In May 2012, a band of largely unknown New England musicians stood on a street corner in Boston, Massachusetts, performing a brilliantly syncopated and imaginative cover of the Jackson 5 classic “I Want You Back.” It went viral.

Now, a decade later, to celebrate their recently announced new cover EP, Fun Machine: The Sequel, Lake Street Dive have returned to the same location for another enchanting live performance video, a sublime take on the new EP’s first single. , Bonnie Raitt’s classic “Nick of Time”.

In a collective statement, Lake Street Dive said:

“10 years ago we set up our instruments on a street corner in Boston and played one of our favorite covers in front of a microphone, with our buddy @10xgreg behind the camera. Very unexpectedly, this performance simple and no frills of the way we make music together ended up resonating with millions of people around the world and completely changing our lives!!!To celebrate this 10th anniversary, we decided to return to the same corner hit the streets and play another of our favorite covers, “Nick of Time” by the one and only Bonnie Raitt! Simple, no frills, straight from the heart! Hope you enjoy!!!”

For Lake Street Dive, singer Rachael Price; bassist/vocalist Bridget Kearney; drummer/vocalist, Mike Calabrese and keyboardist/vocalist, Akie Bermiss, the prospect of covering some of their favorite songs in the studio isn’t just an exercise in breathless worship.

It’s an opportunity for artful reinvention, a way to recognize their inspirations while advancing their own musical foundation, all in the hopes of inspiring a new generation of fans along the way. On Fun Machine: The Sequel, that’s exactly what they do – spin these carefully chosen, beloved songs to new places in their own, entirely original way.

Produced by Robin MacMillan and recorded at Figure 8 Recording in Brooklyn and Lucy’s Meat Market in Los Angeles (with contributions from touring guitarist/vocalist James Cornelison), Fun Machine: The Sequel is the band’s second set of distinctive covers.

While 2012’s Fun Machine paid homage to their classic R&B, neo-soul and jazz roots, Fun Machine: The Sequel expands the opening a bit further, with selections ranging from R&B and pop favorites like Dionne Warwick (Burt Bacharach/ Hal David wrote) classic “Anyone Who Had A Heart” and funky “Automatic” by the Pointer Sisters, to the works of introspective singer-songwriters such as the magnificent “Linger” by The Cranberries, the classic “So Far Away” by Carole King, Shania Twain’s reborn pop. the era-defining country anthem “You’re Still The One” and Bonnie Raitt’s “Nick Of Time.”

With tens of millions of streams, an acclaimed discography including seven acclaimed studio albums, two EPs, a slew of highly acclaimed singles and an enduring global fan base under their belt, the genre band have become a dynamic and exhilarating force of popular music. . And on Fun Machine: The Sequel, it’s Lake Street Dive’s signature combination of pristine musicianship, exceptional, inventive chop, and a sense of free-wheeling fun that leads the way.

Watch the new performance video here:

Xiaomi has added its latest Android tablet to its portfolio, the Xiaomi Pad 5, which is an 11-inch tablet featuring a 2K display with 1B colors, 120Hz refresh rate, quad Dolby speakers Atmos, a Snapdragon 860 processor and an extra-large 8,720 mAh battery. Here are our first impressions of the Xiaomi Pad 5.

Xiaomi Pad 5 Specifications

• Display: 11.0-inch, 10-bit (1B color) IPS display, 2K WQHD+ resolution (2560 x 1600 pixels, 275 ppi), 16:10 aspect ratio, 120Hz refresh rate, 500 nits brightness ( type), DCI-P3
• Software: MIUI interface for Pad 13.0.3, Android 11 operating system
• CPU: Qualcomm Snapdragon 860 octa-core 7nm SoC clocked at 2.96 GHz (Kryo 485 processor)
• GPUs: Adreno 640 Graphics
• Memory: 6 GB of RAM
• Storage: 128 GB OR 256 GB of internal storage
• Main camera: 13 MP single camera, 4K video recording, dual-color LED flash
• Selfie camera: 8MP
• Connectivity: USB Type-C, Bluetooth 5.0, Wi-Fi 802.11a/b/g/n/ac
• Others: 4 speakers, Dolby Atmos support, Hi-Res Audio, Hi-Res Audio (wireless), Face Unlock
• Cellular: N / A
• Battery: 8720mAh battery
• Loading: 22.5W fast charge
• Colors: Pearl White, Space Gray
• Mass: 511 grams
• Dimensions: 254.69mm x 166.25mm x 6.85mm
• Price: ₹26,999 (128GB), ₹28,999 (256GB)
• Availablity: May 7, 2022 on mi.com, Mi Home stores, Amazon India

