How NYC’s Newest Neighborhood Will Float Above an Active Train Yard

In Manhattan this spring, crews are ramping up work on Hudson Yards, the largest private development in US history. But what’s fascinating about this new mega-development aren’t just its buildings. It’s the fact that they will float above an existing train depot on a massive artificial foundation. We got an early look at how it’s being built.

via How NYC’s Newest Neighborhood Will Float Above an Active Train Yard.

Fascinating. The construction simulations are fantastic.

The 24,000-Liter “Wine Box”

VT: What is a flexitank?

AN: A flexitank is a large polyethylene bag that transforms a regular 20ft shipping container into a liquid transportation system. Think of a giant “wine box” that fits on the back of an 18-wheel tractor trailer or a rail flatcar and can be used to move liquids securely and cost effectively.Flexitanks come in various sizes/capacities the most commonly used capacity is 24,000 liters and can be used for shipping a huge variety of liquids. When shipping wine or other sensitive liquids, special types of flexitanks are used to provide extra protection to the wine.

via The 24,000-Liter “Wine Box” | Vine Talk.

Dance Band Experiments With ‘Three-Way Stereo’

Now NightBus, a dance-pop band with members split between Los Angeles and London, has what it says is a novel take on stereo. Its single, “When the Night Time Comes,” to be released on Tuesday by S-Curve Records, is produced in what it calls “three-way stereo,” an audio innovation for the earbud age.

via Dance Band Experiments With ‘Three-Way Stereo’ – NYTimes.com.

Actually it is 4 different tracks – left, right, stereo, and mono. If you put the recording in to mono you get a separate (and different) mix than either left or right alone.

The 12 Major Changes To Recording In The 2000s

I got to thinking about the many changes that came about in the recording business during the 2000s the other day – some of it good, some of it bad, most of it significant. Here are what I consider to be the 12 major changes in recording that took place during the 2000s, in no particular order.

via Bobby Owsinskis Big Picture Production Blog: The 12 Major Changes To Recording In The 2000s.

The problem isn’t piracy – it’s competition.

The problem isn’t piracy — it’s competition.

There is too much music and too many musicians, and the amateurs are often good enough for the public. This is healthy for culture, not so much for aesthetics, and shit for musicians. Musicians in the early ’90s were already feeling the pressure of competition from CD reissues of old stuff; here in the future, you can get almost anything that has ever been digitised for free and listener time is the precious commodity.

via Rocknerd » Blog Archive » Culture is not about aesthetics. Punk rock is now enforced by law..

CEA Announces Expanded Support of High-Resolution Audio

HRA music files provide greater clarity and detail than MP3s and other compressed digital audio formats, resulting in a listening experience that more closely represents the original recording.

via CEA Announces Expanded Support of High-Resolution Audio – CEA.

Gee, AIFF files provide greater clarity and detail than MP3s and other compressed digital audio formats. What about lossless compression?

Remarkable marketing and an utter waste of time and energy. Just use 44k/16bit. The 4 people out there who have a sound reproduction system that can usefully reproduce the dynamic range available (not necessarily used) on the CD probably get a visit from the police with a cease-and-desist order for sonic abuse of the neighborhood.

Hey Amazon, Apple! How about FLAC/ALAC files instead of your compressed stuff? Make that tune worth $1.29.

The Joys of the Aggregate Audio Device

Start with 1 Mac (2 outs), 1 audio interface (6 outs), 1 speaker emulator (2 outs)

Take a Garageband or Logic Pro mix and direct it to your momentary output of choice. That usually means change a preference, apply the changes, continue working.

Wouldn’t it be great if that was a one-click operation?

Open Audio/MIDI Settings. Click on the little + icon in the Audio window to add an “Aggregate” device (not a “Multi-output” device – that drives all the outs at once). In my case I added the Mac outputs, the Scarlett interface, and my VRM box. I don’t see a way to cause the order to change, so I named it “mLRsLRLRLRvLR” to help me remember what order the outputs are in. Logic Pro lets you provide your own labels for the ports, so it can be a lot easier.

In Logic I open a new project with a single track, Audio or Software Instrument will do.

Route the output of the Audio track to an Aux (creates the bus)

Route the output of the bus to each in succession

1/2 for the Mac outs

3/4, 5/6, 7/8 for the Scarlett

9/10 for the VRM box

Now we have 5 output pairs that we can switch to by routing the Aux to the appropriate pair of outs.

I place inserts on the Aux so they don’t have to repeat. I place an Channel EQ on each set of outputs just in case I want to adjust.

Now I can listen on the main outs (Mac speakers or AV monitors connected to the headphone jack), external monitors with a simple plug on the patch bay to route L to the grotbox along with setting the output to mono, headphones (open back) for bigger, different sound, or the other set of headphones connected to the VRM box that gives me room emulations.

Easy switch.

If I want the “big speakers” in the living room I still have to do a “manual” switch to Airplay to get the sound to the living room, but that’s acceptable. Easy to do with a bounced track and playback to both office and living room.

what fun!

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