This
blog has been moved to the DJ
Frontier web site. New blog posts will be found
here.
There will no longer be any posts on the Tampa DJ Blog. It
has been a good run. This site will remain online, and used
as a reference, until at least 2013.
Thank you for reading.
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Monday, May 28,
2012 - Tampa DJ Blog log entry by DJ Frontier
Attention
Readers: Final Tampa DJ Blog Post
It
is with great sadness (and, as I write this, I am flipping
a certain search engine off with an extended middle finger
for its B.S.) that I have to announce the closure of the Tampa
DJ Blog, which will be offline in June 2012. Although this
dedicated domain blog has been a labor of love, and it has
not tried to sell a single thing, and it is full of relevant
content, it has been penalized in search results for B.S.,
mainly linking to my other sites. I cannot have a web site
up which is not working (anymore), especially if it is being
penalized for doing nothing wrong. Regarding the Tampa DJ
Blog, too, which has been at the top of search results for
several years consistently, I’ve been mainly using it
as a virtual notepad as I develop some truly cool projects
for my DJ career, and my return to DJ’ing. With the
search engines punishing this cool web site, however, it is
frustrating because I thought that search engines were all
about returning relevant results, and not selling out. It
does not matter, though, as I have plans, and there is nothing
that anyone, including the search engines, can do about it.
I will not be penalized when I am not doing anything wrong!
What, they punish me because I write a lot and link to my
other sites? Whatever! Nothing can stop me from having multiple
sites, and it will work, as long as they do not link to each
other, and the content is organized. F-ing idiots............
I am simply going to build and deploy new web sites, and this
time, I will not make any mistakes, and will not give anyone
any leverage that they can use against me. If there are any
DJ’s or
event
planing companies out there who sped up the process of hurting
this blog by pointing it out to the powers that be (and I
do not understand why they would do that, as it was not competing
with any business, but, hey, I’ve dealt with such nastiness
in the modeling and in the photography industries, so you
never know. I am very good at SEO, and some people cannot
handle that), well, rest assured that I will be deploying
event planning and DJ business marketing sites in the near
future, they will dominate search engine results for their
markets, and there isn’t a damn thing that you will
be able to do about it. You will also not see any of these
new web sites coming, as they do not exist, yet.
All is not lost, however. I am not actually quitting this
blog, I am moving it; I am consolidating my web sites (and
freeing up money for new domains and web sites), and am cutting
the fat. The Tampa DJ Blog will continue on my upcoming DJ
Frontier site, which will launch in June 2012. My other dedicated
domain blogs, such as my designer blog, and my photography
blogs, are also being shut down, as they, too, have been penalized
for having too much content and for linking to each other,
and they are now overly redundant.
I do not know if any of this content will be republished on
the continuing DJ blog on the new web site (It might be, however,
as I am looking into building an archive section. I will be
keeping all of this content, at least, as it is all relevant).
I just wanted to let you, my readers, know what was going
on, and where to go if you wish to continue reading new posts
when this site goes dark.
Oh, and there are is some news, too! I have figured out how
to rapidly produce new release covers for my older releases,
too, and I have posted those new covers here, now. Check out
the covers for Party Zone, Fire In The Desert, Waveform 2,
and Waveform 3, Futura, and Futura 2, as well as the upcoming
Waveform 4, and Mirage (Fire In The Desert 2), and Bitch 2.
Since this post is not all that big, I will post them all
down this page, so scroll down, and enjoy! It is my parting
gift to you, my readers, as this blog prepares to shut down.
It has been a pleasure. I will see you all on the flip side!
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Thursday, January
26, 2012 - Tampa DJ Blog log entry by DJ Frontier
GEN
5 Preproduction And CPR Conversion Projects Begin
Note
about bit rates for MP3's and file sizes:
At the time that this blog post was started, the benchmark
bit rate for CPR/ DPR conversion, Gen 5, and event
support
MP3's was 128 BPS, which works out to roughly one Meg per
minute. I did some research today, and decided to increase
the resolution of the MP3 file format 50% from 128 BPS to
192 BPS; this won’t double the original file size estimates,
but it will increase them by 50%. Regarding comments about
raising the bit rate to 256 BPS, which is the logical progression
in doubling 8 bit rates (8, 16, 32, 64, 128, 256, 512, etc.....
I still find increasing the bit rate from 128 to 192 a bit
of a compromise, since it only adds 64, which is half of 128,
but I do need to keep file sizes down with most GEN 5 and
commercial programs clocking in at 140 minutes, and now with
a 30 minute commentary podcast attached to the back end.),
please disregard those, because I am trying to keep file sizes
down, and the return on boosting the bit rate to 256 would
not be worth it, according to experts; I have no plans to
use a 256 BPS format, especially when some computers and media
players, such as the iPod, may have technical issues with
high bit rates on playback. 192 is as far as I dare to go.
