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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