#Programmes de Production Audio

[musitechnicformation]

Découvrez comment un diplôme d'ingénieur de studio peut propulser votre carrière dans la production audio, le design sonore et l'ingénierie musicale. Apprenez les compétences, les certifications et les opportunités offertes par un programme spécialisé en ingénierie de studio. Acquérez une expertise technique pour exceller dans les studios d'enregistrement professionnels, le son live et la post-production. Explorez des formations pratiques et immersives qui vous préparent à maîtriser les techniques audio avancées et à entrer dans l'industrie. Lancez votre parcours pour devenir un ingénieur de studio professionnel 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.

[jisbunv]

YOUTH RADIO CHAPITRE 1

(couloir)

Makoto : waaah...... j'ai beau vérifier dans toutes les directions, il n'y a vraiment personne.

hmm, peut-être que je suis arrivé trop tôt ? quoique s'il y avait du monde je ne réussirais peut-être pas à me concentrer sur mon travail.

il n'y a pas un bruit, je vais pouvoir réussir à me concentrer, aller travaillons un peu avant que tout le monde arrive.

(classe 2-A)

BONOJOUURR!!!!!!♪

effectivement il n'y a personne, je suis bien le premier.

...............

(j'ai sorti mes feuilles et mon stylo en me disant "au travail !!" c'est super mais...... je suis perdu. je ne sais pas quoi écrire..)

(jusqu'à présent... ou plutôt, jusqu'à ce que anzu chan arrive à yumenosaki il n'y avait pas beaucoup de postes en tant que membre du comité de diffusion....)

(bien sûr, c'est déjà arrivé que j'ai eu a choisir des pistes audio pour l'émission de midi, j'ai aussi déjà eu à rédiger des articles sur l'actualité de l'établissement.)

(pas mal de choses étaient réglementées par le conseil des élèves, donc je ne pouvais pas diffuser ce que je voulais. pour moi ce modèle de hiérarchie a toujours été présent ici.)

(il y avait des moments où je n'aimais vraiment pas ça, alors j'allais dans le quartier commerçant près de l'école et je recherchais de la bonne musique bon marché.)

(mais durant DDD, fine, dirigé par Tenshouin senpai, le président du conseil des élèves, s'est effondré et la monarchie absolue s'est effondrée.)

(les dream festivals ont également beaucoup changé avec le retour des shuffle unit et l'ajout du système "S3".)

(maintenant que l'on peut créer librement nos émissions sans se soucier du conseil des élèves, Nito senpai est tout excité.)

(l'autre jour, je travaillais sur un article pour l'émission du club, j'ai travaillé tellement dur jusqu'à en négliger mon sommeil.)

(je ne fais vraiment pas le poids face à nito senpai..... je suis tellement dépendant de lui que je peux même pas rédiger un script par moi-même.)

ah! ce n'est pas le moment de déprimer! demain je serais de service, alors je dois être en pleine forme!!

(je dois prouver a nito senpai que shinobu kun et moi pouvons assurer seuls, afin qu'il ait l'esprit tranquille.)

bon !! je suis remotivé! quel thème choisir...... quelque chose de pas trop sérieux, comme ça ce sera plus amusant à écouter que si c'était un sujet compliqué.

quelque chose d'amusant... quelque chose d'amusant... qu'est-ce qui me rendrait content ? autant que de manger mon plat préféré par exemple ?

ah! pourquoi pas un classement de mes plats préférées !

héhé je suis tellement intelligent ! c'est important de mettre beaucoup de réflexion dans nos émissions, même cette saison !

♪~♪~

WAH !! anzu chan!? depuis combien de temps tu es là ?

oh, est-ce que tu as entendu tout ce que je disais depuis tout a l'heure ?

euh.. certes j'y ai mis du cœur mais tout ça c'était juste une blague...

ah, tu n'es pas obligée de me dire ton avis ! après avoir vu ta réaction, je sais déjà ce que tu en penses...

au, au fait, c'est vraiment bien que tu viennes aussi tôt a l'école.

moi ? je suis de service pour l'émission d'après-demain après midi. donc je suis venu tôt pour rédiger le brouillon du programme~♪

je n'arrive pas bien à me concentrer chez moi, c'est pourquoi j'écris généralement mes brouillons à l'école ou à la bibliothèque, mais cette dernière n'est pas encore ouverte alors je me suis installé là.

um ? anzu chan où vas-tu avec ce sac ? oh, est-ce que tu as oublié quelque chose chez toi ?