It’s been a while since Xiaomi released tablets this big, this is an 11-inch tablet that supports a stylus and a detachable keyboard as an accessory. Design-wise, the Xiaomi Pad 5 has a sleek and slim form factor, metal bezels and offers solid build quality. This might be one of the slimmest Android tablets you’ll find in this segment.

Xiaomi has put a 2K display on the tablet, the Xiaomi Pad 5 offers a stunning 11.0-inch screen with 10-bit color depth (1B colors) and an impressive resolution of WQHD+ resolution (2560 x 1600 pixels, 275 dpi). The screen here is IPS and supports a 16:10 aspect ratio, 120Hz refresh rate, DCI-P3, and 500 nits (typ) brightness.

The tablet supports a magnetic pen and a detachable keyboard available separately. What’s unusual is that you can’t find a fingerprint scanner and SIM tray on the tablet, the tablet is only supported by Wi-Fi and you can’t use a SIM card on it. However, the tablet has an awesome audio experience, since you get four speakers you are likely to get amazing sound quality, 4x speakers support Dolby Atmos and Hi-Res Audio Certification.

Holding the tablet landscape, you get volume controls on the top, two microphones and a stylus placeholder while the bottom side has a keyboard accessory slot. The left side offers a power key which is used to unlock the tablet, another microphone and two speakers. The right side has an extra mic, two extra speakers, and USB Type-C for charging the tablet. No 3.5mm jack is found, you’ll end up using a Type-C to 3.5mm adapter, this is clearly due to its slim form factor.

The Xiaomi Pad 5 equips a Qualcomm Snapdragon 860, an octa-core SoC that is in the high-end segment. The Snapdragon 860 is clocked at 2.96 GHz and is paired with the Adreno 640 GPU for high performance gaming.

About the processor, the Qualcomm Snapdragon 860 is an upper mid-range SoC manufactured in a 7nm process consisting of a configuration of Kryo 485 1+3+4 cores, a high-performance Kryo 485 Gold core clocked at 2.96 GHz, three high-performance Kryo 485 Gold cores clocked at 2.42 GHz and four energy-efficient Kryo 485 Silver cores clocked at 1.78 GHz.

On the camera side, the tablet features a single 13 MP rear camera with support for 4K video recording and dual-color LED flash, while the front features an 8 MP selfie shooter for video calls and selfie needs.

Xiaomi Pad 5 is powered by its own interface software MIUI for Pad version 13.0.3 based on the Android 11 operating system. The interface has been customized for the tablet experience and offers a set of features and Android customizations.

Finally, the Xiaomi Pad 5 has an extra large 8720 mAh capacity battery that provides at least 10 hours of gaming, 16 hours of video playback and 5 days of music playback. Considering 16 hours of battery on the tablet for its video playback, you can watch eight 2-hour movies on a single charge, which is pretty good. The Xiaomi Pad 5 supports 33W fast charging (the case provides a 22.5W charger).

Xiaomi Pad 5 offers 11-inch large screen with 120Hz refresh rate, 10-bit screen depth, 8720mAh extra large battery, fast processor for smoother and powerful gaming performance and four speakers for an exceptional audio experience. . The tablet comes in two storage variants – 128GB and 256GB with 6GB RAM, the price of the tablet starts at ₹26,999 for 128GB and ₹28,999 for its 256GB storage variant.

After nearly three seasons of extensive testing of prototypes of Audio Technica‘s 8.0 Microphone Concept at MotoGP, the Grand Prix motorcycle racing championship, commercial rights holder Dorna Sports SL has decided to make the 8.0 microphone a central audio component of its future program delivery, which includes ambitious production plans at distance.

