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ES0-005 exam Dumps Source : RES Automation Manager 2011 Basic
Test Code : ES0-005
Test name : RES Automation Manager 2011 Basic
Vendor name : RES
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RES RES Automation Manager 2011
RES Workspace supervisor enables Dynamic, Context-aware pcs
New aspects simplify, relaxed laptop management while enhancing flexibility for conclusion clients.
be aware: ESJ’s editors cautiously opt for supplier-issued press releases about recent or upgraded products and capabilities. they now own edited and/or condensed this release to spotlight key elements however originate no claims as to the accuracy of the seller's statements.
RES software has more desirable its flagship product RES Workspace supervisor (formerly PowerFuse). via managing desktops, laptops, and any kinds of virtual functions, Workspace supervisor simplifies IT as corporations navigate from physical to virtual supplies of their computing device environment. the recent features maximize the context-mindful capabilities of the software and give IT specialists safety and control over user workspaces. The solution additionally now integrates with carrier Orchestration technology, Part of the latest unlock of RES Automation manager, enabling IT to automate the birth of IT functions from a personalized provider catalog at once to a person's workspace.
Enhancements to Workspace manager 2011 include:
Dynamic privileges: adds wield over who, when, and how laptop and gadget-degree substances are accessed. the usage of dynamic privileges, laptop directors can elevate clients to administrator degrees for inevitable projects or methods inside applications devoid of granting them complete administrator rights.
Whitelisting/blacklisting of user-installed functions: promises security elements to managing cessation user software installations. IT controls which functions are allowed to live set in by specific agencies of clients, and is also in a position to centrally validate them earlier than they're set in.
Context-mindful web site protection: Workspace manager 2011 enables IT to dynamically allow or traverse entry to numerous web websites and purposes primarily based upon the person's context (including time of the day, time zone, dynamic directory community, etc.).
more suitable automation manager integration: The aggregate of Workspace manager and Automation manager allows IT managers to create reusable "runbooks" that are pre-set company guidelines that automate the start of IT functions to a workspace. In a self-provider mannequin, clients are offered with only those IT features (applications, facts, net websites, and many others.) to which IT has already granted universal license to them. clients can then rouse a request for the service, triggering a workflow that's completely computerized -- casting off lots of the bottlenecks associated with provisioning and managing applications on the laptop.
Workspace supervisor 2011 is packaged as three sunder modules:
Composition and Personalization: offers context-conscious and centrally managed workspaces for users that comprise any the redress functions, records, printing, and personal settings that are primary for their success. IT experts can technique any adjustments and preview their strike from a unique principal console before altering a consumer's workspace.
superior Administration: Improves the capacity to manage an infrastructure with clear logs of alterations, latest reputation reporting, and license usage records from any clients. This module additionally makes it feasible to open or avert the management console for distinctive administrative roles and create real-time configuration stories. Plus, it helps directors in managing several application genesis recommendations.
security and efficiency: provides a customized computing device in response to company commerce suggestions and compliance. constructing upon the previous modules, enabling protection prevents clients from unauthorized actions corresponding to executing obvious functions and the consume of removable disks. it might add or liquidate these restrictions in line with a user's area or context.
For greater suggestions, visit www.ressoftware.com.
PHILADELPHIA--(enterprise WIRE)--RES utility, the proven chief in dynamic desktop solutions, these days announced the availability of a cellular utility configured for Apple’s iPhone and iPad. the brand recent app, service Orchestration client, provides cessation users on-demand access to its RES service Orchestration Module functionality. announced last week as a key enhancement to RES Automation supervisor 2011, service Orchestration enables IT experts to carry recent stages of IT as a provider to conclusion clients. The RES application mobile app raises the attain of this answer, bringing it to cessation users on the go.
RES carrier Orchestration makes it possible for IT to originate consume of company guidelines to automate their carrier delivery wants and present IT as a carrier to conclusion clients. Some yardstick examples of how companies can handicap from service Orchestration include:
setting up an IT provider catalog that conclusion users can leverage to opt for integral features. once authorised through a manager, the services will immediately live became on, casting off IT dependency and saving profitable time.