"si je reste ici je vais gêner"...... non tu ne me déranges pas du tout, d'ailleurs ça serait même mieux si tu restais là, anzu chan !

anzu chan, est-ce que toi aussi tu es inquiète à propos de la production et des chansons du prochain live ? si tu es en train de chercher des musiques, alors aide-moi aussi !

eh bien, j'ai décidé le contenu pour l'émission mais je n'ai pas encore décidé quel genre de musique je vais mettre.

oui, je suis membre du comité de diffusion~♪ je dois réfléchir aux idées pour les programmes. et c'est également mon travail de décider quelles chansons nous diffuserons♪

les réglementations se sont assouplies, donc si on veut utiliser des chansons de groupes de l'école on n'est plus obligés d'utiliser que celles faites par les membres du conseil des élèves !

on peut toujours utiliser celles faites par les groupes du conseil, mais on a aussi la possibilité d'en utiliser d'autres !

après tout il est important que les idols de notre école découvrent de nouvelles chansons pour développer leur sensibilité musicale.

après tout lorsque l'on est chef cuisto et qu'on mange des plats délicieux, on a envie de les refaire pour les servir à nos clients pas vrai ?

mais également,

si nous nous limitons à ce qu'il y a dans l'école, notre champ de vision sera forcément réduit. il faut qu'on puisse développer notre capacité de voir les choses dans une plus large perspective pour que nos capacités en tant qu'idols s'élargissent aussi.

enfin c'est pas à moi de dire des choses aussi ambitieuses.. quoi qu'il en soit, maintenant je suis libre de faire un peu tout ce que je veux.

je me demande de quelle manière je pourrais le mieux en profiter..

euh, hum, tu, tu vois, tout à l'heure quand je disais que je cherchais de la bonne musique pas chère ?...

ah tant mieux tu t'en souviens ! eh bien, je pensais aller jeter un coup d'œil dans les boutiques aujourd'hui.

si, si par hasard tu as du temps libre anzu chan, je me demandais si tu aurais envie de venir avec moi pour trouver de la musique..

comme toi aussi tu cherches des chansons je pense qu'on pourrait faire d'une pierre deux coups ?

wah.... faire les recherches demain après l'école ce serait ce qui te conviendrait le mieux ? wah, tu acceptes vraiment qu'on y aille ensemble ??

merci anzu chan !♪ je choisis toujours les musiques de mon émission en fonction de mes goûts personnels donc ça arrive que ça ne soit pas très varié...

mais si anzu chan est là alors je pourrais avoir un avis extérieur pour trouver les meilleures chansons~♪

Mao : oh, j'entendais du bruit depuis le couloir, c'était toi makoto

makoto : oh ? isara kun ? tu es censé être dans la classe d'à côté, qu'est-ce que tu fais là ?

mao : hm. je revenais de mon travail au conseil des élèves, et en passant par là j'ai entendu des voix depuis cette classe.

j'étais tellement impressionné que quelqu'un soit là si tôt, alors j'ai voulu voir qui c'était et c'était vous. vous sembliez bien vous amuser alors je suis rentré♪

makoto : ah d'accord. isara kun, tu avais l'air vraiment occupé avec le travail du conseil des élèves hier, ne te force pas trop d'accord ?

mao : haha, merci !

moi je travaille dur, mais le vice président a encore plus de travail!

il y a des gens qui occupent des postes plus importants que le mien, alors je ne peux pas me permettre de partir en premier.

makoto : ah ouais, quand nito senpai reste tard au club je lui demande toujours si je peux faire quoique ce soit pour l'aider.

alors je comprends vraiment ce que tu ressens isara kun.

mao : tous les deux on a quelqu'un de très sérieux au-dessus de nous. il faut qu'on se montre à la hauteur en leur rendant la pareille.

