Band Mate is seeing a few changes to its code at the moment. I am fixing some features, removing others, and just improving things in general. You may notice some of these straight away, but others will be a little more behind-the-scenes, ensuring you receive a good experience when using the site.
“A change is gonna come” – Sam Cooke
I’ve got plenty of ideas about the site, and am planning a complete overhaul of it. Before doing so I thought it best to get everything that’s currently in the code either working 100%, or remove it from the code. I only want to take the good features from the current site onto the next level, as it were.
“Ch-ch-ch-ch-changes” – David Bowie
Despite having ideas of my own, I’d love to hear input from others. I have created a suggestion board which anyone can post to, or vote on other existing ideas, etc.
A study from UK live entertainment guide Ents24 has uncovered the country’s 10 most lively cities for live events. And the results may be a little bit more surprising than you’d expect. [Source: Ents24]
Map showing UK scenes
The top ten cities (by postcode area) are:
I took somewhat of a hiatus from working on Band Mate, but I am back again.
I’ll put my hands up and admit that I didn’t keep on top of things. Since working on the code again there have been a number of improvements made on the site. The sort of things that I just wasn’t getting around to and were beginning to pile up.
Anyway, my enthusiasm is back and some site improvements have already been made – addressing the 3 most complained about aspects of Band Mate to date.
Recent Updates (previous failings of the site):
HTTPS: Band Mate is now a secure site served over the HTTPS protocol with an SSL certificate. This means that you can login to Band Mate safe in the knowledge that your login information cannot be intercepted by anyone during transmission.
COARSE LOCALISATION: You requested that I make your geographic location less precise to other users. This has been done. Users are now listed as living in their nearest town/city, whilst the search feature of the site still operates on the users actual location, giving you both the privacy and the power that you need. Awesome.
EMAIL: Band Mate emails have had an overhaul. Whilst they may look the same, they are now hitting users inboxes with a greater success rate that before. Spam filters are great when they work properly, but a pain when they pick up the wrong thing by mistake. band Mate is now on friendlier terms with the spam bouncers.
Whilst these recent changes represent a great leap forward, there is more to come. I have fantastically great ideas for this site, but am invariably limited in terms of how much time I can invest in it. Rest assured, I will do what I can, when I can.
Paul Mawhinney, a former music-store owner in Pittsburgh, spent more than 40 years amassing a collection of some three million LPs and 45s, many of them bargain-bin rejects that had been thoroughly forgotten. The world’s indifference, he believed, made even the most neglected records precious: music that hadn’t been transferred to digital files would vanish forever unless someone bought his collection and preserved it.
Mawhinney spent about two decades trying to find someone who agreed. He struck a deal for $28.5 million in the late 1990s with the Internet retailer CDNow, he says, but the sale of his collection fell through when the dot-com bubble started to quiver. He contacted the Library of Congress, but negotiations fizzled. In 2008 he auctioned the collection on eBay for $3,002,150, but the winning bidder turned out to be an unsuspecting Irishman who said his account had been hacked….
Algorithm recovers speech from the vibrations of a potato-chip bag filmed through soundproof glass.
Researchers at MIT, Microsoft, and Adobe have developed an algorithm that can reconstruct an audio signal by analysing minute vibrations of objects depicted in video. In one set of experiments, they were able to recover intelligible speech from the vibrations of a potato-chip bag photographed from 15 feet away through soundproof glass.
In other experiments, they extracted useful audio signals from videos of aluminium foil, the surface of a glass of water, and even the leaves of a potted plant. The researchers will present their findings in a paper at this year’s Siggraph, the premier computer graphics conference.
“When sound hits an object, it causes the object to vibrate,” says Abe Davis, a graduate student in electrical engineering and computer science at MIT and first author on the new paper. “The motion of this vibration creates a very subtle visual signal that’s usually invisible to the naked eye. People didn’t realize that this information was there.”
Guitar Player recently put together this list of things to bear in mind when considering a vibrato bridge. I thought I’d share it.
1 They can be powerful performance tools
Vibrato bridges—also commonly referred to as “tremolo” bridges due to errant usage of the term by Fender for many years—are a purely mechanical means of temporarily altering your guitar’s pitch that can make an extremely creative addition to your playing style. To grasp the full range of the sound and function of this performance tool, listen to the playing of Duane Eddie, Hank Marvin, Jimi Hendrix, Jeff Beck, and Edward Van Halen. From subtle tremor to evocative dive-bomb this is a piece of hardware that can really move you.
