.

It was in Tom's studio that we post-scored many of the 10-second tracks for the original animated Nick network identity spots. Though there aren't many of these tracks represented on these CDs, it was Tom's comic sensibility and wacky perspective that informed the whole evolution of the Nick sound. He knew just how and when to punctuate the tracks with a sonic A-bomb or a sublimely subtte splat. ("Sound effects are funny when they're in sequences of threes," he once told me. "Listen. It's 'boink-­thwap-plink:' If you just go 'boink-thwap,' it feels quite unsatisfying.") The "Doo Wop Meets Sound Effects" music style is mainly reflected on disc one of this collection [The Nick Nick Nick Collection]. Discs two [The Flotsam Collection, The Jetsam Collection] through four [The Original Collection] contain music inspired by those early tracks. 

I saw that a big part of our job was to develop an audio identity for a kids' network that really spoke to kids. Our solution was the marriage of doo wop and wacky sound effects. It was one distinctive, unique way we would communicate the "voice of Nickelodeon." 

Did it work?

I'll never forget the time I was walking down Tenth Avenue in Manhattan. It was the spring of 1985. On the street where these little girls jumping rope and keeping time singing "Nick-Nick-Nick:-Nick-N-Nick­Nick-Nick, Nickelodeon." I thought to myself: "Well, I always dreamed of producing a hit record, but lit­tle did I imagine it would be the theme to Nickelodeon!"

Tom Pomposello Music Director/Producer/Composer

…..

Tom Pomposello talks about successfully solving a problem using doo wop for Nickelodeon, but the real success was recognizing the power of sound. Sound is often over­looked in creating television and it is often more powerful than people think. For example, you can have your head buried in the refrigerator looking for a snack and miss what's on the screen, but you can't avoid the audio as easily. Sound and music also make a deep emotional impression, like the songs you learn as a kid and never forget.

It shoutd also be noted that it took guts for Gerry Laybourne and Debby Beece to approve the use of doo wop and wacky sound effects for the Nick sound. They originally wanted to go with something more traditional and expected. In any creative endeavor, it takes courage to take risks and be unconventional, but the rewards can be spectacular. 

Since the introduction of the Nick doo wop sound in 1984, many talented composers and musicians have built upon and diversified Nick's aural identity. We have always tried to stay away from mercilessly surfing the popular trends in kids' music. Instead, at the heart of our personality there has always been humor, surprise, play, and a love and respect for kids.

The music and sound on these CDs are powerful tools for communicating  Nickelodeon's personality. Consider sound as you go about solving your strategic and creative problems, whether you µse these CDs as tracks, elements or inspiration.

Have Fun!

Scott Webb Creative Director, Nickelodeon Fall 1995 

.....

Co-conceived by Scott Webb and Tom Pomposello  Executive producer, Creator Director: Scott Webb  Produced and Directed by Tom Pomposello 

MUSIC  Production coordination & management: Barbara Powers  Production assistance: Melody Ann Mora  Digitally remastered and processed for CD by Danny Cavacco, This Way Studios, NYC 

DESIGN  Art Director: Laura Hinzman  Designer: Masaka Moribayashi  Illustrator: Sarah Schwartz Project Manager: Wendy Larrabee Production Manager: Nancy Morelli  Mechanical Production: Kevin Gepford 

Pomposello, Inc. wishes to thank Eugene Pitt and the Jive Five, Fred Seibert and Alan Goodman, Tom Clack, Beldeen Fortunado, Marc Chamlin and Geraldine Laybourne  Nickelodeon wishes to thank Robert Farro, Tom Harbeck, Greg Harrell, Lisa Judson, Anne Kreamer, Kim Rosenblum and Dennis Shinners.  

…..

NOTICE TO NICKELODEON PRODUCER/PERSONNEL:  Use this music as much as you wish. And remember, each us requires you to file a music cue sheet or music usage report with MTV Networks, ASCAP & BMI title, timing, type of use, composer(s) & publisher(s). It’s a mandatory requirement of compliance. 

…..

©1996, Viacom International, Inc. All rights reserved.  For promotional use only. Not for sale. 

Fred Seibert

·

The Nick Nick Nick Collection

>

Fred Seibert

·

The Flotsam Collection

Fred Seibert

·

The Jetsam Collection

The Original Collection