Tuesday, August 4, 2009
Edmeston, NY — August 4, 2009 — In a joint announcement today with AMD (NYSE: AMD), Dangerous Music released details of Dweezil Zappa’s road recording rig using 48-channels of Dangerous 2-Bus LT analog summing and Dangerous Monitor ST speaker controller, allowing immediate mixing of the ‘Zappa Plays Zappa’ live shows — even in a hotel room. The “Room Service Rig” consists of a PC Audio Labs computer powered by dual AMD Opteron™ quad-core processors, running Steinberg’s NUENDO DAW software along with three 2-Bus LT summing amps and Monitor ST, providing large-format analog console mixing quality on the road.
“The pairing of AMD and Dangerous Music equipment has made a tremendous difference to the overall sonic detail of the final mixed music,” says Dweezil. “It’s hard to believe that I’m able to get these kinds of results from a portable mixing rig. It’s truly inspiring. Simply put, I have achieved my best mixes ever with the help of the Dangerous Music gear.”
Charlie Boswell, AMD Director of Digital Media & Entertainment, noted: “Dweezil Zappa has utilized Digital Audio Workstations based on AMD Opteron processors for the past six years both in the production of his own music and most recently in the recording of live ZPZ concerts. Gail Zappa depends upon AMD powered workstations to handle the mission critical role of archiving, producing and building the catalog from the historical Frank Zappa Vault at UMRK* - with releases on Zappa Records and Vaulternative Records. This newest AMD addition to the Zappa workflow is called the ‘Room Service Rig’ because it’s sometimes operated from a hotel room after a show, or possibly on the bus in between shows. AMD collaborated with our friends over at Dangerous Music and PC Audio Labs to make the ‘Room Service Rig’ happen. Its main purpose is to provide the highest studio sonic and mobile production capability to an international touring unit like ZPZ.”
Boswell also explained why the ‘The Room Service Rig’ was aptly named. “Dweezil was not interested in simply hacking together typical ‘board mixes’ of Frank Zappa classics. He chose Dangerous Music and AMD in order to deliver studio quality mixes and mastering for the fan base. He feels the technology should not only fulfill the Zappa quality requirement but it should also adapt to spontaneity of life on the road.” Visit Charlie Boswell’s blog at: http://globalnerding.blogspot.com.
Pioneered by the folks at Dangerous Music in 2001, the Dangerous 2-Bus analog-summing mixer was created to bring back the analog sound quality engineers have been craving in their digital audio environment, while maintaining the fast workflow and recall capabilities they have come to depend on. The Dangerous 2-Bus is a 16-by-2 summing device designed to help DAW users achieve better mix performance through the use of cutting-edge analog audio circuit design. As engineers and musicians themselves, the Dangerous Music team has noted that “in-the-box” mixes from DAW systems don’t equal mixes performed on high-end large-format analog recording consoles. The solution is the 2-Bus’ pristine audio path that delivers nuance, depth and clarity to a mix without any added coloration or distortion. The Dangerous 2-Bus allows the full potential of any digital audio workstation to be realized – audibly, in terms of sound quality, spatial detail and headroom, and ergonomically, through the preservation of DAW recall and automation capabilities and by the non-destructive integration of outboard analog equipment. The transparent sound of the 2-Bus allows engineers to enjoy the true colors of any chosen outboard gear without clouding the issue with the summing path. The 2-Bus is offered in two models, the original 2-rack space Dangerous 2-Bus with XLR inputs and the 1-rack space Dangerous 2-Bus LT with D-Sub inputs.
The Dangerous Monitor ST is the centerpiece of the most flexible monitor control platform available. ST is a fully expandable remote control-based monitor controller and source switcher with four inputs and speaker switcher for 3-pairs of speakers and subwoofer, and includes integrated cue and talkback systems, with an onboard headphone power amplifier, all in one rack space. With the cat-5 connected remote control unit, included with the Monitor ST, engineers can configure and control an entire system from the comfort of the studio’s sweet spot. Studios working in stereo can start with the Monitor ST and later expand to surround sound control for film and TV work by adding the SR expansion unit with no equipment redundancy or obsolescence.