By the numbers, with the new 192 BPS benchmark, which had
to be set today since all of this preproduction work and conversion
work is imminent, a 90 Meg program file would
now
be 135 Megs, and a 100 Meg file would now be 150 Megs. A standard
140 minute program with a 30 minute commentary podcast would
have been 170 Megs in size at 128 BPS, especially with the
program and the attached back end podcast being one file,
and will now be 255 Megs at 192 BPS. The converted original
Cassette Program Releases would have been 90 Megs, and are
now 135 Megs.
Although I went back through the blog post to update the numbers,
there may be errors due to this last minute recalculation
with the higher bit rate. If there are any errors, I apologize;
please let me know so that I can go back and fix it.
After
four long, hard years of preparation work (and figuring out
formats, etc), almost a decade on break as a DJ, and 14 years
after my last DJ cassette program release program, I’m
ready to begin. Eventi Events has been rebranded Frontier
Event Planning, and Eventi Stage has been branded Frontier
Stage Productions. The studio is being reconfigured and calibrated.
As of today, I am beginning the process of converting my DJ
CD library to WAV and MP3 file sets. I DJ’ed a party
on January 15, 2012, and since my brother was helping, I took
the time to go through all of my CD’s and sort them
out while taking requests. Most of them are organized now.
As of today, I have two new(er) computers, a new laptop, and
a main studio desktop. The laptop is a refurb, but it is
much more powerful than the laptop that I have been using
since 2005. Since it has over 80 Gigs free on its 232 Gig
new hard drive (what can I say... I had to install a lot of
files on it), I’m using it to rip my CD’s to WAV
files while I do my design, writing, and web site work on
my older laptop simultaneously. The reason for this is that
I can not only do one thing on one computer while the other
one is ripping, but because the new laptop does not have all
of its file sets (such as fonts) that I need for design work,
and it does not have a restore disc for its transplanted Windows
XP operating system (it came with Vista, which sucks, and
regardless, it had no restore CD, which was a problem, as
well). So, I will be working with two laptops every day, and
three computers on the weekends. On the weekends, I will be
using the new studio computer, which I bought in the fall
of 2010, to convert my old DJ release program tapes to digital
programs. I will be finalizing wiring of the studio this week,
and will be calibrating settings.
I expect to be able to covert four 90 minute cassette program
releases a week to WAV files with the main studio computer
using Audacity. Those WAV files, mastered in 16 Bit, will
be archived as master files, and then copied to working WAV
master files. The working WAV master files will be edited,
a commentary podcast will be added to the end using GEN 5
recording technology, and then the release will be finalized
as an MP3 release at a resolution of 192 BPS. I will be experimenting,
this weekend at least, with 32 Bit mastering, which the computer
is capable of, and bit rates on the MP3 programs of 256 BPS,
which may not be practical because there may be diminishing
returns on increasing the file size when flaws such as tape
hiss are enhanced (I will not really be doing any files are
these higher
settings, but I will be researching it. 16 Bit/ 192 BPS may
be the standard for these old releases, and I may use the
higher production settings for GEN 5 Digital Program Releases
and Commercial Releases). With the 16 Bit/ 192 bit rate, and
the podcast segment added to the end of each program, I expect
each digital remastered MP3 programs of my old Cassette Program
Releases to clock in at around 180 Megs (which would be 240
Megs if the higher 32 Bit/ 256 bit rate settings were used).
The CD WAV rips will be organized by albums, with the artist/
album name on the folder, and the WAV tracks inside the folder.
The format of the file names is 000 Artist - Song Title, so
that the tracks are listed in the same order as the CD. When
used in GEN 5 production work, the selected song tracks would
be copied to a single directory on the workstation computer,
and the 000 number sequence would be removed from the file
title so that the WAV file tracks would list in the order
of the artist name. Sample sets would be in another folder
(I am still working on obtaining software which will enable
me to obtain 16 Bit audio samples from DVD’s playing
on the computer; A music producer friend suggested Adobe “Audition”,
whatever that is, but I really do not know, yet, what software
can be used for this; I’m still researching. I already
get awesome screen grabs from DVD’s, and many of those
can be seen on Frontier Pop), and master sample sets would
be organized exactly as the music files are, formatting-wise.
All GEN 5 productions, and Commercial Release productions,
would used WAV files as sources, and export to finalized release
16 Bit MP3 files at 192 BPS.
For event MP3 sets, I will have MP3 rips of the CD’s
available, made when I rip the CD’s to WAV master files.
The
MP3 rips will be 16 Bit, at a 192 BPS, and those files will
not have 000 number sequences in the tiles. Again, the idea
with removing the 000 sequences in the title is to allow the
tracks to list alphabetically by artist and track title. Event
MP3's will be on a laptop computer, and connected to the sound
system. As a backup, in case the laptop crashes, those files
will also be on two iPods or iPod Touches, which are connected
to a physical DJ mixer which is hardwired into the DJ Rig.