makoto : ahaha, c'est vrai

mao : cette conversation est passionnante, mais je suis curieux de savoir de quoi vous parliez tout les deux avant que j'arrive.. est-ce que vous pourriez m'inclure dans votre discussion ?

~~~~~~~~~~~~

END☆

[georgefairbrother]

Remembering actor and playwright, Frank Williams, who passed away June 26th, 2022, aged 90.

Although best remembered as Vicar Timothy Farthing in Dad's Army, his career was varied, and included roles on stage, in mainstream and indie films, and on television.

His breakthrough role on television was as Captain Pocket in the first ever ITV sitcom, The Army Game, several of his own plays were staged professionally over the years, and two productions, Murder By Appointment and Alibi For Murder, toured nationally in the UK.

Having struggled with typecasting following The Army Game, he was keen not to face the same frustrations after the end of Dad’s Army. He subsequently went abroad seeking some professional anonymity, and found work in serious roles on stage at Vienna’s English Theatre.

Although consistent television work became elusive in Frank Williams' later career, he had a series of memorable cameos in very successful programmes over a number of years, including Minder, Hi de Hi, Bergerac, the mini-series dramatisation of Jeffrey Archer’s political novel, First Among Equals, and the multi-award-winning original British version of House of Cards (1990), starring Ian Richardson. He appeared in 14 of the 26 episodes of You Rang M’Lord?, (by Dad's Army creators Jimmy Perry and David Croft), and his final television credit was in Ruth Jones' Stella in 2017.

His final stage appearance was a celebration of his 90th birthday at the Leicester Square Theatre in 2021.

British television historian, podcaster and publisher, Oliver Crocker, worked with Frank Williams on several projects, including a short film biography, Dad's Army and Beyond: The Frank Williams Story, which played at the National Film Theatre for the Dad's Army 40th anniversary in 2008.

Oliver has shared his personal memories of Frank Williams, and has generously provided some fascinating audio of the great man himself reminiscing about his life and career, for a special podcast episode commemorating the first anniversary of his passing.

It was a real privilege to work with Oliver to put this together.

[nnjzz]

ETERNITIES + earthworm + AUGUSTÉ VICKUNAITÉ + SIMONAS NEKROŠIUS + ALANAS GURINAS

MARDI LE 05.03

ETERNITIES us earthworm  us AUGUSTÉ VICKUNAITÉ lt SIMONAS NEKROŠIUS lt ALANAS GURINAS lt

TREIZE 24 rue Moret 75011 M° Couronnes / Ménilmontant

19:30 PORTES

20:00 ACTION !

P.A.F.6€

ETERNITIES us utah nyc " deep presence, resonant feedback, melodic drone, and overtone magic, in the fluid realm between intention and indeterminacy. We use harmonic tones from wind instruments played within feedback systems to create deep spectral drone. "

Duo composé de Katie Porter ( clarinette basse ) et Bob Bellerue  ( electronics, feedback ).

Musicienne spécialisée surtout dans la musique expérimentale / contemporaine ( interprétant p. ex. les musiques de John Luther Adams, Jason Ajemian, Mike Kelley, Michael Pisaro, Larry Polansky, Stephanie Richards, Morris Rosenzweig, Arthur Russell, James Tenney, Maayan Tsadka, Christian Wolff, entre autres ) mais pas que  ( "   She exists mainly in the experimental realm, but can sometimes be found elsewhere. " ) , Katie Porter est aussi curatrice, passionnée par la création de communautés musicales - elle a cofondé p.ex. Listen/Space (Brooklyn) et est commissaire des Listen/Space Commissions, responsables de 46 nouvelles œuvres pour groupes de chambre mixtes.

Elle co-dirige également le Symposium biennal VU pour la musique expérimentale, improvisée et électronique (Park City, Utah) et travaille sur un projet de longue haleine ( jeu de mots intentionnel ) pour clarinette solo dans l'installation Sun Tunnels ( 1976 ) - en cours de restauration -  de  la land-artiste, Nancy Holt, dans l'Utah.

Plusieurs projets dont le duo RED DESERT ENSEMBLE (   “a finely poised musical partnership”- THE WIRE,  ) avec le percussionniste/compositeur Devin Maxwell, qui a publié un album  sur le label de feu Phil Niblock, XI.

Bob Bellerue est artiste sonore / noisician, ingé-son, technicien et entre autres choses, curateur, entre autres, et notamment LE responsable principal de l'immensissime festival de musiques oufissimo-interlopissimes, ENDE TYMES. 