About Dangerous Music, Inc.
Dangerous Music, Inc. designs and builds products that are indispensable to any DAW-based recording environment. Dangerous Music electronics designer Chris Muth has spent over 20 years working in and designing custom equipment for top recording and mastering studios. Muth and company founder Bob Muller pioneered the concept of the dedicated analog summing buss for digital audio workstations with the Dangerous 2-Bus in 2001. Today the company offers a wide range of products for recording, mastering, mixing and post-production facilities, all designed and built with mastering-quality standards and a practical aesthetic. Key products include the Dangerous 2-Bus and 2-Bus LT, Dangerous Monitor ST-SR and its Additional Switching System expansion units, Dangerous D-Box, Dangerous Master, Dangerous S&M, Dangerous Monitor and Dangerous MQ.
For more information visit http://www.dangerousmusic.com
or email: email@example.com
All trademarks are the property of their respective holders.
*Utility Muffin Research Kitchen - Zappa Studio
Thursday, June 25, 2009
Blog Talk Radio Interview with Charlie Boswell - AMD’s Entertainment Industry Maestro
Let me know what you think by commenting here or hitting me up on Twitter.
Check out the interview portion:
"I spent some quality time this week with Charlie Boswell, the guru behind so many cool programs at AMD. Think OTOY, LucasFilm, the digital music recording Industry, and you quickly understand that Charlie has one of the best jobs at AMD in working with these customers and technology partners. Here’s our conversation:
Ian: Charlie, thanks for taking the time today, can you give us the background on our efforts at CES around demo’ing “gaming in the cloud”?
Hello Ian…I’m really pumped about this so I appreciate the chance to discuss. …..here’s the deal.
At this year’s CES AMD rolled out a demo that shows how our platform technology (CPU, GPU, combined with Direct Connect Architecture) is enabling fully interactive cloud gaming. Sounds cool but what exactly is that?
Cloud computing on AMD Fusion technology allows fully interactive game play from virtually any type of client over the Internet because the heavy lifting is being done “server side” in the cloud. The user logs on, clicks open a browser and then starts blasting away. No hours of game installation, no exotic authorization dances, just instant gratification and that’s why I’m excited. My team’s role at AMD is to ensure our technology removes barriers so the user can be about his/her task rather than the technology. That is the main story of cloud computing. Enough preaching but I had to let that fly because it’s a powerful look at a better future for gaming.
The CES demo consisted of an AMD Fusion Render Node (based on AMD “Dragon” platform technology PC platforms) that hosted an off-the-shelf version of EA’s amazing “Mercenaries II” served up via the Internet. The laptop powered by AMD technology was given a URL to click and Mercenaries II fired up. Playback was full screen at 60 frames/sec.
How is this accomplished? Is it a parlour trick? Well, this is not easy to pull off. Jules Urbach, the CEO of OTOY, is the wizard of GPGPU. The software that made this work is from his company. He is to the GPU what Robert Rodriguez (another artist who employs AMD technology) is to digital moviemaking.
Jules is a true innovator and someone who chose AMD because we have all the pieces to make this work. We are the only one-stop-shopping platform solution for cloud computing hardware. The OTOY software harnesses the full power of the AMD platform including CPU, GPU and our Direct Connect high bandwidth interconnect.
In short, the game source code unaltered is hosted on the AMD Fusion Render Cloud hardware and served up on the web via breathtaking OTOY compression technology made possible by the AMD combined platform power. The OTOY software allows multiple instances of a game to be hosted on the AMD Fusion Render node so the solution scales for all the right economic reasons such as energy efficiency, space, quiet operation, etc.
Ian: That technology seems very cool, how is it similar or different to OnLive?