One of the things that I hated the most DJ’ing events
was organizing my CD’s. I spent most of my time looking
through CD’s and queing them up, and it made DJ’ing
too hectic to really enjoy it. That problem is now eliminated,
and I can find and que tracks instantly, and concentrate on
entertaining the crowd and interacting with people. Marlon
never seemed to mind it too much, but he was much more organized
than I was with his CD’s, but I did not like juggling
all of that music. It was never fun for me.
Maybe now, I can have fun as a DJ, as far as DJ’ing
live events go; as much fun as I had being an underground
DJ.
So, to summarize, here are the current numbers.
01.
CD rip project to WAV and event MP3's
Number of CD’s to convert: Over 250
Project start: January 26, 2012
Project time: 3 months.
Computer: Laptop 2
Software: EAC (Exact Audio Copy)
WAV title format: 000 Artist - Track Title in folder formatted
Artist - Album
MP3 Encoding: 16 Bit 192 BPS using LAME encoder codec
MP3 file title format: Artist - Track Title
Covers: All CD covers will be photographed and formatted as
300 X 300 image files @ a resolution of 72 PPI/DPI
Released: Not released. Leased to subcontracted DJ’s.
Master CD’s in storage. Source music for events (MP3)
and GEN 5 production work (WAV).
02.
CPR Conversion Project to WAV masters, WAV working masters,
and MP3 releases
Number of Cassette Program Releases to convert: 30
Project start: January 28, 2012
Project time: 2 months (4 per week)
Computer: Studio main
Software: Audacity
TRT per program: 90 minutes for the actual program, and 30
minutes, or more, podcast commentary at end. 120 minute total
program.
WAV title format: Master/Working0000DJWizKid/Frontier - release
name
MP3 Encoding: 16 Bit 192 BPS using Lame encoder codec
MP3 file title format: dj release 0000 - djfrontier/wizkid
- release title
Covers: Designed and formatted as 300 X 300 image files @
a resolution of 72 PPI/DPI. Image sources are assorted under
fair use, although some covers will be photographed by Aurora
PhotoArts.
Released: Under Neo Studio Underground label.
03.
GEN 5 Digital Program Releases
Number of programs per year: 12-24. GEN 5 releases, being
underground, are more creative and experimental than commercial
releases.
Project start: Summer 2012
Project time: N/A - Ongoing. Current release que of 24 releases
could take two years to complete; new creative release properties
would not be produced until 2014 at this pace.
Computer: Laptop 3
Software: Ableton Live 8
TRT per program: 140 minutes or longer for the actual program,
and 30 minutes, or more, podcast commentary at end. 170 minute,
or longer, total program.
WAV title format: Master/Working0000DJFrontier - release name
MP3 Encoding: 16 Bit 192 BPS using Lame encoder codec
MP3 file title format: dj release 0000 - djfrontier - release
title
Covers: Designed and formatted as 300 X 300 image files @
a resolution of 72 PPI/DPI. Image sources are assorted under
fair use, although most covers will be photographed by Aurora
PhotoArts.
Released: Under Neo Studio Underground label.
Releases planned in initial GEN 5 production schedule (2012-2014):
DPR
0034 - DJ Frontier: Era - TRT 140
Minutes + 60 Minute Podcast Commentary (300 Megs +)
DPR 0035 - DJ Frontier: Revo - TRT
140 Minutes + 30 Minute Podcast Commentary (255 Megs +)
DPR 0036 - DJ Frontier: Waveform RMX
- TRT 140 Minutes + 45 Minute Podcast Commentary (277 Megs
+)
DPR 0037 - DJ Frontier: Futura RMX
- TRT 140 Minutes + 45 Minute Podcast Commentary (277 Megs
+)
DPR 0038 - DJ Frontier: Party Zone 2 RMX
- TRT 140 Minutes + 60 Minute Podcast Commentary (300 Megs
+)
DPR 0039 - DJ Frontier: Generation 2
- TRT 140 Minutes + 30 Minute Podcast Commentary (255 Megs
+)
DPR 0040 - DJ Frontier: Lost Love
- TRT 140 Minutes + 30 Minute Podcast Commentary (255 Megs
+)
DPR 0041 - DJ Frontier: Reverence
- TRT 140 Minutes + 30 Minute Podcast Commentary (255 Megs
+)
DPR 0042 - DJ Frontier: Party Zone 5
- TRT 140 Minutes + 60 Minute Podcast Commentary (300 Megs
+)
DPR 0043 - DJ Frontier: Neo Horizons
- TRT 140 Minutes + 60 Minute Podcast Commentary (300 Megs
+)
DPR 0044 - DJ Frontier: Bitch 2
- TRT 140 Minutes + 60 Minute Podcast Commentary (300 Megs
+)
DPR 0045 - DJ Frontier: Serenade
- TRT 140 Minutes + 30 Minute Podcast Commentary (255 Megs
+)
DPR 0046 - DJ Frontier: Noel - TRT
140 Minutes + 30 Minute Podcast Commentary (255 Megs +)