Programming the system to recognize when a user joins a department. any integral features will live enabled to allow computerized, uninterrupted entry to the tackle users should conclude their labor quite simply.
With the carrier Orchestration client mobile software, conclusion users own access to these features via their sane telephones. conclusion clients can without problems browse the self-provider catalog subject through IT, and request the crucial laptop application. an automated request is then sent to their manager. The manager can consume his cellphone to ratify the request. as soon as the request is accredited, provider Orchestration will exploit the delivery of the software using the organization’s delivery infrastructure. conclusion clients will own complete entry to an accredited application on their laptop until they not want it.
an additional exciting capacity of the mobile service catalog is the capability to reset a home windows password through the consume of the cellular gadget as a relied on token, keeping off the deserve to fade surfing. further approvals will also live brought to this office for safety measures.
through automating the process of supplying these services, both in-office and for clients on the go, it might probably now shop advantageous materials that might own in any other case been spent coordinating with the conclusion consumer and their supervisor and getting particular person purposes equipped for use. These elements will also live refocused on more strategic company wants.
“these days’s IT departments are challenged with doing more for the firm, often with constrained supplies to aid these initiatives. They require solutions that allow them to minimize the time spent on pursuits tasks,” pointed out Bob Janssen, CTO of RES utility. “service Orchestration by RES software helps to significantly reduce the time IT spends dealing with carrier start to conclusion users, a yardstick assignment. With the brand recent cell app, we're extra extending this offering to empower cessation clients to access the services they want when on the go, reducing their dependence on IT and enabling them better productivity.”
provider Orchestration client offers aid for any carrier, including functions, printers, facts and person bills; guaranteeing cessation clients own complete entry to whatever they may need. The mobile application is yardstick to install and even offers the potential to reset passwords the usage of your Apple iPhone for authentication. It may live purchasable without impregnate this month together with RES Automation manager 2011, which is now attainable as a unlock candidate and will ship on November 1.
For extra tips on RES application and complete details on the rebrand initiative please argue with:
try service Orchestration customer on the App keep
RES software solutions On the net
RES software On their weblog
RES utility On Twitter
About RES application
RES software, the confirmed leader in dynamic computing device solutions is using a metamorphosis in the artery organizations manage, retain and crop back the cost of their laptop infrastructure. The RES utility award-winning, patented items permit IT authorities to exploit and convey relaxed, personalised and compliant desktops independent of the underlying computing infrastructure – thin shoppers, virtual computers, actual desktops, or server-based mostly computing environments. The commerce empowers customers, from wee to medium-sized corporations to world corporations, to crop back laptop complexity and meet the yardstick wants of a dynamic corpse of workers that requires on-demand entry to their customized workspaces. For more counsel, observe updates on Twitter @ressoftware and argue with www.ressoftware.com.
To preserve the integrity of digital laptop pictures in a nonpersistent VDI deployment, digital desktops are reset to a pristine condition on the conclusion of every session. As such, IT need to reserve consumer profiles one by one from the laptop photographs.
IT has several consumer profile management tackle from which to opt for. One generic option is to consume home windows roaming profiles. Likewise, some VDI vendors present products principally for profile administration. There are additionally some actually first rate third-celebration tools for consumer profile administration.
Third-celebration person profile management equipment
ProfileUnity from Liquidware: ProfileUnity is handy to miss out on as a person profile management product, because Liquidware often markets it as a windows migration tool. basically, even though, ProfileUnity is a user profile management product.
Liquidware designed ProfileUnity to combine with dynamic directory. It uses virtual disk layering and helps digital challenging disks and digital desktop disk info. As a bonus, ProfileUnity helps application rights management. The application can empower or avoid users from setting up or executing particular person purposes.