2 Vintage units excel at subtle wobbles
By and large, vintage vibrato bridges such as the Bigsby, the Fender Stratocaster or Jazzmaster/Jaguar units, or Gibson’s Maestro Vibrola remain within their comfort zones when you restrict them to gentle actions and subtler vibrato effects. In many cases, the restricted travel of these older designs helps them to excel at those less-extreme uses, whereas more advanced units might feel a little “hair triggered”— hence the enduring popularity of the archaic Bigsby vibrato. Of course, a Jimi Hendrix or a Jeff Beck can perform breathtaking feats with a vintage Strat unit, even if it wasn’t designed for such extremes.
3 Grab a high-tech design for more dramatic action
Many updates of the original Fender Strat vibrato bridge are preferred for more intense use. PRS units perform well, as do many two-point fulctrumstyle bridges from Wilkinson, Hipshot, Fender, Ernie Ball/Music Man, and others. Listen to the way that an inventive guitarist such as David Torn incorporates a modern vibrato into his playing, making it as essential to his style as the fretting fingers of his left hand, and you’ll begin to understand the potential of a more high-tech vibrato. For many incendiary rock players, however, the “double-locking” format pioneered by Floyd Rose and Kahler is essential when dipping into serious dive-bombing.
4 They will affect your tuning
Excessive use of any vibrato bridge will affect your guitar’s tuning—it’s just the nature of the beast. As habitual Bigsby user Neil Young put it, “It’s a guitar, it goes out of tune, no big deal.” The big deal for some players, though, is that frequent pauses to retune affect the flow of a performance, and possibly elicit an excess of stink-eye from your lead singer. A good setup, periodic maintenance, and proper string loading can help to minimize tuning instability in any vintage-style vibrato bridge, and modern units such as those made by Floyd Rose and Kramer, which lock the strings at the nut as well as the bridge, typically have only slight tuning issues.
5 They will affect your tone—even when not in use
A vibrato bridge will affect the sound of any guitar it is mounted on, if only slightly, even when the vibrato bar is not being used. Any guitar’s bridge forms part of a crucial string-anchor point, and therefore is key in transmitting the strings’ vibrational energy into the body of the instrument. Change the structure of that bridge, and you alter its tone as compared to a “hard-tail” version of the same guitar. The movable, spring-loaded designs of most vibratos also change the playing feel of the guitars onto which they are mounted, typically making them feel a little looser and more rubbery to the fretting fingers.
Whilst talking to a friend who was getting himself kitted-up for some music-making, I remembered that there is a pretty awesome resource for free VST plugins over at the Tuts+ site. More than 90 free VSTs for you to check-out, download and work with. Not bad at all! Of course, there are bound to be many other places you can get free VSTs, but it just so happens that I’ve had this page bookmarked for a few years and thought I’d share the info with you. Have fun!
Deep inside a complex of secret tunnels in the Highlands stirs a sound which will reverberate through the ages. The world record for the longest echo ever discovered has been shattered by a hidden network of oil storage tanks in Rossshire.
Acoustic scientists emerged from the Inchindown oil storage tanks, an underground fuel depot constructed during World War II, with proof that a gun-shot fired inside the tunnel resonates for a full 112 seconds.
The discovery marks a resounding defeat for the previous record-holder for the longest echo found in a man-made structure, the Hamilton Mausoleum, also in Scotland, where the sound of the doors being slammed shut took 15 seconds to die away to silence.
Guinness World Records has certified the findings made by Trevor Cox, Professor of Acoustic Engineering at the University of Salford and author of Sonic Wonderland: A Scientific Odyssey of Sound.
Prof Cox had received a tip that the Inchindown complex near Invergordon might prove fertile territory for an echo test.
Excavated out of solid rock between 1939 and 1941, the tanks were dug deep into the hillside amid concerns about the strengthening of Germany’s armed forces and the threat posed by long-range bombers.
The tunnels were to provide a huge bomb-proof reserve supply of furnace oil for the warships of the home fleet at Invergordon, a key Royal Navy anchorage.
Prof Cox had to enter the tank through one of the 18 inch diameter oil pipes because there are no doors. The tank was designed to hold 25.5 million litres of fuel and has walls 45 cm thick. The space is about twice the length of a football pitch, 9m wide and 13.5 metres high.
Allan Kilpatrick, an archaeological investigator for the Royal Commission on the Ancient and Historical Monuments of Scotland, fired a pistol loaded with blanks about a third of the way into the storage tank. The results stunned Prof Cox, who recorded the response picked up by the microphones about a third of the way from the far end.
“It was like going underground into a Bond villain’s lair. But never before had I heard such a rush of echoes and reverberation,” Prof Cox said. “I started off just playing around, whooping and hollering. The sound just goes on and on and on.”