DPR 0047 - DJ Frontier: Resolution
- TRT 140 Minutes + 30 Minute Podcast Commentary (255 Megs
+)
DPR 0048 - DJ Frontier/ others: Futura 3
- TRT 140 Minutes + 45 Minute Podcast Commentary (277 Megs
+)
DPR 0049 - Omega Team: Rush Hour
- TRT 240 Minutes + 60 Minute Podcast Commentary (450 Megs
+)
DPR 0050 - DJ Frontier: Party Zone RTR
- TRT 140 Minutes + 30 Minute Podcast Commentary (255 Megs
+)
DPR 0051 - Omega Team: Daytona -
TRT 140 Minutes + 45 Minute Podcast Commentary (277 Megs +)
DPR 0052 - DJ Frontier: Waveform 4
- TRT 140 Minutes + 60 Minute Podcast Commentary (300 Megs
+)
DPR 0053 - Omega Team: Sandbar -
TRT 140 Minutes + 30 Minute Podcast Commentary (255 Megs +)
DPR 0054 - DJ Frontier: Rebellion 2
- TRT 140 Minutes + 30 Minute Podcast Commentary (255 Megs
+)
DPR 0055 - DJ Frontier: Mako - TRT
240 Minutes + 30 Minute Podcast Commentary (405 Megs +)
DPR 0056 - DJ Frontier: Hammerhead
- TRT 240 Minutes + 30 Minute Podcast Commentary (405 Megs
+)
DPR 0057 - DJ Frontier: Revo 2 -
TRT 140 Minutes + 30 Minute Podcast Commentary (255 Megs +)
Total:
24 Digital Program Releases (2012-2014) - 3,660 minutes (61
hours) programming - 990 minutes (16.5 hours) commentary -
4,650 Minutes (77.5 hours - 3.2 days). Total File size (6.9
Gigs; Round up to 7 Gigabytes)
Comparison:
30 original releases, 29 of them 90 minutes, and one 45 minutes
totals 2,655 minutes (4 Gigs). Add 30 minutes of commentary
for 29, and 10 for one, and that is 880 minutes, for a total
of 3,535 minutes (5.4 Gigabytes).
04.
Commercial Program Releases (using GEN 5 production technology)
Number of programs per year: 4-6 initially; more as time progresses
and resources increase. As a rule of thumb, since these releases
can be marketed and sold, more work and resources go into
these releases; each Commercial Program Release has an average
of four to six times the work into it as a GEN 5 underground
DPR, and are far less experimental, with proven concepts (ironically,
concepts proven with experimental underground releases.) These
releases are the most advanced and complex. Commercial Program
Releases are used primarily as marketing and promotional platforms
for new music, to break new music to prospective fans.
Project start: 2013
Project time: N/A - Ongoing.
Computer: Laptop 3
Software: Ableton Live 8
WAV title format: Master/Working0000DJFrontier - release name
MP3 Encoding: 16 Bit 192 BPS using Lame encoder codec
MP3 file title format: dj commercial release 0000 - djfrontier
- release title
Covers: Designed and formatted as 300 X 300 image files @
a resolution of 72 PPI/DPI. All covers will be photographed
by Aurora PhotoArts.
Released: Under Dream Nine Studios label. As commercial releases
are 100% copyright cleared, releases can be streamed, downloaded,
and sold.
Converted
Cassette Program Releases, GEN 5 Digital Production Releases,
and Commercial Production Releases will be packaged the following
way, in a file folder directory.
1.
MP3 File
Default release is a 140 minute program with a 30 minute
commentary podcast.
16 Bit mastering. 192 BPS resolution. 255 Megs.
2.
Cover Image File
iPod/ Coverflow optimized JPEG image file at a resolution
of 300 X 300 @ 72 DPI/ PPI
3.
Instructions
Instructions on importing the programs into iTunes, troubleshooting,
and recommended file configurations.
4.
Program notes and dedication
Track list, sample list, program information, and dedications.
5.
An HTML file
This is a web page within the directory for use on computers.
It will have links to supporting sections on support web site
for computers with an Internet connection.
6.
Bonus Content
Usually, this contains material such as a JPEG wallpaper
image, as well as other content.
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Friday, December
2, 2011 - 5:00 PM - Tampa DJ Blog log entry by DJ Frontier
DJ
Frontier Web Sites Coming In Early 2012
With
the recent purchase of VJFrontier.Com
(and it just keeps getting better), I have a new equation
in the formula with my group of DJ Frontier web sites.
With
a lot of work going into my photography marketing and support
web sites (16 web sites for Aurora PhotoArts, and four web
sites for my shootout and workshop events), as well as plans
for my Frontier Event Planning and
Frontier Stage Productions marketing
and support sites, my DJ Frontier sites have been pushed back.
They need a little more work, too, as well as tweaking to
the format.