Sa pratique sonore tourne souvent autour des systèmes de rétroaction résonnante, utilisant des instruments, des objets, des enregistrements et des espaces amplifiés, en combinaison avec des composants électroniques et des logiciels écrits dans le langage de programmation de synthèse audio Supercollider.

Au cours des 30 dernières années, il a été impliqué dans la création et la présentation d'un large éventail d'activités sonores – entre noise, art sonore, musique expérimentale, percussions junk metal, gamelan balinais, bandes son pour la danse/théâtre/vidéo/art de la performance et  installations vidéo / son. 

Il a publié moult enregistrements, notamment chez Elevator Bath Records, iDeal Recordings, Banned Productions, Fabrica, P-Tapes, RRR Records, Love Earth Music, Prison Tatt Records, Los Discos Enfantasmes, Zelphabet, Peyote Tapes, No Rent Records ou sur ses propres labels, Anarchymoon Recordings and Sleepy Hollow Editions. 

earthworm us uk Nouveau duo / projet collaboratif composé de Christi Denton, artiste sonore et compositrice polyvalente originaire des États-Unis et de France, et de Margaret Fiedler McGinnis ( US / UK ), auteur-compositeur et multi-instrumentiste connue pour son travail avec au mitan des années 90s MOONSHAKE et LAIKA ensuite, et plus récemment avec  PJ Harvey & Wire ( excusez de peu).

 Dans une pièce spécialement composée pour Le Non_Jazz aux Nautes, elles s'aventureront dans le domaine de l'improvisation structurée. Conçu pour faire écho aux pousses vertes tendres de la saison, SPRINGS promet une expérience sonore immersive. Denton et Fiedler McGinnis créent une partition graphique unique pour l'électronique réactive, la guitare et d'autres éléments qui n'ont pas encore été révélés. Cette approche innovante s’entremêle avec les battements de cœur des musiciens et d’autres rythmes organiques, créant une interaction dynamique entre les interprètes et l’esprit éveillé de la saison.  https://www.christidenton.com/

AUGUSTÉ VICKUNAITÉ lt   Performeuse / collagiste sonore, avec une formation en sciences physiques ( ! ). Elle utilise principalement des magnétophones à bandes pour jouer, enregistrer et créer des compositions instantanées à base de d'enregistrements de terrain divers, dysfonctionnements de la technologie vintage ou encore des sons d'instruments enregistrés dans des environnements naturels.

Sa performance contiendra des boucles de bandes audio et des collages effectués à partir de de bandes trouvées.

SIMONAS NEKROŠIUS lt Artiste interdisciplinaire de Vilnius, spécialisé dans l'art sonore et la construction d'instruments électro-acoustiques et d'objets sonores faits maison.

Son travail est souvent associé aux notions de « ready-made » et de « DIY ». Il perçoit la créativité et les objets d'art comme un processus, réduisant ainsi l'importance des résultats finalisés dans ses projets. En conséquence, son travail a tendance à être indéterminé et transformateur au fil du temps.

https://www.youtube.com/@SimonasNekrosius 

ALANAS GURINAS lt Jeune artiste interdisciplinaire, adepte des performances sonores et des installations audiovisuelles.

Dans sa démarche, il explore le son en tant que phénomène textural, les thèmes de l'éphémère et les relations entre divers objets et espaces audibles et inaudibles.

A slightly light tone  ( Strained paper sheets, weights, vibro motors, various sound objects ) 

est une performance sonore acoustique live qui utilise le papier comme matériau principal pour produire du son. Différents types de papiers sont placés entre deux pinces en bois et, à l'aide de poids, sont tendus jusqu'à ce qu'ils trouvent leur état de résonance. En conséquence, différents tons, drones et textures générés par du papier en suspension sont produits. (La durée de la représentation est de +- 30 minutes)  

Fly - Jo L'Indien

[q1kruse]

Musiktherapie spielend erledigt: Die Vorteile der besten MP3 Player Software

Musiktherapie ist eine wirksame Methode, um Stress abzubauen, Emotionen zu regulieren und das Wohlbefinden zu steigern. Mit Hilfe der besten Musik Player Programm können Nutzer des Programms die Vorteile der Musiktherapie komfortabel in Ihren Alltag integrieren. In diesem Ratgeber werden wir https://www.mediakg.de/products/m_ge_1x-amp.html die verschiedenen Softwarefeatures und Vorteile dieser Software untersuchen und wie sie zur Verbesserung Ihrer Musiktherapie-Erfahrung beitragen kann.

Musiktherapie gezielt machen: Die Vorteile der besten MP3 Player Software Was ist MP3 Player Software?