“Then when we fired the pistol my initial reaction was disbelief; the reverberation times were just too long. I knew immediately we had a new world record.”
Sound is an amazing force, and one that is often overlooked in terms of its powerful influence and destructive potential. The lucky ones among us get to hear sound every day, and what a privilege it is. There are times, however, when hearing may be a detriment to us. This is increasingly becoming the case with the development and application of sonic weapons by various military forces. Sound as a weapon is not a particularly new idea, but for years there has been much secrecy and misinformation shrouding the subject.
“Possibly the first mention of sonic warfare is the now much-cited ‘Walls of Jericho’ scenario — a biblical story which no doubt many of us are familiar with. The walls came tumbling down after the synchronised blast of trumpets and voices rendered it unstable. However, it is only recently that sound has seriously been considered as a valid medium for destruction. Human beings respond to certain categories of sound in a number of complex ways involving auditory perception and psycho-physiological response mechanisms rendered through the brain. Certain species of sound above (ultrasound) or below (infra-sound) the levels of human auditory perception would theoretically prove most effective within the crucible of warfare.” – Spannered
What can sound do that is so damaging? Well, this is a broad question and is best answered by saying that it depends on the frequency, amplitude and medium of the sound wave. For instance, have you ever heard of the opera singer, Caruso, who could shatter a crystal glass with the power of their voice alone? It is entirely possible to shatter glass with sound. It is simply a case of hitting a note that resonates sympathetically with the glass.
Along the same lines as the opera singer and the glass is another example of acoustic damage, a pretty extreme one actually. The human heart is, like everything, not indestructible. However, I bet you never thought you could stop a human heart with sound waves alone? Well, you can. Again, it wouldn’t be easy, but the science suggests it could be done. All that is required is a frequency that resonated with the heart significantly enough to actually stop it from beating. Imagine that…the potential to kill someone without touching them, poisoning them, shooting them or leaving a shred of evidence such as DNA on the crime scene. All that is essentially needed is a signal, an amp and a speaker, though this is a simplification!
“A variety of nonlethal acoustical weapons have been proposed and evaluated. Some of these are little more than fancy loud-speakers, while others involve more subtle or sophisticated processes and truely deserve the designation of acoustic weapon.” – Global Security
It is also possible to raze buildings with sound alone. Low frequency waves would be best ‘weapon of choice’ as they have a long wavelength and are able to vibrate a wall or structure quickly enough to cause degradation to the structural integrity of the building. The frequency of the tones would need to be very low, lower than can be heard by humans (below 20Hz). Sound below this threshold is known as infra-sound and it’s effects are felt but not heard. You would need a huge amount of amplification to achieve the destruction of a building in this way, but the fact that it is possible is amazing.
“Infra-sound would be a powerful ultra-low frequency (ULF) weapon that could be directional and tunable, penetrating buildings and vehicles. High Intensity infra-sound could induce disorientation and reduced sensory motor functions. At higher levels of intensity, experimental have shown that animals may cease breathing temporarily. But this has seemed to be not a very practical weapon, since large banks of speakers were required to provide directionality, and power demands were deemed excessive.” – Global Security
In other settings you may not wish to destroy a building, you may instead want to remove certain people from a building through relatively passive means, and sound can get the job done! An example of this was seen in 1990 when American forces attempted to drive Manual Norriega, military dictator of Panama from 1983-89, a from the Vatican Embassy in Panama in 1990 using sound. The US military played loud rock music such as Van Halen – Panama, and I fought the Law, by the Clash. Through continuous playback over many hours the US managed to psychologically wear-down the former dictator, resulting in his surrender. This method was preferable to brute force, as Norriega was holed up in the Vatican Embassy, and if US troops were to set foot in the Embassy they would anger many Catholics worldwide. In such a setting sound was the ideal solution to the problem at-hand.
Another example of the destructive capability of sound is feedback. This is a closed system where sound grows exponentially with every cycle of its loop. A classic, if not tired, example of this is the rock gig scenario. We’ve all heard the shrill shriek of feedback once or twice at least, and it’s not pleasant.
How is it caused? It’s really very simple. Sound waves from a vocalist, for example, are picked up by a microphone, which is connected to an amplifier. Amplification of the signal occurs and the sound is output through a speaker. If conditions are correct (or incorrect from a sound engineers point-of-view), sound will travel from the speaker and back into the microphone, this is the beginning of another loop. If sound repeats this loop too many times then audible feedback will arise, growing into a deafening howl. Literally. While the effects of a single exposure to feedback are likely to be minor to insignificant, if the exposure is significant enough then damage to the ear system could occur. Indeed, if you have ever suffered from ringing ears after exposure to high amplitude sounds then the chances are that you have suffered permanent hearing damage.