In early 2012, a group of official DJ Frontier web sites will
be built and deployed. They will all be new Celebrity
Class marketing and support web sites. When
they launch, this Tampa DJ Blog
will be reformatted and relaunched with a new Celebrity
Class web site, compatible with the others, and the content
will be organized (those empty links with every post will
then be active, and will work). DJFrontier.Com, VJFrontier.Com,
and DJWizKid.Com will launch. TampaDJBlog.Com will relaunch
with the same design as the others, and will join them. These
sites will primarily interlink with the Frontier Pop, Frontier
Society, Frontier Event Planning, Frontier Stage Productions,
and the Frontier View web sites, as well as others.
I wanted to launch these sites this month, especially DJFrontier.Com,
which is long overdue, but with all of this other
work going on, AND with the Cassette Program Release conversion
project now expected to be completed by Spring 2012, there
is not that urgent of a rush. I won’t even be able to
get to production of Frontier View, and the new GEN 5 Digital
Production Releases, Commercial Releases, and Podcast projects
until the summer, anyway.
I intend to return to my DJ’ing career in 2012, however,
and plan on doing events again as a DJ and as an event planner
in the next year. This was the reason for all of the work
that I have been doing the past three years, at any rate.
Just like my photography career, I finally figured out all
of the angles of my DJ career. I will be working both my career
as a DJ, and my career as a professional photographer, at
the same time, and I have no plans to scale back my photography
work, as I intend to become one of the top photographers in
the world in the next few years (I have a promotional poster
planned which will show me in my DJ Frontier Cybersuit, with
full DJ production support gear, holding both a digital SLR
camera with a large lense, and a DV indie filmmaking camera).
Besides, support for my return to DJ’ing, and the needed
capital for my DJ productions and event projects, will be
coming from my photography career, as this is the only active
business that I have right now. Oddly enough, too, my photography
career has made me a much better DJ, as many of the things
that I have learned translate well between professions. It
will all make sense soon.
With that, I need to return to studying my tutorials on Abelton
Live 8, as I now have the software, and am learning it. As
soon as I get additional hard drives, I will begin ripping
my DJ library of CD’s to nicely organized full-resolution
digital WAV files, which are needed for production of GEN
5 releases. Preparations are proceeding well.
I should have a functioning prototype of my DJ Frontier cybersuit
by Spring 2012, and will spend much of the year
testing
it and making adjustments. The cybersuit technology should
be fully operational, and ready for full production and deployment,
by late 2012. The cybersuit will be needed for many of my
DJ projects, especially Frontier View. I will also commission
a team of my photographers to shoot a ton of publicity pictures
of me and the cybersuit, as well as models wearing the cybersuit
(for the models, I will take the pictures). Additionally,
there will be spinoff technologies directly developed from
the cybersuit; some of those concepts and fabrication technologies
will be applied to other fields, such as custom, tricked cars
and vehicles (some of the visual and aesthetic concepts developed
for the cybersuit can be directly applied to tricked-out,
custom vehicles, and they have never been done before. The
same goes for the technology; the cybersuit technology will
revolutionize a lot more than just clothing and the integration
of technology into lifestyles. It could be said that the wearer
of the cybersuit will be tricked out much like a custom vehicle,
especially when the technology is compatible between industries).
For example, the Passinault/ Frontier “arrow”
logo emblem will be infused with technology, now; the original
version, designed in the early 1990's, was a simple, metal
emblem badge. This new one will be made of a composite-like,
high quality ABS plastic, and it will be able to be taken
apart and serviced (I’m looking at prototyping and plastic
fabrication companies right now for actually fabricating the
shells, as well as for other custom cybersuit modules and
bio interface mounts. I am going to have to learn 3D design
software, because these badges will not be flat on the front;
they will be curved toward the front, with the maximum thickness
at the very front, and tapering down toward the edges. They
will have a “body” to the shell, and a hollow
internal space, in order to make room for the mounted and
integrated internal technosystems. I’m looking at four
plastic pieces secured by three rear metal screws, containing
two transphasic LED modules, an optical port to the rear,
etched optical ports on the front piece, an optical port on
the front piece, a control module circuit board, an internal
battery and battery mount on the back piece, a charge/ power
jack, an interface jack, and several DIP type switches on
inside of the back plate). See that Horizons logo in the Horizons
release image shown here? See how the “Horizons”
logo is backlit with ambient lighting in the design? The new
emblem badges will have multiple lighting systems integrated
into them. It will feature an ambient backlight for a silhouette
effect at a distance, with soft lit lines traced in the emblem
itself which will outline it when viewed close-up. The emblem
badge will have a silver or gold faceplate (interchangeable,
with silver representing normal subcontractor, and gold representing
subcontracted management. I am a gold. The back of the badges
will have a reflective coating, and there will be a clear
plastic back piece to separate the badge from the surface
of the mounting fabric, and to spread out the backlighting),
will have dual (one for the rear exterior back light, and
one for the interior etched lines in the design) triphasic
LED’s integrated within the shell (Red, Green, and Blue
capable LED’s, and with a computer controlling the output,
blending these primary colors will enable the light output
to be any color, and any intensity, required. This same triphasic
LED technology, also known as multiphasic, or transphasic,
lighting, will be used in next-generation tricked vehicles,
which will enable color schemes which are not street legal
to be used in vehicle concepts; to render the vehicle street
legal, the computer can switch the lighting back to legal
ranges), a built in internal rechargeable battery, and an
external connection which links it to a controller and an
external power source, such as the cybersuit power supply.