Located at Dorna Sports’ facilities in Barcelona, ​​Spain, the extensive remote production suite, which is expected to be rolled out gradually throughout the 2024 season, will include a dedicated 7.1.4/5.1.4 audio control room tailored to mix the immersive audio received from the track in real time. Audio-Technica 8.0 microphones should be located at the podium, parc fermé, pit lane and key positions around the circuit.

Before seeing the face, we lived with sound. On November 13, 2012, The Weeknd published Trilogy, a three-disc compilation album consisting of the three haunting mixtapes he released for free online the previous year. For most of 2011, most people who spent months immersed in his dark R&B masterpiece balloon house (released March 21, 2011), had never seen his face.

The Weeknd represented our darkest carnal desires in music before we knew the man at the source. A July 24, 2011 concert in Toronto was her first public concert, and her April 15, 2012 performance at the Coachella Music Festival was her first performance in the United States. The Weeknd became a star solely because of his music. And Carlo “Illangelo” Montagnese was one of the main contributors to shaping the mythos of The Weeknd.

As the main mixer for all three mixtapes, as well as the Trilogy compilation, only a handful of people had as much to do with shaping the sound that began a decade-long musical evolution as Illangelo. They created some of the festival anthems in mouse-infested studios, with no plans for the future they devised.

“It was very DIY. We were creating our opportunities. There really was no other way to do it,” said Carlo “Illangelo” Montagnese, speaking to Reverb on the 10th anniversary of the iconic series of mixtapes. Throughout the rest of the interview, Illangelo details the search for sonic harmony among myriad equipment, The Weeknd’s humble recording beginnings, and why they dared to cover Michael Jackson.

When Illangelo first linked up with The Weeknd in December 2010 for balloon house (the first project of the Trilogy), both were in their early twenties. Abel – who had yet to take on the nickname The Weeknd – was months away from his 21st birthday, and Illangelo had turned 23 a few months earlier.

Illangelo recalls meeting the future Grammy Award winner in a small room in Toronto with exposed drywall and a mouse running around — an environment you wouldn’t expect to be conducive to. creating music that would reshape the entire industry for the next decade. But, after swapping music and hearing The Weeknd’s patented black falsetto that brought nightmares to dreamscapes, Illangelo recognized he was a diamond in the rough whose brilliance was dulled only by the lack of exposure to the world.

During this first session, the duo recorded a first version of balloon house standout track “Glass Table Girls” – an upbeat ode to being trapped in a good time before moving on to a deeper static-charged dive into The Weeknd’s hedonism.

The Weeknd – House Of Balloons / Glass Table Girls

The grandeur of the final product belies its humble beginnings. “There was no time to get the perfect anything. It’s not like we had a budget, we had nothing. It was just what we had, that’s what we were using. So we used a lot of different mics,” Illangelo said. . These mics included the classic Neumann U 87 and Shure SM7B microphone, with the Metric Halo 2882 and Apogee Duet as frequent audio interfaces before they ended up working with the SM7B coming into the Apogee.

Illangelo, The Weeknd and producer Martin “Doc” McKinney were the main architects of the Trilogy mixtapes and had to bounce around at various recording studios in Toronto, including Doc’s private studio as well as Dream House Studios where Illangelo had his own personal bedroom. These constant changes led to each song being what Illangelo remembers as “a collage of different gear”, making it difficult to blend them into a unified sound for a set of works.

But, you don’t become a multi-platinum, Grammy Award-winning producer/engineer without turning setbacks into new paths into the future. Early on, Illangelo realized that he needed to minimize “any colorization of any material effects” by equalizing each part of a session in order to blend it and make it smooth. He grouped all vocals into a folder and meticulously mixed each individual audio track to maintain sonic consistency throughout songs and overall projects. The Wavez Vocal Rider plugin was a big help as it would balance everything like a kind of “instant, automated balancer of all incoming audio signals”.

Unfortunately, the hardware of the time was slow to catch up with the futuristic sound they were making. “Before, everything took a lot of time because I couldn’t load so many plugins on the computer, and I was very focused on the plugins. I didn’t want to use a lot of hardware equipment because the plugins were more consistent, especially with as much as we travel.”