Audio Player Programm ist eine Anwendung, die es Ihnen gewährleistet, Ihre Musikbibliothek auf Ihrem PC oder mobilen Gerät zu verwalten und abzuspielen. Sie unterstützt grundverschiedene Dateiformate wie MP3, WAV und FLAC und übermittelt zusätzliche Anwendungsfeatures wie Playlists, Equalizer und Crossfade.

Musikanalyse für personalisierte Empfehlungen

Eine der Hauptvorteile der besten Musik Player Programm ist die Musikanalyse-Funktion. Diese Funktion analysiert Ihre Musikbibliothek und erstellt personalisierte Empfehlungen basierend auf Ihrem Geschmack. Durch die Analyse von Metadaten wie Genre, Stimmung und Tempo kann die Software Songs vorschlagen, die Ihren Vorlieben entsprechen und Ihre Musiktherapie-Sitzungen bereichern.

KI Remixe für erstklassige musikalische Erfahrungen

MP3 Player Programm mit KI Remix-Funktion gewährt es Ihnen, Songs in Echtzeit neu zu mischen und fortschrittliche musikalische Erfahrungen zu machen. Diese Anwendungsfunktion verwendet künstliche Intelligenz, um verschiedene Remix-Optionen zu generieren und Ihre Lieblingssongs auf neue und aufregende Weise zu präsentieren. Durch das Experimentieren mit verschiedenen Remix-Stilen können Anwender des Tools Ihre Musiktherapie-Sessions individuell gestalten und neue Perspektiven nutzen.

Schlafmodus für verbesserte Entspannung

Der Schlafmodus ist eine weitere nützliche Funktion der besten MP3 Player Software. Mit dieser Softwarefunktion können Softwareanwender eine spezielle Playlist erstellen, die Ihnen hilft, besser einzuschlafen und erholsamen Schlaf zu fördern. Die Software bietet verschiedenartige Optionen wie sanfte Übergänge zwischen den Songs und einstellbare Timer, um die Musikwiedergabe automatisch zu stoppen. Der Schlafmodus kann eine wertvolle Ergänzung Ihrer Musiktherapie-Routine sein und Ihnen helfen, sich zu entspannen und zur Ruhe zu kommen.

Fragen 1. Was sind die Vorteile der Nutzung von MP3 Player Software für die Musiktherapie?

Die Verwendung von Audio Player Programm für die Musiktherapie verschafft mehrere Vorteile. Sie erlaubt eine personalisierte Musikanalyse, KI Remixe für exzellente musikalische Erfahrungen und einen Schlafmodus für verbesserte Entspannung.

2. Welche Dateiformate werden von MP3 Player Software unterstützt?

Die besten MP3 Player Software-Anwendungen unterstützen unterschiedliche Dateiformate wie MP3, WAV und FLAC.

3. Kann ich als Benutzer meine eigene Musikbibliothek in der MP3 Player Software importieren?

Ja, die meisten MP3 Player Software-Anwendungen gestatten es Ihnen, Ihre eigene Musikbibliothek zu importieren und zu verwalten.

4. Gibt es kostenlose MP3 Player Software?

Ja, es gibt kostenlose MP3 Player Software-Anwendungen, die generelle Funktionen und Wiedergabemöglichkeiten bieten.

5. Wie kann MP3 Player Software zur Verbesserun

[thierryweber]

Un nouvel article sur Thierry Weber: pionnier du podcasting et expert en streaming vidéo en direct: 🎙️ Retour sur la première édition du Meilleur du Podcast

Un nouvel article sur https://thierryweber.com/%f0%9f%8e%99%ef%b8%8f-retour-sur-la-premiere-edition-du-meilleur-du-podcast/

🎙️ Retour sur la première édition du Meilleur du Podcast

Une journée pour célébrer les voix du podcast suisse

Le 3 avril 2025 restera comme une date symbolique pour la scène audio suisse : c’est à Lausanne, dans l’écrin chaleureux de La Datcha, qu’a eu lieu la toute première édition du Meilleur du Podcast. Coorganisé par Victoria Marchand et Thierry Weber, cet événement inédit a réuni une centaine de passionnés, de professionnels et de curieux venus célébrer un médium en pleine effervescence.

Pourquoi un tel événement ?

Le podcast connaît une croissance soutenue en Suisse : 22 % de la population en écoute occasionnellement, un chiffre en hausse constante. Pourtant, malgré cet engouement, les créateurs restent souvent isolés, et la monétisation du format demeure un défi.

C’est dans ce contexte que nous avons décidé de créer un lieu de rencontre et de reconnaissance. Objectif : faire dialoguer créateurs, médias, entreprises et spécialistes autour des enjeux actuels du podcast en Suisse.

Un programme dense et inspirant

La journée s’est articulée autour de trois tables rondes thématiques :

💸 L’éternelle question de la monétisation

Julien Fregonara – Media One Groupe

Steve Krebser – Goldbach

Laetitia Foeller – Mediamix

📻 Médias et podcasts : concurrents ou partenaires ?

Véronique Marti – RTS

Lionel Demander – Radio Lac & One FM

Célia Héron – Le Temps / Brise Glace

🏢 Le podcast comme outil business

Gauthier Dorthe – Centre Patronal

Delphine Seitiée – Alp ICT

Cyril Deleaval – Genilem

Une intervention très attendue depuis Montréal