There will be a series of dip switches on the back of the
emblem badge to configure basic hard-wired functions, as well
as to switch between internal and external power and control.
The emblem badges will also have other, classified features
and functions, which cannot be disclosed here.
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Wednesday, November
30, 2011 - 4:00 PM - Tampa DJ Blog log entry by DJ Frontier
DJ
Cybersuit Research Ongoing
I
kicked back today and went over much of the research material
that I’ve compiled for my DJ Frontier cybersuit.
Research is ongoing, and I’ve come up with a lot of
enhancements, new technological solutions, biotechnic interfaces,
and some other ideas. I’ve had the chance over the years
to experiment and test these ideas, and they all work. Keep
in mind, too, that this post will reveal a glimpse of where
I am going with all of this, as well as hint on some of the
secrets of the overall technology. Much of the cybersuit technology
is classified, and will remain so long after it is prototyped,
tested, fielded, and improved upon. Only the obvious things
will be revealed.
Please realize that this cybersuit technology is entirely
legal, and any defensive systems are non-lethal, and also
legal. There is nothing illegal about the technology and how
it will be used, so please, do not speculate on what this
all is, and will mean. This is fashion of the future, but
which is obtainable, and sustainable, with technology available
today. It’s how the technology will be assembled and
coordinated which will prove to be so groundbreaking, and
dare I say, revolutionary.
I’ve been doing research for the past several years
on (I had to censor the first field, as it would tell too
much. I’ll replace the word here after the suit is revealed
to the public), augmented reality, wearable computers, wearable
technology, BEAM robotics, artificial life, portable power
systems (Lithium Ion seem to be the way to go, augmented with
power generation joints and solar pads), head mounted displays,
integration of consumer electronics into sophisticated techo
system arrays, wrist unit integration, and even some military
programs such as the future warrior program. I’ve come
up with some concepts, and some solutions, which are not only
decades ahead of what anyone else is doing, but which can
be done with modern technology.
Also,
importantly, such wearable technology must also be fashionable.
I do not want to look like an idiot walking around wearing
clunky boxes, bread boards, and with wires sticking out everywhere.
My cybersuit will be modular, will be deployable in dozens
of configurations, and will be compatible with just about
every fashion out there today and tomorrow. I can even integrate
it into a business suit, if desired. The default suit, however,
will be comfortable and practical, with base technology based
upon solutions developed in military, motocross, street bike
(sports bike motorcycle) fashion, racing, aviation, and beach
fashion circles.
The cybersuit will feature full situational awareness (like
my A.D.D. needs any augmentation with technology, as I am
naturally hyper-aware), augmented reality system and contextual
interface, multi-phasic adaptive defensive systems, photo
countermeasures, production support systems, ambient and direct
lighting, a direction spot and beacon marker system, a central
power hub, a power management system, power regeneration systems
(the suit can recharge its power supplies with no access to
external power supplies over time, as well as trickle charge-augment
existing power supplies to minimize power loss), a multitronic
system manager interface, an electronic file storage and backup
system, a computer interface system, a wearable computer,
multi GPS, Wi Fi, and 4G communication matrix, the ability
to assimilate and manage consumer electronics into the suit
network, artificial life augmentation (the suit will have
independent situational awareness, assessment, and reaction
capabilities to outside stimuli, protecting the wearer automatically),
ballistic plating, polyshell exterior plating, environmental
sheathing (for weatherproofing and functioning in all kinds
of hostile environments. Some components of the suit can even
function underwater, although this will not be true for most
of the systems), production equipment interfacing and control
systems (the cybersuit can plug into computers, my DJ rig,
and other systems, and it will also have USB plugs). The main
components on of the suit will be externally mounted on an
exoskeletal support mounting system, with the main visual,
monitoring, and control systems mounted on two wrist units
which I will probably end up expanding and renaming forearm
units, as they will cover the forearms.
A
wrap-around polymer sheath will be deployable to protect the
arm units, and will be able to withstand high impacts when
rotated into position. There will even be retractable forearm
rods which will serve as a spine for the forearm units. The
forearm units will be interfaced with special gloves, with
signal and power connects to the rest of the units that make
up the suit (there will be four main units which comprise
the cyber suit, and I’m only writing about half of those
systems now. The second unit is quite revolutionary, and it
is the primary purpose for the first unit which I am mainly
writing about, which lends support. That second unit is classified,
and I cannot even write about it until the suit is unveiled,
as its function will be obvious then. It’s the entire
purpose of the suit, and what makes it important and relevant.
Why else would I walk around with all of this extra weight
on me? There is a reason, and it is not just to look cool).