As much as the TrilogyThe sardonic R&B styles of would catalyze a change in the sound of the next decade of music, it was formed from a deep respect for the past. Illangelo was reading books by legendary engineer Bruce Swedien, who mixed several Michael Jackson classics, including “Billie Jean”, “Rock Wit You” and “You Rock My World”. He drew inspiration from Swedien’s books and interviews and applied these concepts to his work with The Weeknd. Audio peaks no more than -3db but would typically be -12db without input compression. The vocals were raw in order to preserve The Weeknd’s natural vocal dynamism.

“It was for consistency and because Abel was so dynamic. All of my favorite Michael Jackson and Stevie Wonder records emphasized the importance of vocal dynamics. So I was basically doing my best to bring it there where my ears were programmed with all this great music.”

The weekend – DD

It would be Echoes of Silencethe third and final mixtape of the Trilogy, which would produce the most endearing tribute to their influences. Recorded in about six weeks, Illangelo describes it as the only project of the three that was largely recorded and created with just him and The Weeknd. It was also the project that featured The Weeknd’s ambitious ode to his idol Michael Jackson, “DD.” It’s a modern take on the song “Dirty Diana” by Jackson.

Covering any Michael Jackson song, let alone one of his most definitive records, is an act of sacrilege, hubris, or a bold mix of the two. “I don’t think anyone ever dared to do a remix or a cover, but we were kids. We didn’t care. We wanted nothing but the utmost respect for Michael. He was a remix showing our love,” Illangelo said. “Even with all the vocal effects, I wanted to make them proud. It was very meticulous to make sure every sound was unique and special.”

Daring to venture into the lesser known to achieve rare results is also found in the plugins and effects used. Before OHM Force became an industry staple among producers and engineers, Illangelo tinkered with its great delays and distortions. Ominsphere plugins were a big part of the Trilogy. For his production work on songs like “DD”, “Outside”, “Same Old Song”, and “Gone”, Illangelo preferred Cubase over any other DAW because of the precision and meticulousness with which it could match. his mixes to what he heard in his head.

Illangelo discusses the production and mixing of 2020’s “After Hours.”

“A big part of the secret sauce was putting time into every moment of any vocal performance, from drawing in and exhaling breaths to manually checking which vocal selection could be louder or softer. that needed to be locked, Cubase is an amazing DAW for doing that fine tuning.”

After all three mixtapes were released in late 2011, firmly cementing The Weeknd as the new king of dark R&B, Illangelo spent all of 2012 mixing records again for the November 2012 release of Trilogy. While Illangelo praises the work, mastering engineer Mark Santangelo mastered on Trilogyhe knows fans were more fond of the distorted mastering he did on the original records than the more polished end result of Trilogy. Anyway, all the mixtapes that went into Trilogy were examples of a shared vision coming to life using the equipment and experience the world offered them at the time.

“There’s a lot of great work that can be done when you work in a team where everyone trusts each other. Abel was telling his story and his life. My job was to capture that in the best way possible.”

Finer Notes is a series that delves into the gear, techniques, and untold stories that helped shape classic albums, where engineers and producers discuss how they used period gear to create a timeless work.

About the Author: Keith Nelson Jr is a seasoned music journalist who followed his innate passion for knowledge to interview some of the most influential personalities in the music industry. He’s a journalist who connects the dots to see the big picture.

Before he started trying to sell us something, there was suspicion that Ye was trying, well, to sell us something. Twitter and TikTok comment struggled to understand why would anyone wear so many Balenciaga, as he has spent the last few months doing. Rumors abound: that Ye has a piece from every Demna collection in a warehouse-studio in Southern California; that he has all the shoes of all sizes and distributes them to visitors; that he cleaned up the Balenciaga section of Dover Street Market and that they had to call the brand’s headquarters to get more as soon as possible. None of this can be confirmed (although on Monday afternoon, he was captured by paparazzi to keep a T-shirt with a reworked logo for the specialty store titled “DONDA STREET MARKET. But to think that Ye – or Demna, for that matter – is orchestrating a series of paid celebrity outfits in order to get us to… buy more Balenciaga? is to ignore the goal of this bizarre and unprecedented creative collaboration. In a world of proclamation and truth, Ye states that he can fully find himself by relying on or interacting with someone else. This is total and utter dedication to uncompromising aesthetics – a seamless visual reset. That’s part of why Ye continues to shop at all Balenciaga stores: the acquisition is part of the work of art.