Yes, after the CES announcement of the AMD Fusion Render Cloud with OTOY, OnLive announced their solution at GDC in March. I was thrilled to see their announcement because it was further validation of the space. Both OTOY and OnLive have their unique business models and architectures, but they are similar in that they both require a truly scalable enterprise class backend solution. Implementing a technique I call “Invasion of the Client Snatchers” where you simply connect up a single client machine in the cloud to a user won’t work. It’s not practical or adaptable. You’re just snatching the client from the user and housing it. The Cloud server must behave like a compute cluster and scale organically with the statistical behaviour of the Internet user traffic. It must adapt to available power and bandwidth. It must scale for energy efficiency. It must allow for extensibility. This is where the AMD Fusion Render Node comes into play. You can host multiple simultaneous users on these devices and cluster them in true enterprise class style. Anyway, it’s great to see more teams jumping in. We celebrate the free market because it’s good for the user. Cloud computing is happening and OnLive is another fantastic example.
Ian: TechCrunch had an article a week ago, where they highlighted a game character jumping from a monitor to a notebook while the game was being served from 400 miles away, can you explain the technology behind that?
This is OTOY’s server side rendering in action. The heavy computing, drawing, and encoding are happening server-side in the cloud through the magic of the OTOY architecture host on an AMD Fusion render node. The client is entirely browser based. The bandwidth and latency required for full on interactive game play is made possible by/through the OTOY codec architecture. The performance of this codec meets the “real-time” requirements for first person shooters. Enough said. The AMD Fusion Render Architecture is the scalable foundation that could make this practical, scalable, and deployable across the global Internet.
Ian: To take it a step further, TechCrunch was given an exclusive this week that showed off the AMD/OTOY technology at work on a cell phone! Is this the future of mainstream gaming?
As I said a few moments ago, the uniqueness of the OTOY approach is their ability to serve to a variety of client types: smart phones, PDA, thin client, etc., etc. This is a great proofpoint that the heavy lifting is all done server side on OTOY-AMD Fusion Render Cloud. This is one future for Cloud Computing…turn it on and play. You never get exposed to the seedy side of technology (drivers, installation, updates). All that stuff is under the street just like in Disneyland. This is the future I want….Walt Disney had this figured out a long time ago.
Ian: So, gaming in the cloud is real, when might we see availability?
Ian, you’re seeing some of the promise now. We expect that you’ll see implementations later this year and full-on deployments in 2010.
Ian: Thanks Charlie, one last question, What’s next?
Let me answer that loaded question first by stating the cloud offers the planet at least the hope of a better user experience. My cause celeb on the past 10 years has been to help lobby for a better user experience by shielding the artist from both the tech and its culture. Technology can be unbelievably needy. Example, “hey man, you forgot to load the latest driver or OS update.” I don’t want that ever even said in my presence. I reject that. That is an example of technology sitting on top of humanity. The cloud is going to help eliminate the entire culture that perpetuates useless complexity. The revolution is next because the users demand it. The revolution is next because the economics demand it. If you only market to the geeks, the numbers don’t work do they…"
Have any thoughts? Let me know on Twitter.
Monday, March 16, 2009
Philip Glass recently wrapped up a tour performing an original music set to Leonard Cohen's "Book of Longing" http://www.claremont-courier.com/pages/Topstory022509.1.html. Philip composed a song-cycle for Mr. Cohen's book of poetry and drawings. In addition to being a fan of Mr. Glass and his music, I've always respected the fact he composes music using a pencil. Philip Glass, pencil in hand, blank sheet of paper in front of him sitting at a piano composing original music. To me, this is an absolutely righteous picture of the creative mind balanced with technology. No thought of the pencil running out of led, no concern of the pencil crashing and making him tentative. Just Philip Glass, his imagination, the palette of sounds on the black and whites, and a pencil. It's an example of a human being working at the speed of thought in the right hemisphere of the mind unfettered by technology limitations or frameworks.
The mind is what the brain does and in that rarefied air, a single creative human thought may be the most delicate entity in the universe. If interrupted, it is certainly changed and may be lost forever. I had a discussion with Mr. Glass about that. Whether it is fingers on the black and whites or brushstrokes on canvas, that's the way technology should be balanced with the mind. The user remains spontaneous and unaware of any contrivance or technology. Philip and I both agreed the most important technology is the computer on your shoulders and it should be approached with respect. The piano itself has been a very important piece of technology and should be recognized as such. It is elegant in design and serves as a great model that illustrates how artistic performance can be balanced with a piece of technology for production power.