The power utilized by the suit, covered with the third unit
on the body portion, will be DC, low voltage, and low amperage;
comprising of a primary main 12 volt power net, a 9 volt subnet,
a 6 volt subnet, and a 3 volt subnet. Individual electronics
interfaced to the suit will have their own independent power
supplies, and I am looking into ways for the main system to
be able to utilize the power of the interfaced electronics
if needed, although this might not be possible with some devices.
The main computer will have a hand mounted gyro mouse, a wrap
keyboard, and a wireless optical mouse; the latter
two would not normally be in use, however, as the wearer would
have to be prone in order to use these devices. Keep in mind,
though, that the computer does not control the functions of
the suit, and the suit is independent of it. The suit will
be a network of specialized electronic systems, power systems,
and specialized sensor and control systems. It will also have
custom parts interlinked into the suit which will infuse it
with BEAM robotic-type artificial life, although the AL and
the extent of the “robotics” is different than
what one might imagine; the suit has minimal automation, and
it is entirely dependent upon the wearer for mobility and
movement. Artificial life, which is a building block of artificial
intelligence (and video game designers need to realize this
before scripting AI subroutines which are too predictable,
and faux AI, at best. You cannot script the complex interactions
of simple artificial life subroutines, as more complex behaviors
emerge from those interactions; this is, in fact, how our
brains work), is a series of hardwired, as well as adaptive,
systems of input, output, and reaction to stimuli. It is programmed
behavior, and in the suit, the circuitry is actually quite
simple. Different reactions, too, are programmed into the
circuitry based upon different combinations of inputs, which,
in turn, stimulate other reactions in other systems (sorting
out these interactions, and the unpredictable behavior which
emerge from them, which will necessitate adjustments, will
take time. I expect the suit to take a while to debug). It’s
the interaction of all of those circuits which will become
interesting, as the suit itself becomes, essentially, an electro-mechanical
form of life. This will make the cyber suit smarter than the
sum of its technology, and the applications of this artificial
life technology can be literally applied to a number of things
to make them smarter and more efficient. (BEAM,
from Wikipedia: The word "beam" in BEAM
robotics is an acronym for Biology, Electronics, Aesthetics,
and Mechanics. This is a term that refers to a style
of robotics that primarily uses simple analogue circuits,
such as comparators, instead of a microprocessor in order
to produce an unusually simple design (in comparison to traditional
mobile robots) that trades flexibility for robustness and
efficiency in performing the task for which it was designed.
Exceptions to the convention of using only analog electronics
do exist and these are often colloquially referred to as "mutants".
BEAM robots typically consist of a set of the aforementioned
analog circuits (mimicking biological neurons) which facilitate
the robot's response to its working environment.)
There is a lot more to the cybersuit technology, too, but
I’m either not ready to reveal those features yet, as
those
features are classified as top secret. Many of the cybersuit
technologies will remain a secret long after its public unveiling,
and although the cybersuit is designed to be highly resistant
to reverse engineering and analysis, especially with most
of its technology low-observable and relatively invisible
to the observer, I will not permit anyone to inspect the suit,
the components, or the technology (and good luck to anyone
who tries to make me allow inspection, as the suit has some
nasty surprises built into it which will not permit it. The
suit is designed to give me the advantage if I had to defend
myself, and a system named Medusa will enable threats
to be immobilized simply by looking at them. This said, I
am not responsible for how the suit may react to threats automatically.
All of these innovations are legal, too). Not that the suit,
either, with its built-in AL augmentation, would permit that.
It would not. Once equipped and online, the suit would not
allow outside sources to disassemble it or to inspect it,
let alone take it off, without the user’s permission.
Additionally, to those who wondered what the “photo
countermeasures” description above meant, good luck
taking pictures of the suit without the permission of the
wearer (for photo ops, where I am aware of exactly what is
being photographed, I would disable this automatic, active
AL feature. I would also disable it for my own professional
shoots where I had to wear the suit in publicity photographs.
Remember that the suit has full situational awareness, and
external sensors tell it what is going on around it. It also
reacts much faster than a human ever could, within a millionth
of a second. Like a living thing, it will react) The suit
will not permit that, either, and it will prove to be impossible
to get any good, usable photographs of it or the wearer, as
well as anyone in the immediate vicinity of the suit. Take
a picture of this suit and you will end up with unusable pictures.
A more active mode will also prevent being observed, or captured,
on video, or photographed in certain environments (I’d
say more but I do not want to give hints on how this countermeasure
system works. It just works).
Essentially, we are talking about external cybernetics, or
cybernetic augmentation without the biological integration
that
conventional cybernetic theories support. As DJ Frontier,
I will be as well known for technological augmentation as
I am for actual DJ’ing.
In closing, please note that none of the pictures in this
blog posts are of the cybersuit, and that these pictures are
of the attempts at others to create cybersuit-type assemblies.