(Who knows how or why Ye and Fox really hooked up, but what I love about the relationship is how classic she is compared to the contemporary definition of a female come-upper. She worked as a dominatrix in high school, made art, created a fashion line, and then won a role as a character based on herself in a controversial arty film. It’s a very mid-century, Marilyn Monroe-ish pipeline that’s slightly seedy to medium cerebral compared to today’s influencer path, and it was fun watching the TikTok set, which passed the last few years cultivating celebrities for whom fame is exclusive to the platform, having to scramble to find out who someone was.)

Perhaps no fashion brand has ever been more in tune with its time as Balenciaga is with it – both diagnosing and exacerbating our fascination with the mediocre, the boring and the ugly, and create a cottage industry of pseudo-academics on Substack and TikTok that callously calls “the hyperrealist” and Marshall McLuhan quotes into the mini-microphone, clutching his clip between acrylic fingernails. One of Demna’s ambitions over the past year has been to propel her fashion brand and vision to places where haute couture usually struggles to connect. That’s Ye’s tenure as well, albeit from a more populist perspective, an $ 80 hoodie. So it’s only natural that seeing all these clothes on all of these actors involved in this dramatic celebrity divorce leads people to see some sort of “conspiracy.”

Of course, the catch is that nothing at Balenciaga is “natural” – not its materials, its marketing, its fashion shows – and of course, it is also the brand that has dabbled the most successfully. metaverse. He delights in the artificial; he considers authenticity as impossible, even irrelevant. Coco Chanel once said that Cristobal Balenciaga, the singular Spanish couturier who founded the house that Demna now runs, was “the master of all of us”, explaining that his designs, which were puzzles in fabric of volume and minimalist tailoring. , were simply in their own echelon beyond other couturiers of the Golden Age. Late last year, I watched a theater filled with hundreds of fashion editors – jaded and fickle people who pride themselves on pretending to be intellectuals – give Demna a standing ovation after watching her episode of The simpsons, and now I see him dressing Kim and Kanye (and Julia Fox!) Demna is also the master of we.

Ultimately, there is no plot, only wild and sprawling ambition. As the video “Heaven and Hell” is only the last project to be demonstrated, the dynamic between Demna and Ye is based on painting with the broadest and most obvious features: God, light, redemption, sin, love, marriage , Putin (?!). As much as social media and Gen Z have made style a central part of popular culture, fashion isn’t as important or essential as any of those things, and the project Ye seems to have in mind is: eh well, what if it is? Ye’s mission, and Demna’s too, has been to push the boundaries of what is close to our hearts and how well we listen to what things should look like. Bring the avant-garde, whatever it still is today, into popular culture. Or rather to make popular culture strange, to make people think– or more importantly, feel something – where their eyes are most likely to be.

Dubler 2: Transform your voice into MIDI, instantly.

As an extension of their award-winning Dubler Studio kit, Vochlea Music is launching today Doubler 2 an advanced, software-only voice-to-MIDI desktop application that lets you turn your musical ideas into reality, using voice.

LONDON- Amateur or pro, the most instinctive way for a musician to communicate an idea for a melody, bassline or rhythm is to use their voice, our integrated tool for musical expression.

While musical ideas can be easy to sing along to, accurately capturing those ideas using traditional instruments or MIDI controllers can be difficult, even for the most accomplished musician.

“Voice-to-midi is like a dream come true, imagine how many times you have had a melody or vibration and you haven’t been able to translate it exactly the way you want. Now you can. “- ROMANTIST

Presentation Doubler 2, a standalone, software-only desktop voice to MIDI application from Vochlea Music that can turn your musical ideas into reality, just by vocalizing them.