Michael Riesman is Philip's conductor and technology advisor. He is the producer of nearly every Glass recording (http://www.philipglass.com/music/recordings/riesmen-soundtracks.php). Riesman is also known as the Music Director of the Philip Glass Ensemble and has an association with the composer dating back to 1974. Michael is a composer and an improvisational performer. Several years ago on a trip to New York City, I sought out Michael at the famous Looking Glass Studios and was given the opportunity to express my views on art and technology. We had several more meetings. Through those conversations I provided Michael with an AMD-based computer to host a virtual grand piano for the upcoming "Book of Longing" tour. I have to say Mr. Riesman gave the AMD gear the most thorough technical evaluation of any musician we have experienced to date. A live musical performance is a mission-critical application as you can well imagine. Resetting a computer while a few thousand people wait is catastrophic. The moment is destroyed. Michael is responsible for the reliability of all the technology used for Mr. Glass’s live performances. He gave our machine many hours of testing before ever considering its use. I'm happy to say the AMD machine was used live on the "Book of Longing" tour for the entirety of its two year run without a single failure. That computer was manufactured by our amazing partners at PCAudioLabs (http://www.pcaudiolabs.com).
I recently had dinner with Michael when the tour came through Austin and we discussed some future collaboration on technology and music.
My mission and that of my team is to help put the human mind back on top of technology particularly within the context of creative endeavors. We want to ensure anything bearing the AMD name arrives as a solution and not a bag of components. We're a platform company now. We use the term Fusion. Fusion is really a philosophy about the way we work in the industry with artists such as Philip Glass and many others. We don't just throw technology at people. We try to understand their creative process so we can provide the best solution. We stand with them all the way and measure our success only on theirs.
If you shut off the television and try to create something, you're in a very small percentile of the population and I salute you. I hope if you do invite technology into your workflow, the emphasis remains on your creativity and never on technology. Technology should behave as unobtrusively as a pencil. I am committed to that view. All of us at AMD are extremely proud to be working with Philip Glass and Michael Riesman.
Wednesday, March 11, 2009
Dweezil Zappa just won a Grammy® Award recently for Best Rock Instrumental. Tell us about how you’re involved in his work.
I met Dweezil Zappa a number of years ago at an AES convention in LA. I’ve been deeply interested in his father’s music since grade school. Therefore, it was an extreme honor to meet Dweezil and his mother Gail. Dweezil was introduced to me because of his plans to use AMD technology not only to produce his own music, but to take some of his father’s existing stuff from the famous Zappa vault and put those historically important tapes into the digital domain. The vault activity is under the direction of Gail Zappa. Dweezil began using AMD workstations as a DAW (Digital Audio Workstation) with our 32-bit technology back in 2002. Since then, the relationship has progressed to where Dweezil is using our very latest quad-core processors and ATI graphics on our Fusion platforms at the legendary UMRK (Utility Muffin Research Kitchen) studio founded by his father. Dweezil embarked on the worldwide Zappa Plays Zappa tour in 2007 and that tour has continued into 2009 with several months break here and there. He is using AMD DAWs to record these live shows. The popularity and success of this tour has reaffirmed the global demand for and interest in Frank Zappa’s music. I believe a great deal of the tour’s longevity is attributed to Dweezil’s precise interpretation of his father’s catalog as well as his selection of the current ZPZ lineup. Dweezil is using AMD based Fusion DAWs to mix and master these shows while he’s out on the road and the fans are responding very favorably! These DAWs were manufactured by our excellent friends and partners at PCAudioLabs (www.pcaudiolabs.com).