Moment fort de la journée : l’intervention en direct de Bruno Guglielminetti, podcasteur et expert en communication numérique, qui a partagé sa vision du podcast, ses bonnes pratiques de diffusion… et l’importance stratégique de plateformes comme TikTok pour toucher une nouvelle génération d’auditeurs.

Sa passion, son franc-parler et la pertinence de ses conseils ont largement contribué à nourrir les réflexions du public.

🏆 Les lauréats 2025

En fin de journée, les trophées du Meilleur du Podcast ont été remis aux créateurs et productions les plus remarquables :

News : Gardez une tendance d’avance sur les marchés – Swissquote

True Crime : Crimes suisses – RTS

Business : Coach ton budget & business – Janice Kerschbaumer

Culture : Parlez-moi d’humour, mais pas que… – Yumeego

Lifestyle : Au-delà des maux – Réseau hospitalier neuchâtelois

Une communauté en marche

Cette première édition a montré qu’il existe une véritable scène suisse du podcast : diverse, talentueuse, motivée… mais encore peu structurée. Nous espérons que Le Meilleur du Podcast contribuera à créer un écosystème solide et durable, en offrant un espace de rencontres, de visibilité et de reconnaissance.

Et maintenant ?

Ce n’est qu’un début. Nous vous donnons rendez-vous en 2026 pour une édition encore plus ambitieuse, encore plus inclusive, encore plus vibrante.

En attendant, restons connectés, restons curieux… et surtout, continuons d’écouter.

💬 Vous avez un podcast suisse à recommander ? Partagez-le avec nous en commentaire ou sur les réseaux sociaux avec le hashtag #MeilleurDuPodcast.

[whatisthisblogevenabout]

Angela Aquereburu (born 11 January 1977) is a Togolese screenwriter, film producer and film director.

Wikipedia

Angela Aquereburu and her partner Jean-Luc Rabatel, who are based in Lomé, Togo, wear many hats: scriptwriting, directing, producing, distributing… They founded the audio-visual production company, Yobo Studios (originally Caring International) in 2009, which specialises in fiction with a focus on short-format mini-series. It was Angela’s father, an older-timer of Togolese television, who suggested to the couple to bring their content to the local scene, in order to give a much-needed change from the telenovelas and American sitcoms that inundated the Togolese channels. Moreover, she stresses the importance of audiovisual programming as a vital tool to transmit strong messages regarding health, ecology and democracy to the general public. 

As an objective of Yobo Studios is to provide original and exportable programmes and bring a different perspective regarding Africa, Angela and Jean-Luc have worked with DISCOP Africa, whose platform has become an integral part of Yobo Studios’ goals. As its website indicates, “DISCOP markets help entertainment content producers, sellers and buyers connect, build relationships, pitch projects and make deals in Africa and the Middle East.” In an interview with Africa Salons at the closing of DISCOP Abidjan 2016, Angela recalls that around ten years ago the audio-visual sector in African was hard hit and to have content visibility was difficult. She notes for instance, that because of the high cost of transportation, to meet people from South Africa, Cameroon and elsewhere was a bit difficult. Hence, with DISCOP there was an opportunity to bring together professionals—audio-visual producer, cable operator, television distributor—to network throughout Africa.

Yobo Studios’ early success, the fiction mini-series Zem, has led to others, notably, the recently produced Hospital IT, a medical dramedy produced in 2017. There are several projects on the horizon: a television programme devoted to women, a feature film with a woman protagonist, an English-language film, among others.

In addition to an interest in producing realistic stories about everyday African experiences to present to the African public, Angela wants also to distribute her films more broadly in order to make them visible on the international scene. She explains in ForbesAfrica: "To make content exportable, you need a universal story, good actors, beautiful images, good music and to respect international broadcast codes.”

African Women in Cinema

Angela Aquereburu, based in Togo, is currently a Founder at Yobo Studios. Angela Aquereburu brings experience from previous roles at Caring International Sarl, Jonas Mb, Agilent Technologies and Convergys. Angela Aquereburu holds a 2003 - 2004 Master Spécialisé in Innover et Entreprendre @ ESCP Europe. With a robust skill set that includes Business Strategy, Strategy, Entrepreneurship, Start-ups, Management Consulting and more. Angela Aquereburu has 1 emails on RocketReach.