Using all the timbral qualities of the voice, Doubler 2 allows musicians to trigger samples, control synths, play chords, manipulate filters and effects, lock a key, follow pitch, pitch bend, and control envelopes, velocity and MIDI mapping values ​​simultaneously, depending on how they produce their unique sounds.

“With Dubler 2 I can do chord progressions that unless I have rubber fingers I just couldn’t play.” – GAKA

Now with Doubler 2, musicians can intuitively hum a synth pattern, beatbox to trigger a virtual drum kit, or manipulate effects and filters with an “eee”, “ooo” or “aaa” sound. All of them live completely.

“I’m really in love with the CC vowel mapping feature on Dubler 2. I have mine set up so that when I sing ‘aaa’ you get some decay control and then others like ‘eee’ stutter. It’s just the perfect thing for singers and beatboxers. Really anyone who wants to express themselves with their voice.
– PORTRAIT XO

Doubler 2 works with all DAWs and training your voice to software takes less than 30 seconds, allowing musicians to start creating virtually immediately, delivering workflows at record speed, while simultaneously providing expression and control unmatched.

Users can access for free 7 day trial on vochlea.com and be able to quickly integrate it into their workflow by calibrating it with their favorite dynamic microphone, allowing them to immediately experience the power of their voice in their workflow.

“What Dubler 2 opened up for me, what is really, really useful, is being able to use my own microphone. Because as a drummer, if I sing while playing the drums, most microphones pick up all the drum sounds. Each drum has its own pitch, has its own tone, and it’s louder than my voice. But it allowed me to use specially designed vocal mics with close-up shooting patterns and allowed me to sing very close to the microphone and get pure Dubler 2 sound. ”- CHIMNYO

Features of Dubler 2:

• Your voice in MIDI, instantly: Dubler 2 lets you use your voice as a live MIDI controller with low latency for real-time live control.
• Autonomous : Dubler 2 will work with any DAW such as Ableton, Logic, Reason, FL Studio, ProTools, GarageBand etc.
• Use your own microphone: A new calibration process allows you to make Dubler 2 compatible with your favorite dynamic microphone. (The Dubler microphone will still be available for purchase).
• Suitable for you: Dubler 2 learns your voice in less than 30 seconds.
• Balance: 14 scales with advanced key detection and suggestion.
• Ground: Fixed keys for pitch assist and live pitch tracking to control melodic instruments and synths.
• Voice timbre mapped to 3 DC outputs: Control of voice activated effects, mix, filters and more.
• Advanced chords: Library of chord presets, voice options, custom chord options and more.
• Advanced pitch bend: IntelliBend– a smart pitch bend that will anchor you to a note until you want to get away from it and TruBend– a pitch bend that precisely follows your voice.
• Sensitive velocity and envelope tracking.
• Percussive recognition to select and trigger up to 8 samples.
• Multi-channel MIDI output: Allows simultaneous control of pitch and percussion.
• Use non-vocal sounds as triggers: Dubler 2 can also be trained to click, clap, tap, etc.
• More accessible: Dubler 2 will be software only with a 7-day free trial available for users before purchase.
• Customizable audio settings: Allows professional configurations with advanced audio interfaces.
• Compatible with external MIDI hardware and devices.
• Integrated audio: A selection of synth presets and a sample pack of 808, allow you to play with Dubler 2 without connecting to a DAW (a DAW is always required for recording).
• Ultra light on the CPU: A completely rebuilt engine with performance improvements, making Dubler 2 ultra light on the CPU.
• A new user interface: A more intuitive tab-based user interface and design, which makes Dubler 2 easier to navigate than Dubler 1.

https://vochlea.com/

When Julio Jones left the Atlanta Falcons to go to the Tennessee Titans this offseason, the veteran wide receiver likely had visions of big games, big wins and good times with his new franchise. His first game in Nashville was anything but those things. It was a searing loss to the Arizona Cardinals that saw Jones get a 15-yard penalty for which his coach, Mike Vrabel, crushed him in the media the next day.

Needless to say, it wasn’t a good start for the veteran star with his new franchise.