This new AMD addition to the Dweezil Zappa workflow is called the “Room Service Rig” because it is sometimes operated from a hotel room after a show, or possibly on the bus in between shows. We partnered up with our friends over at Dangerous Music (www.dangerousmusic.com) to make the "Room Service Rig" happen. Dweezil records the shows live, then mixes, masters, and uploads those shows within a few months after a live performance. Dweezil went from zero to sixty on the PC over the course of about 5 months and has really amazed me personally in his ability not to lose focus on the music and falling into a technology morass. The chief role of my team at AMD is to work directly with the artist to insure AMD based technology arrives as a solution and not just benchmark or some other nerd synthetic seal of approval. The technology culture left to its own devices actually has the ability to push or steer the artist out of his/her aesthetic pursuits and lead them down an endless technology highway that ends in the nerd cul-de-sac of disappointment. This process transforms the artist into a technologist with his/her aesthetic oftentimes completely destroyed. This is Global Nerding.
Dweezil just won a Grammy® for Peaches En Regalia, which is a live recording of one of Frank Zappa’s most well known compositions. He is someone who understands that technological solutions should be balanced perfectly with the artist’s performance capability. That’s the way we like to approach all of our artists: we try to balance artistic performance with production power. It’s a different way of looking at technology. We measure success based upon what the artist is able to achieve and not just on some nerd technology attribute. Dweezil’s Grammy® is an example of that principle in action. The Digital Media and Entertainment team at AMD has filmed a couple of shows for Dweezil which we’re working on for several DVDs of live ZPZ material. This is an example of how the AMD Digital Media and Entertainment team engages with the artist. We’re out there with them on tour many times testing our technology on the firing line in terms of video, audio, pre-production, and post production. Everyone on my team is an artist first and foremost. We take the customers perspective because we are all actually customers ourselves. We all use AMD technology in our own productions. This is the Fusion culture at AMD.
Monday, March 9, 2009
"While Al Gore trots around the globe talking about chemistry and melting glaciers, Boswell unveils a more subtle planetary trend he calls "Global Nerding". The autistic is being cultivated and favored by the macro economics of the computer industry and results are tangible and devastating. The art of human expression is being limited by the technocracy, not enhanced, as Boswell suggests in his Aesthetic Uncertainty Principle. In the aggregate, the current technology culture is medically incapable of empathy with the consumer and Boswell directly relates that to mindblindness or the single unifying characteristic of all forms of autism."
"High technology has been my Galapagos,” says Boswell.
Simply put, Global Nerding is a planetary trend where mankind willingly or unwittingly adapts to technology rather than demand technology adapt to him. In today’s culture, the nerd is the chief arbiter of taste for the neuro-typical or regular user of technology simply because the nerd both creates the technology and is the first to adopt it. Putting it another way, the nerd is in control of the technology. The macro economics of the high technology industry itself is helping to cultivate these “tech savvy” individuals. Global Nerding is my theory on why technology trends toward being almost unusable and certainly non-intuitive at best. Global Nerding also seeks to explain the planetary effects of nerd culture on language and artistic expression. Global Nerding and The Autistic Planet is my book on this topic. I’m first an artist then a technologist. I’ve spent the last ten years working directly with artists utilizing technology. From that experience I synthesized my theory. I choose to view technology as a tool and not as a religion.
Global Nerding is the force by which social intelligence of the planet is being made extinct or dissipated like the glaciers. That’s fine with me because it’s a continuing source of entertaining new material for my music and films. However, as a user of technology, I demand that it pay more reverential respect for the way I work and think. I believe technology needs to respect everyone in the same way.
My theories on Global Nerding in their most elemental form offer the world an explanation, a medical explanation in fact, of why technology is for the most part non-intuitive and arcane. No one should be surprised, especially those of you who have worked in the high-tech industry.
A simplistic example of a subtle effect of Global Nerding is the advent and instantaneous acceptance of MP3. MP3 is a compression technology developed to overcome a technology limitation: storage and bandwidth. It was happily lapped up by teenage
I believe the “nerderati” have been deciding what I might like and providing these “frameworks” that I utterly reject. I contend that the nerds cannot empathize with end users so their frameworks are flawed and presumptuous. I don’t need frameworks, my framework is infinity, for my mind. Global Nerding itself is a framework, the nerds creating a utopian society for their own kind. I reject both them and their vision.
I grew up in the boyhood home of Walt Disney in the Midwest (
For more information on Global Nerding And The Autistic Planet, check out the Anderson Vision interview.