RocketReach

[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

[musitechnicformation]

Découvrez comment un diplôme d'ingénieur de studio peut propulser votre carrière dans la production audio, le design sonore et l'ingénierie musicale. Apprenez les compétences, les certifications et les opportunités offertes par un programme spécialisé en ingénierie de studio. Acquérez une expertise technique pour exceller dans les studios d'enregistrement professionnels, le son live et la post-production. Explorez des formations pratiques et immersives qui vous préparent à maîtriser les techniques audio avancées et à entrer dans l'industrie. Lancez votre parcours pour devenir un ingénieur de studio professionnel dès aujourd'hui !

[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.

[lokaleblickecom]

Großer journalistischer Branchentreff am 25.11. in Dortmund

Mehr als 600 Teilnehmende beim Journalistentag 2023 erwartet

Am 25. November meldet sich Deutschlands großer journalistischer Branchentreff zurück: „So schön neu!? Journalismus, next Level!“ lautet das Motto des Journalistentages 2023 in Dortmund, der auf hochkarätig besetzten Panels vor mehr als 600 fachkundigen Gästen die drängendsten aktuellen Fragen einer Medienbranche im Umbruch diskutieren wird. Veranstalter ist der Deutsche Journalisten-Verband, Landesverband NRW (DJV-NRW). Als Keynote-Speaker wird Verfassungsschutzpräsident Thomas Haldenwang in einer Video-Botschaft die veränderte Rolle der Medien für den Erhalt der Demokratie in politisch schwieriger werdenden Zeiten beschreiben. Danach geht es auf gleich zwei Panels um Künstliche Intelligenz (KI): Dennis Horn (Leiter 1Live Audio-Unit), Clemens Boisserée (Leiter redaktionelle Produktentwicklung, Rheinische Post) und Peter Dyllick-Brenzinger (Head of Product and Engineering, sprylab) nehmen die Folgen für den Redaktionsalltag in den Blick, während die Professorin für Digitalen Journalismus und Datenjournalismus, Christina Elmer (TU Dortmund) und Medienwissenschaftler Dr. Martin Andree (Uni Köln) über die Auswirkungen der KI auf die Gesellschaft nachdenken. Weitere Foren und Workshops thematisieren das Ringen des öffentlich-rechtlichen Rundfunks um Zuschauerakzeptanz, die umstrittene Reform des NRW Lokalfunks, Wege aus dem Fachkräftemangel im Journalismus und die beruflichen Wünsche der Gen Z. Außerdem schaut der #jotag23 auf den Sexismus und die Machtstrukturen in der Medien- und Kulturbranche, die Perspektiven für Klimajournalismus und die Chancen neuer Medienformate für die junge Generation. Er fragt nach der Macht der Recherche, den Digitalstrategien von Zeitschriften und dem Einsatz von alternativen Social-Media-Plattformen in der PR.   Dazu diskutieren unter anderem: Deutschlandradio-Intendant Stefan Raue, Dr. Tobias Schmid (Direktor der Landesanstalt für Medien NRW), Ina Blumenthal (MdL, Medienpolitische Sprecherin der SPD-Fraktion NRW), Elisabeth Ries und Luisa Filip (Podcasterinnen, „X und Y“), Björn Staschen (Head of Transformation and Technology, Programmdirektion NDR), Lara Thiede (Redaktionsleiterin SZ-Magazin jetzt), Simon Pützstück (stellvertretender Leiter ARD Morgenmagazin), Ricarda Richter (Redakteurin DIE ZEIT), Jonathan Diehn (Leiter der Abteilung Zentrale Aufgaben, Abteilung Programmplanung des ZDF) und viele andere mehr. Neben den Foren und Workshops bietet der Journalistentag einen „Markt der Möglichkeiten“ der #jotag23-Kooperationspartner:innen und Sponsor:innen. Zum Ausklang gibt es erstmals einen „JoTag-Slam“ zum Leben als Reporter:in. Die Veranstaltung findet zwischen 11 und 17 Uhr in der Sparkassenakademie Nordrhein-Westfalen, Hörder Burgplatz 1, 44263 Dortmund, statt. Alle Informationen zum Programm und zur Anreise gibt es unter www.journalistentag.de und hier. Foto: DJV Read the full article

[brokehorrorfan]

Enter the Video Store: Empire of Screams will be released on June 27 via Arrow Video. The Blu-ray box set includes five genre films produced by Charles Band’s Empire Pictures: The Dungeonmaster, Dolls, Cellar Dweller, Arena, and Robot Jox.

The Dungeonmaster is a 1984 fantasy-horror anthology with segments directed by David Allen, Charles Band, John Carl Buechler, Steven Ford, Peter Manoogian, Ted Nicolaou, and Rosemarie Turko.

Dolls is a 1987 horror film directed by Stuart Gordon and written by Ed Naha. Stephen Lee, Guy Rolfe, Hilary Mason, Ian Patrick Williams, and Bunty Bailey star.