RES One Workspace from RES application: RES One Workspace gives quite a lot of enterprise capabilities, including automation, reporting and adaptive protection. user profile administration is its basis, besides the fact that children. The utensil keeps user profile information on a per-application foundation and applies the profile facts in actual time as the consumer accesses an software.
atmosphere manager from Ivanti: ambiance supervisor is without doubt one of the most customary person profile administration equipment. it's now integrated into DesktopNow from Ivanti, together with any other former AppSense products, including software wield and efficiency manager. it's additionally accessible as a standalone product.
atmosphere supervisor maintains consumer profiles independently from the computing device OS. It constructs user profiles to allow users' customizations to follow them from one device to a different, inspite of the machine classification. These profiles combine with a policy configuration constituent that determines which supplies users can entry.
person profile management pop quiz
How decent are built-in user profile management tools?
What to hunt in a user profile management tool
Have a query for an authority?
Please add a title on your question
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Michael Abbott has overseen audio at the Grammys for decades. It’s an extremely high-pressure position, so I expected Abbott to own the personality to match. But when I met him in the hallways of a trade flaunt last month, I immediately noticed that he carries a cool, laissez-faire demeanor. It’s disarming, which made it light to forget how elite his resume is — at least until their conversation started. After pleasantries were exchanged, the first thing Abbott said caught me off guard. “I own a reputation preceding me,” he chuckled. “I’ve done so many astounding things, and own been involved in some debacles as well.”
Not only has Abbott mixed and produced audio for shows relish The Voice and Shark Tank, but he’s also done presidential debates and awards shows, such as the ESPYs, the Country Music Awards, and the Oscars. These are some of the most prestigious broadcasts on television, and it can live light to forget how much labor goes into what you hear at home. While millions are riveted to the visual drama and eye candy happening on-screen, it’s Abbott’s job to hasten a team that juggles hundreds of audio channels, microphones, and sometimes thousands of inputs across multiple stages, any to originate confident that you hear every voice and instrument with clarity and precision.
As a member of the Recording Academy (and a Governor on the Chicago Chapter Board), I wanted to know what goes into making the Grammys sound much ahead of this Sunday’s show. Here’s what happens behind the scenes to originate the audio for music’s biggest night hasten as smoothly as possible.
This interview has been edited and condensed for clarity.
How far in forward conclude artists scheme their Grammy performances?
A lot of the performances are not defined until they almost flaunt up onstage. any of the artists are trying to originate their own statement and their own impact on it. Some acts don’t even want to Tell you what they’re doing ahead of time. After artists own d, they don’t allow changes because they own to lock down what we’re doing. Making confident everyone from lighting to aide directors to sound is on the same page is a spacious deal.
There are tens of millions of people watching the Grammys, and artists can sell 300,000 units after the show. It’s a gross different market model now, though. It’s any streaming, so you don’t own the same constituent of exposure. But it’s a career-defining moment when you fetch nominated for a Grammy and it’s on TV. It’s timeless for your career.
You’re the audio coordinator for the Grammys. What does that mean?
Mixing is 5 percent of what I do. I interface with any the artists, reps, and engineers for the show. I’m kindhearted of a fulcrum. There’s the bands and the producers telling me what they want to do, and then there’s trying to settle on what they can do.
Artists own grandiose ideas, and any of these ideas will live fluttered about, but they own to reflect about the capability of the room, the stage, the timing of the segment, and how long it takes to set it up. any of these are factors to live taken into consideration prior to showing up on site. Then, when you fetch on site, there’s still a lot of minutiae and details to fetch worked out. relish they can’t own cables running up and down a stage if there are set pieces coming in and out during the performance.
What’s an case of a performance where an artist had a august vision that had to live mitigated?
Sam Smith came in and said, “Oh they want 40 strings.” There were any these string players and singers in an arc around the stage any playing to each other. I own a limited amount of time to set that up. conclude they consume clip-on mics that are catching the sound of the violin? Or conclude they set up ribbon mics that tangle multiple players at once? They wanted mics up there so it looked live, even though some of it was pre-recorded.
My first inclination is that it has to live failure-proof. In this case, people are not going to live able to Tell if it’s live or not. You need to pre-record those strings, which is something they would never normally do, but in this instance, the division in the content has exceeded what they can do, so they try to pre-record them. Well, they also want them live. They ended up using the ribbon mic, which has an 8 polar pattern.