The drawings presented in this blog, especially the older
ones, may demonstrate components of what was to become the
cybersuit, but are not indicative of the actual suit technology
or the appearance (I do have conceptual drawings and pictures
of actual components, but I will not publish them until well
after the cyber suit is publically revealed). My cybersuit
is still in the conceptual phase, and it has been in development
since 1990. Although I am using off-the-shelf parts right
now to emulate certain functions of the cybersuit (I have
been constantly wearing cybersuit components for the past
six years, and have been testing them), I do not expect to
have a prototype until mid 2012.
Until then, imagine and dream, as everything, and more, that
I have detailed here will be a realized part of the cybersuit.
This is going to be cool!
Also, keep in mind that although my suit will be a prototype,
with the genome for creating more suits built into the suit
itself, that other cybersuits are possible. The suits are
designed to interlink with each other, forming larger networks,
too, which can tie into other systems. There will be many
more, and this technology will be mass produced. There is
even a more intimidating, beefed up version in development
which will be worn by the Enforcers,
which is my private security force. Teams of Enforcers
will be present at all of my public events, and their heavier,
more militant cyber suits will be red in their primary color
scheme. Mine will be more into the blues and the purples,
and others will be more into the blues and greens, as well
as yellow. Going back to the Enforcers,
development of this security force began in 1992, in the wake
of an event riot in late 1991, which proved that the security
of events was critical.
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Sunday, October
30, 2011 - 4:14 AM - Tampa DJ Blog log entry by DJ Frontier
Announcements
On The Future Frontier View and DJ Frontier Sites.
This
won’t be a long post, as I am really busy working on
my photography business, Aurora PhotoArts, as well as preparing
to build and launch a network of 16 photography and design
marketing and support sites. I had a few minutes of down time,
and decided to write, and then update a cluster of my DJ-related
sites.
Rest assured that these sites are number two on my list of
priorities right now. After I launch my array of 16 Aurora
PhotoArts sites (see my Tampa
Designer Blog for more... I just built and launched
two photography-related support sites which make up another
business altogether, Tampa
Shootouts and Tampa
Workshops), I will be building, and launching,
web sites for my DJ Frontier, DJ Wiz Kid, Frontier View, Frontier
Society, Frontier Event Planning, and Frontier Stage Productions
properties. All of this should be done by the end of 2011,
especially with the jackasses here in the United States now
trying to call themselves “DJ Frontier” without
first researching the name (I just ran off some punk kid on
Facebook trying to use my name, which I have been using longer
than he has existed, and had the pleasure of having a couple
of his poseur friends call me a “fake” and a “fraud”,
as well as other names that I will not post here, during the
experience. It’s not my fault if they are idiots...
The next time that it happens, my attorney will get involved.
On that note, I am currently talking to my attorney about
some things related to my DJ career which may prove to be
very interesting soon. Despite my run-ins and issues with
other “DJ Frontier”s, I do not, however, expect
to do any fighting in the DJ and in the event planning industries
like I have in modeling and talent, photography, and in indie
film, which are three industries which I am currently actively
waging effective wars in), and with me resuming my DJ career
in 2012. I will be also resuming my event planning and stage
production careers by 2013, when those companies again become
my core Passinault.Com companies.
Aurora PhotoArts is the key right now, though, because it
will be a source of funding for my event planning, stage
production, and indie film projects, as well as others. It’s
the only one of my businesses which is up and running, and
has been consistently running for the past ten years (despite
all of the problems, including the branding issues, that I’ve
had with my oldest company, my event planning company). Once
it is doing what I need it to do, I will delegate more and
will concentrate on my other companies, although I will always
be doing a lot of photography work as a professional photographer,
because I am really, really good at it, and it is one the
of things which I was born to do. Hey, it did sidetrack me
from my DJ career, and I am now at the point where I am a
better photographer than I ever was as a DJ. I also am one
of the few who have the potential to become one of the world’s
best photographers in the next few years. At any rate, DJ’ing
is also important to me, and I am passionate about it, which
is obvious my the size of this blog, which is mainly a labor
of love. I expect the success of my DJ career to match that
of my photography career, as well as my other careers, such
as indie filmmaking and designing video games (regarding video
games, you should see some of the cool, revolutionary concepts
that I’m working on in the studio and in the lab....
Awesome! I’ve written about some of them, too, here
on the Tampa DJ Blog, although they have little to do with
DJ’ing).
At any rate, speaking about photography and design, the conceptual
cover for Waveform 3 which I have posted here is NOT final.
I did it as a test of some fractal-based image upscaling software,
which is brilliant, and it is important to my photography
and design careers. I’ve been able to upscale images
and designs dramatically without any loss in quality, which
is really cool, and gives me expanded capabilities in these
fields.
In closing, I’ve posted new information and news on
my future DJ
Frontier and Frontier
View sites, and you should read what I published
on them this morning. As of today, principle photography for
my Frontier View online television series begins, and I will
be shooting footage for the series daily. Frontier View is
directly relevant to my DJ career as DJ Frontier, although
I cannot, yet, reveal everything about this production project.
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