Cellar Dweller is a 1987 horror film directed by John Carl Buechler and written by Don Mancini. Debrah Farentino, Brian Robbins, Pamela Bellwood, Vince Edwards, Jeffrey Combs, and Yvonne De Carlo star.

Arena is a 1989 sci-fi action film directed by Peter Manoogian and written by Danny Bilson and Paul De Meo. Paul Satterfield, Hamilton Camp, and Claudia Christian star.

Robot Jox is a 1990 post-apocalyptic sci-fi action film directed by Stuart Gordon and written by Joe Haldeman. Gary Graham, Anne-Marie Johnson, Paul Koslo, Robert Sampson, Danny Kamekona, Hilary Mason, and Michael Alldredge star.

The limited edition box set includes 15 postcards, five double-sided posters, Arrow Video membership card, and 80-page book featuring new writing by Lee Gambin, Dave Jay, Megan Navarro, and John Harrison plus archival material.

Each film is housed in its own Blu-ray case with reversible sleeves featuring original and new art by Ilan Sheady, packaged together inside a box with art by Laurie Greasley. Specs and special features can be found below.

The Dungeonmaster:

New 2K restoration from the original negative with original lossless mono audio

3 cut of the film: US theatrical version, pre-release version, and international version (under the title Ragewar)

Audio commentary with actor Jeffrey Byron, moderated by film critics Matty Budrewicz and Dave Wain (new)

Interview with actor Jeffrey Byron (new)

Theatrical trailers

Image gallery

Computer programmer Paul Bradford is sucked into a fantasy world by Mestema, a demonic sorcerer in search of a worthy opponent.

Dolls:

New 2K restoration from the original interpositive with original lossless stereo audio

Audio commentary by David Decoteau, Empire alumnus and friend of Stuart Gordon (new)

Audio commentary by director Stuart Gordon and writer Ed Naha

Audio commentary by cast members Carolyn Purdy-Gordon, Stephen Lee, Carrie Lorraine, and Ian Patrick Williams

Interview with editor Lee Percy (new)

Toys of Terror: The Making of Dolls - Interviews with Gordon, Yuzna, Purdy-Gordon, Williams, Charles Band, and Gabe Bartalos

Film-to-storyboard comparison

Theatrical trailers

Image gallery

A group of strangers find themselves forced to seek shelter at the isolated home of an old toymaker and his wife, only to find that the puppets and dolls have a vicious life of their own.

Cellar Dweller:

Additional picture restoration with original lossless stereo audio

Audio commentary by special make-up effects artist Michael Deak, moderated by film critics Matty Budrewicz and Dave Wain (new)

Grabbed by the Ghoulies - An appreciation of John Carl Buechler by film critics Matty Budrewicz and Dave Wain (new)

Interview with special make-up effects artist Michael Deak (new)

Original sales sheet

Original production notes

VHS trailer

Empire Pictures trailer reel

Image galleries

A comic book artist (Jeffrey Combs) with a penchant for the macabre takes inspiration from an ancient tome and unleashes an ancient evil.

Arena:

New 2K restoration from the last known surviving 35mm elements with original lossless stereo audio

Alternative full frame presentation

Audio commentary by director Peter Manoogian, moderated by film critics Matty Budrewicz and Dave Wain (new)

Interview with co-writer Danny Bilson (new)

Interview with special make-up effects artist Michael Deak (new)

Theatrical trailer

Image gallery

In the far future of 4038, a short order cook becomes the first human in 50 years to compete in an intergalactic boxing event on the far side of the universe.

Robot Jox

New 2K restoration from the original negative with original lossless stereo audio

Audio commentary by director Stuart Gordon

Audio commentary by associate effects director Paul Gentry, mechanical effects artist Mark Rappaport, and stop-motion animator Paul Jessel

Interview with actor Gary Graham (new)

Interview with actor Anne-Marie Johnson (new)

Interview with actor Paul Koslo

The Scale of Battle: David Allen and the FX of Robot Jox - Interviews with visual effects artists Steve Burg, Yancy Calzeda, Paul Gentry, Kevin Kutchaver, Dennis Muren and John Vincent (new)

Original sales sheet

Original production notes

Theatrical trailer

Image galleries

Men and women pilot giant machines in gladiatorial battle to settle international disputes over territory.

Also included:

15 postcard-sized art cards

5 double-sided posters

Arrow Video “membership card”

80-page perfect-bound book featuring new writing by Lee Gambin, Dave Jay, Megan Navarro, and John Harrison plus archival material