Another act wanted 12 background vocals, and for them any to own microphones, and they wanted them live. I said, “You know, they’re touching any over the stage and the performance is going to fetch marginalized. I reflect you need to pre-record them.” And they did. Then they showed up and said they wanted them live, and I said they can’t conclude it.
I’m the guy that has to originate these decisions based on what I know. An artist’s rep might own a sense of what they want, but I know in execution, they can’t pull it off. I can’t fetch 12 vocal mics on top of any the other mics working at the same time because it’s just too complicated.
I own to mitigate expectations to a degree, but I also own to embrace them. At the cessation of the day, as they leave the Grammys, I want them to reflect they got the best of what they wanted to forward across on the show. If they fade away happy, I’ve done my job. Producers will dispatch me gifts. I’ve gotten some very, very nice headphones.
Nice headphones… a lot of them?
You know those Rubbermaid bins?
Oh, forward on. Filled with headphones?
Yeah. I probably own four of those. It’s dumb how many headphones I get. It’s great! I cherish it! I consume Audio-Technicas. I relish those the best, and on planes, I prefer Bose.
What would you yell is the most challenging circumstance for you? Is it when you own to focus on one voice at a time?
My observation is when you own a piano up on a stage and that’s your only instrumentation and in the case of, say, an Adele where they had a problem with the piano mic, you own nowhere to go.
Now, in that case, they had both the MIDI voice module and also mics on the strings, and the strings were the problem. But musically, you’d rather hear the actual strings. There’s a disagreement in piano sounds from a Bösendorfer, which is relish an earthquake with its low register, to a Steinway, which is traditionally kindhearted of a dark-sounding piano, to a Yamaha which is more sparkling and strident, to a Fazioli. any these things own very different tones and timbres, and the live performance makes a difference.
So conclude you not own any redundancy for Grammy performances?
We own redundancy. In each of their systems — they own two — there is redundant playback. It triggers seamlessly because they engage the timecode out of the primary machine, and they feed it to a gated input in the switch. So if the first machine stops, it automatically switches to the second machine.
That’s yardstick operating procedure for any their music playbacks and any their video clip playbacks. There is a large amount of failure mitigation that is in region because any the failures that we’ve experienced before, not only in this flaunt but in other shows. They own methodologies, but when you combine humans and technology, it’s inevitable something will fail.
Given that there is going to live failure, why would you not query everyone to provide a pre-recorded version of their set?
It would admit that there’s going to live failure, first off. There is a value in failure mitigation. For example, they own one spare microphone, and if the mic dies, the stage manager is the only one who has that microphone, and he knows when to fade out and hand it to somebody.
I was doing a flaunt many years ago where I had Chubby Checker onstage, and he started clapping with the microphone in his hand. any of a sudden the battery went flying out the back, and two people with mics came out from stage left and two people with mics from stage right, and I was like, “Noooo!” That was a learning experience.
I reflect you lose the moment. Isn’t this what being live is any about? It’s the train wreck. I live substantive it’s the basis of reality television. The reason people watch reality television is because they want to behold a meltdown. At some point, people watching a music flaunt want to behold a failure.
We had a failure with Metallica and Lady Gaga in 2017, and I got raked over the coals for that. But you know what they conclude now? CBS shows that clip as a promo for this year’s show. It shows Gaga and James Hetfield singing together on one mic! Now, had his mic not been disconnected by a dancer on-stage, that moment wouldn’t own happened. That’s the live moment you can’t fetch on a sterile, pre-recorded track.
So you know, to a degree, how things are going to run, and you own to allow for improvisational moments.
You set processes in region and hope for the best. There’s something about live television that can’t live replicated in a Netflix-streamed flaunt or even a comedy flaunt that they’ve recorded and edited.
It sounds relish there are a lot of touching parts. How many stages are there?
There are the main left and right stages. And then there’s a seat dish stage that’s very small, about 12 feet in diameter, and a passerelle downstage. So there are four performance areas in total. And any of those own multiple cables going to them during setup in Part to provide scalability when they fetch into rehearsals. They own to live prepared when we’re building the flaunt to originate confident they own enough connectivity with any of those positions, which they do.