A diagram illustrating a feedback loop
If going to a rock gig with the intention of listening to the band – not being deafened by them – can cause permanent hearing loss to the majority of the audience, then imagine how damaging sound can be to us when we try to make it damaging!
LRAD, the Long Range Acoustic Device, is a new technology used to control crowds, deter pirates or insurgents from cruise or cargo ships. It has, allegedly, only been used a couple of times in a real-life setting, so accurate information on its effect is sparse. According to the manufacturers specification:
“The equipment weighs 45 pounds (20 kg) and can emit sound in a 30° beam (only at high frequency, 2.5 kHz) from a device 83 centimetres (33 in) in diameter. At maximum level, it can emit a warning tone that is 146 dB SPL (1,000 W/m2) at 1 metre, a level that is capable of permanently damaging hearing, and higher than the normal human threshold of pain (120–140 dB). The maximum usable design range extends to 300 metres. At 300 metres, the warning tone (measured) is less than 90 dB. The warning tone is a high-pitched shrill tone similar to that of a smoke detector.” – LRAD Corporation
The LRAD was first used on US citizens at the G20 protests. As you can see from the video it certainly gets people moving when it is switched on. If you are going to watch this video, turn your volume down first – it is very loud!
“In the early 1970’s, acoustic engineer Vladimir Gavreau was experimenting with infra-sound weaponry. Now the stuff of infra-sound legend, Gavreau was responsible for the construction of a giant 6ft whistle, powered by compressed air, which reputedly scrambled the inner organs of it’s unfortunate operator (a phenomenon known as ‘cavitation’, where the internal physiology was fatally resonated). Distraught, Gavreau ceased his experiments, but left behind plans and models for highly sophisticated, directional sound cannons, which were apparently seized by the French authorities. In a recent conference with Dr Guy Peter Manners, Professor of Cymatics (a form of sonic therapy)….he informed me of experiments which he had first hand experience of in wartime Germany, where sonic weapons were being developed under a highly classified strategy initiated and financed by Hitler’s government. …A separate source reveals the fact that the Germans were pioneering a sound-based weapon known as the ‘Luftkanone’, developed at Talstation Lofer. This was a parabolic device which, although untested on humans, was apparently… ‘capable of killing a man with sound pressure in about 30-40 seconds. At greater ranges, although not lethal it would be able to disable a man for an appreciable length of time. Vision would be affected, and low-level exposure would cause point sources of light to appear as lines.'” – Spannered
Acoustic devices being used as weapons doesn’t sound all that strange, not when you consider that the US military is behind it. They have a high military spending budget and view themselves as being the police force of the world. To me, an interesting question was “do acoustic weapons appear anywhere in nature? If so, why what, and what are the effects?”
After doing a small amount of research I discovered the amazing Pistol Shrimp. This little creature is capable of disrupting submarine communications with the sound of it’s pincers alone. They make a loud ‘chattering’ noise as they close the pincers, which carries a long way in water due to the density of the molecules (the speed of sound in wate is close to 1,500 metres per second, but it is temperature dependant). The really amazing part of the story about Pistol Shrimps is their ability to stun other sea creatures by snapping their pincers together extremely quickly. This creates a blast of bubbles which momentarily heats up to approximately 6,000 degrees Celsius (the same temperature as the surface of our Sun). The attacked creature is immediately stunned and is paralyzed, leaving the shrimp to clear up without a fight! It is incredible. You can really see why they have been given there name when you watch them using this incredible ability of theirs. Here is a video I found of the Pistol Shrimp in all its glory.
So, we have now seen acoustic weapons as used by Humans, and animals alike. Is there an application of sound that combines both animals and Humans? Yes, there is.
In Canada and North America the Bark Beetles population was growing rapidly and they little critters were destroying up to 33 million acres of forest in British Columbia and millions more in the United States. Scientists discovered that if they recorded the ‘song’ of the Bark Beetles, modified them slightly and played back the recording to the beetles they got instant and unexpected results. Hofstetter, one for the scientists involved in the research, explains.
“We could use a particular aggression call that would make the beetles move away from the sound as if they were avoiding another beetle. Or we could make our beetle sounds louder and stronger than that of a male beetle calling to a female, which would make the female beetle reject the male and go toward our speaker. We found we could disrupt mating, tunneling, and reproduction. We could even make the beetles turn on each other, which normally they would not do.” – Hofstetter
Using this technique they scientists were able to drive the beetles away from the trees and thus saving them from destruction.
As you can see, sound is very powerful and has many applications beyond the obvious ones such as listening to music and communicating ideas, etc.