What’s the transition process relish between performances on different stages?
First, you own to fetch everything off the stage that finished. That takes three to five minutes. And then you own to set things back up on the stage, which is another three to five minutes. It’s another one to two minutes to check everything once it’s set up.
So each transition takes about 10 to 15 minutes. But then they also conclude transitions between stages. It’s a very fast-paced flaunt in the sense that a lot of set changes are going on. It’s heavily matrixed, and you own to live very cognizant of what else is going on at the same time so you don’t conclude things relish inadvertently pull patches.
How many people are on your team?
I’ve got 46 people that labor with me split up over nine workstations. Everything from comms to RF coordination to signal connectivity to the coalesce positions. On top of that, there are probably another 22 stagehands.
Where is everyone located?
There are two NEP Denali trucks outside that are 53-foot expandos. Those are the audio and video production facilities. They’re called acme A and acme B. Then there are two trucks where any the music coalesce is being done at the top of the ramp. The comfort is inside the arena — front of house, on the sides, and so on.
Why are any of these trucks outside?
There’s no room. There are typically anywhere from 55 to 60 53-foot trailers bringing tackle in and out, plus any the bands’ tackle for a flaunt that’s about three and a half hours long. There are 18-20 performances — some bands bring in any their gear, and some they fetch from an outside company — so they own to reserve a path to fetch things in and out.
So how does audio fetch from inside the theater to the trucks?
Everything goes upstage right to an analog split system. That then gets cross patched into the front of house sound system and stage monitors. That’s a DiGiCo console platform. They utilize the OPTOCORE fiber network for any that signal connectivity. It’s analog in and then digital out to the PA speakers. And on each stage is a drop back mixer that has about 120 channels. Then the same splitter system sends the music up to two coalesce trucks that own 168 channels each. It’s the same basic signal just split and shipped into Multichannel Audio Digital Interface (MADI) protocol. Then everything is shipped by fiber to the acme production truck, which handles any the microphones, the audience mics, the RF mics, everything.
How many channels, inputs, and outputs are you managing in total?
We own 24 MADI, 64 channel paths, 128 AES, 192 analog. That’s 192 channels in, 192 channels out. And then there are five stage boxes that own over 400 channels in and 80 channels out. That’s just one truck. I haven’t gone to the music mix. I haven’t gone to the front of house. Just one example: there are roughly 1,800 inputs that the mics are distributed to. It’s massive. That’s why you own people who own done it 15 years in a row.
Is it a very wee pool of people who conclude audio for these high-profile events?
It’s a very specialized niche, and yes, the people who are consistently doing the shows, it’s a wee group. The current crop of people I labor with for the Grammys own a combined 500 years of live broadcast experience.
Is that because of the flat of expertise that’s needed, or is it because you can’t own any fuck-ups and you need people you trust?
Well first off, there is always going to live failure. You can’t create a 100 percent no-failure situation. It’s impossible. relish I said, any time there’s a human and technology involved, there’s going to live a potential for failure no matter what.
Everybody knows their place. They any know the rundown, the timeline, the schedule, and what’s expected. They flaunt up on time. Of course, their skill sets are essentials needed for a flaunt of this magnitude. But it takes a inevitable personality to labor under stress and not fold up relish a cheap beach chair.
One of the things I conclude is Tell people, I want you to set your hand on the console for 30 seconds. When you raise it off, if it’s wet, you shouldn’t live doing this. You’re not in the right condition of intellect to conclude this because you’re stressed. When you’re mixing a live show, you’re in a zen condition of mind, and you know what you need to do. It’s any very structured and disciplined.
How has the technology changed for doing audio for live shows?
When I was in the ‘80s working for a network, a lot of this technology didn’t exist. They were using analog consoles. They started using digital consoles around 1994, but they were still connected by analog paths. In 2011, they started using digital consoles, which were connected by a fiber ring array.
The expectations are that you can conclude things quicker because of the automation and digital capabilities. With a lot of the shows I did, they used to fetch an “ESU” day, which is “everybody sets up” or “everyone shows up” for eight hours. Then we’d conclude a run-through and fade home. And now they forward in at 2 o’clock in the afternoon and start rehearsals immediately because they know that they can program the consoles.
Depending on the ilk of show, I sometimes engage the initiative to forward in with a basic template. relish with the ESPY awards, I’ll forward in and recall the snapshot from last year and start building from there. I’m doing the music, I’m doing the production mix, I’m doing the recording. It’s a fairly intricate show, and the amount of time it would engage me to build it again would be... any day. But then sometimes there are problems where you forward back a year later and question the decisions you made. You own to backwards-interrogate to behold what you’re doing and originate confident you’re not leaving a mine for yourself later on.
I consume spreadsheets extensively and databases. I’ve got databases for plans going back 30 years. I own arduous copies, but they’re also on my computer with any the specs, any the mics used. It’s empirical data that helps me anticipate needs.
What are your favorite speakers?
I’ve been doing this since the ‘70s, and I own specific companies that are Part of my audio DNA. I muster it audio DNA because these are the tools that I’ve used for years and years. I’m a spacious fan of JBL. I own JBL in my home. I listen to JBL as much as I can because I know what it sounds like, and the much thing about JBL is they developed speaker systems that any utilize the same ilk of high-frequency horn. They own such a smooth response. The physics of horns are very complicated. The sweetness and the air that comes from the JBL horns, it’s the best.
The Grammys are generally held in the same space every year. conclude you still own to tune the speakers every time?
The sound system is about the same every year, due to weight restrictions, set elements, and everything else. But this year, we’re using a recent ilk of JBL speaker, the A12. last year, they used the VTX 25. So the processors require different settings, and we’re better off starting from scratch.
But the procedurals are the same. They set up a variety of mics to measure reverberation in the room. You set mics in about 10 different locations in the venue and conclude measurements, so the front row has the same acoustical energy as 10 rows back, as 20 rows back, and so on. The goal is to own a smooth response so every seat’s covered.
There’s a lot of challenge in the leeway because there’s a arduous surface at the back. They try to steer the energy away from that, into just the seats. In the VIP boxes around the perimeter, there’s glass, and you fetch some artifacts from bounce and reflection at tall frequencies. Any spacious leeway is a challenge. The low frequencies bounce around and tall frequencies reflect pretty heavily. There are a lot of trade-offs with how they lay things out. They try to region speakers where they fetch the least amount of artifacts.
So yeah, in a perfect world, if the front of house console snapshot from two years ago is called back up, it should live 90 percent of the artery there. Down to the EQ from the podium mics, handheld mics, and so on. To that degree.
How long does it engage to set up the system?
We fade in on Monday to start loading in. They continue on Tuesday into Wednesday. Then they fade into rehearsals for three days, and the flaunt is Sunday.
Can you give me some raw numbers for the Grammys? How many mics, how many speakers, how many instruments?
Microphones vary from flaunt to show. I reflect on this one, it’s in the neighborhood of about 350. For the microphones, there are 3,300 cross patches done over a five-day age of inputs. They consume roughly 48 RF microphones, and then 24 transmitters with 75 receiver belt packs.
There are several PA system clusters, 16 profound of JBL A12s. There are four main front clusters, then there are four leisurely clusters — to originate up for the sound traveling to the back of the house — and then there are some ring satellite speakers up tall around the top seating area.
Then there are probably another two flown clusters of dual 18-inch subwoofers. Probably eight front fill speakers across the front. For the stage there are 75 stage monitors for the artist to hear their voices and instruments.
Are you using the theater’s existing sound system?
We don’t consume the theater’s existing system because it’s not arrayed where their seats are. The speaker system they own in there is for when they own basketball and hockey, and they seat people on the floor. The artery their speakers are physically hung doesn’t fitting their seating plan. They own to bring in everything new. Their speakers are flown tall enough that we’re not impacted by them being in the way.
What technologies are coming down the road for live broadcast audio?
The next challenge is going to live Dante. The producers won’t pay for the price point needed to conclude the transition and / or own the manpower.
What is Dante?
Well, they started off sending audio with copper wires that they termed as analog. It’s warm and fuzzy. You can feel it. It’s hot. Now, they own fiber, which is 12 pieces of glass with light shooting through it that can wield a myriad of signals at once. To now IP addressing, which is what Dante is.
We’re in the networking stage of connectivity through signals. And that is a gross flat of management of skill sets that you own to own in region on top of the existing firmament that they use. My producers don’t want to pay for those people. I own a arduous time getting them to understand that they own to consume digital RF microphones as opposed to analog because of the Federal Communications Commission reallocating the RF spectrum by selling off the bandwidth that they use.
What does the FCC own to conclude with the ilk of tackle you consume onstage?
The FCC regulates the consume of RF. Anything that’s broadcast over the airwaves, they regulate. They’ve auctioned off bandwidth to the telephone and communications companies, which diminishes the frequencies that they can consume for their microphones. I reflect it was two years ago, it first hit the brick wall where they realized they can’t hasten as much RF simultaneously as we’d relish to because the frequencies aren’t available.
It just continues. They set deadlines on when inevitable bandwidths are going to live crop off. I believe 600 MHz is lifeless to us. It’s been allocated to public utilities, for wireless broadband services. 4G and 5G networks require bandwidth to fetch these devices to work. So the FCC is allocating these frequency bands to live auctioned off for billions of dollars.
Do you reflect that any of this exertion is actually worth it? You would, by the sound of it, save so many headaches if you were going to pre-record any this stuff.
Music is tribal. From the Stone Age to African drums to Roman amphitheaters that were built so you didn’t need amplification to Gothic cathedrals where the Gregorian chants were long and sustained because of the amount of reverberation in the leeway to this day and age where people still connect with any of those same things. If they pre-recorded it, and you played it back as an album, there’d live no soul. It wouldn’t appeal to people.
If you just play a track and the artist sings to it, there’s no spontaneity. There’s no emotion. It’s milquetoast. A live performance is so unpredictable from night to night to night. You’re always going to own nuanced differences, and it’s never going to live the same.
There’s nothing relish the visceral thrill of mixing live music. When I used to labor live tours with almost 200,000 people, it was one of the most invigorating things to hear any these people clap and applaud at the cessation of the song. Thousands of people any dancing and bouncing at the same time is a tribal experience. You can only conclude that with live music.
Disclosure: Dani Deahl is a voting member of the Recording Academy and has an unpaid position as Governor on the Recording Academy’s Chicago Chapter Board.
Update February 10th, 11:58AM: Adjusted some figures on tackle used during rehearsals and live broadcast of the Grammys.
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Today’s software can reply your calls, organize your calendar, sell you shoes, recommend your next movie. Tomorrow’s software will drive your car.
Innovation is hypothetical to live the heal for economic doldrums. But what if it’s the cause? More specifically: Is it possible that the ever-increasing automation of everything from factories to retail sales to journalism will demolish more jobs than it creates?
It’s a question that economists and workers own been asking since at least the Industrial Revolution. And in the past, the reply has generally been a straightforward “no.” Automation makes inevitable low-skill human jobs obsolete, sure, but it also ushers in recent categories of high-skill employment, from engineering and tackle operation to banking and blogging. Its greatest result is to extend productivity, which should raise incomes and stimulate require for recent products and services.
Yet the current jobless recovery, along with a longer-term trend toward income and wealth inequality, has some thinkers wondering whether the latest wave of automation is different from those that preceded it.
Massachusetts Institute of Technology researchers Andrew McAfee and Erik Brynjolfsson, among others, behold a “great decoupling” of productivity from wages since about 2000 as technology outpaces human workers’ education and skills. Workers, in other words, are losing the race between education and technology. This may live exacerbating a longer-term trend in which capital has gained the upper hand on labor since the 1970s.
Replacing manual labor with machines on farms and in factories was one thing, the worriers say. Those machines were dumb and highly specialized, requiring humans to oversee them at every stage. But the 21st century is witnessing the rise of far smarter machines that can accomplish tasks previously thought to live immune to automation.
Today’s software can reply your calls, organize your calendar, sell you shoes, recommend your next movie, and target you with advertisements. Tomorrow’s software will diagnose your diseases, write your news stories, and even drive your car. When even high-skill “knowledge workers” are at risk of being replaced by machines, what human jobs will live left? Politics, perhaps—and, of course, entrepreneurship and management. The wealthy will fetch richer, in other words, and the comfort of us will live left behind.
All of which has brought John Maynard Keynes’ concept of “technological unemployment” back into the academic discourse, some 80 years after he coined the phrase. On Wednesday, Pew Research and Elon University released a report titled “AI, Robotics, and the Future of Jobs.” The report compiles and summarizes the results of a sort of expert opinion survey in which the researchers asked 1,900 economists, management scientists, industry analysts, and policy thinkers one spacious question: “Will networked, automated, synthetic intelligence applications and robotic devices own displaced more jobs than they own created by 2025?”
The results of the survey were fascinating. Almost exactly half of the respondents (48 percent) predicted that intellectual software will disrupt more jobs than it can replace. The other half predicted the opposite.
The lack of expert consensus on such a crucial and seemingly straightforward question is startling. It’s even more so given that history and the leading economic models point so clearly to one side of the question: the side that reckons society will adjust, recent jobs will emerge, and technology will eventually leave the economy stronger. Even Keynes in 1930 assured his readers that technological unemployment would live only a “temporary angle of maladjustment.” This view has been so widely held for so long that the dissenters own taken on a derogatory label: Luddites. The original Luddites were handloom weavers in England who smashed and burned power looms and mills on the theory that technology posed a fundamental threat to human well-being. Who’d own thought that half the mainstream experts in the United States in the year 2014 would partake the Luddites’ basic view of automation’s effects on the labor market?
“Automation is Voldemort: the terrifying force nobody is willing to name,” declared one respondent quoted in the Pew report. “Good-paying jobs will live increasingly scarce,” said another, NASA program manager vestige Nall. “I’m not confident that jobs will evaporate altogether,” allowed Justin Reich of Harvard University’s Berkman seat for Internet and Society, “but the jobs that are left will live lower paying and less secure than those that exist now.”
Is this dim view justified? I set that question to McAfee, who along with fellow MIT researcher Brynjolfsson helped to launch the current debate about the effects of automation with their 2011 e-book Race Against the Machine and 2014 follow-up The Second Machine Age.
McAfee, who specializes in the effects of information technology on business, is unreservedly sanguine when it comes to technology’s effects on economic growth. “I’m super-optimistic about the size of the pie,” he told me. But even he is increasingly nervous about its effects on employment, and middle-class jobs in particular.
“It’s fairly unambiguous at this point that the middle class has been getting hollowed out,” McAfee said. “The balance between capital and labor is shifting, and the best labor on that shift clearly cites information technology as the reason.”
McAfee believes the education system has to change to prepare juvenile people for a world in which most of today’s jobs are automated. He’s just not confident whether it can change rapidly enough. “The closer they look, the more it seems relish some of these transitions own not just been, you know, 24 or 36 months and then everybody’s OK,” McAfee said. “They’ve been long, they’ve been difficult in some ways, and they’ve required pretty grave policy responses. [Columbia University economist] Joe Stiglitz talks about how the mechanization of agriculture may own made the much Depression last as long as it did.”
It’s possible that today’s hand-wringing is simply a result of people underestimating the power of capitalist economies to adapt and thrive. They’ve certainly done so in the past. And remember, half of Pew’s respondents still reflect we’ll live just fine.
Still, there’s no guarantee that the future will resemble the past. It should live deeply unsettling to policymakers that so many of the smart people who reflect about these issues believe this time could live fundamentally different.
One more thing: Even if Keynes is right that the smart caused by automation is temporary, and that the economy will adjust in the long run, it’s worth keeping in intellect another illustrious quote from the same much economist: “In the long run, we’re any dead.”
This article is Part of Future Tense, a collaboration among Arizona condition University, the New America Foundation, and Slate. Future Tense explores the ways emerging technologies strike society, policy, and culture. To read more, visit the Future Tense blog and the Future Tense home page. You can also follow us on Twitter.