PREVIOUS DJ BLOG POST - TAMPA DJ BLOG POST INDEX - CONTACT DJ FRONTIER - NEXT DJ BLOG POST

COMMENT ABOUT POST - SEND ANNOUNCEMENT - REPORT SCAM - CONTACT TAMPA DJ BLOG

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 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.

COMMENT ABOUT POST - SEND ANNOUNCEMENT - REPORT SCAM - CONTACT TAMPA DJ BLOG

PREVIOUS DJ BLOG POST - TAMPA DJ BLOG POST INDEX - CONTACT DJ FRONTIER - NEXT DJ BLOG POST

---

PREVIOUS DJ BLOG POST - TAMPA DJ BLOG POST INDEX - CONTACT DJ FRONTIER - NEXT DJ BLOG POST

COMMENT ABOUT POST - SEND ANNOUNCEMENT - REPORT SCAM - CONTACT TAMPA DJ BLOG

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.

COMMENT ABOUT POST - SEND ANNOUNCEMENT - REPORT SCAM - CONTACT TAMPA DJ BLOG

PREVIOUS DJ BLOG POST - TAMPA DJ BLOG POST INDEX - CONTACT DJ FRONTIER - NEXT DJ BLOG POST

---

PREVIOUS DJ BLOG POST - TAMPA DJ BLOG POST INDEX - CONTACT DJ FRONTIER - NEXT DJ BLOG POST

COMMENT ABOUT POST - SEND ANNOUNCEMENT - REPORT SCAM - CONTACT TAMPA DJ BLOG

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.

COMMENT ABOUT POST - SEND ANNOUNCEMENT - REPORT SCAM - CONTACT TAMPA DJ BLOG

PREVIOUS DJ BLOG POST - TAMPA DJ BLOG POST INDEX - CONTACT DJ FRONTIER - NEXT DJ BLOG POST

---

PREVIOUS DJ BLOG POST - TAMPA DJ BLOG POST INDEX - CONTACT DJ FRONTIER - NEXT DJ BLOG POST

COMMENT ABOUT POST - SEND ANNOUNCEMENT - REPORT SCAM - CONTACT TAMPA DJ BLOG

Thursday, July 28, 2011 - 3:00 PM - Tampa DJ Blog log entry by DJ Frontier

Era. 3D Audio. Events And Stage. Business. Conversion Project. Futura Rebound. Sharks.

It’s been an interesting few weeks. Like everything else that I am working on, solutions in other industries that I am working on can often be applied to others. I also get inspired from a wide range of different sources.
I spent time listening to beta MP3's of some of my work as DJ Wiz Kid And as DJ Frontier. My DJ Frontier programs, all GEN 3 CPR’s done from 1994 to 1998, are the best, in my opinion, but just a taste of what is to come. I’ve written before that they never quite went to where they could go as creative programs. Well, now, with 13 years of additional experience in other careers within the entertainment industry, and after spending the last three years studying what I’ve done, adjusting formats, and working hard on preparations, I now know where they need to go.
It’s taken me 20 years to get here, and I have to say that even back then the work was special. Now, it culminates into the end result, which is only the beginning. The evolution is complete, and I’m ready to continue my career as DJ Frontier.
A few weeks ago, I was listening to Katy Perry’s new song, “Last Friday Night”, on the radio (Dear God don’t let sell-out Clear Channel’s now sucktastic 93.3 WFLZ wear out that cool song like they do everything else by overplaying it over and over and over again each day. 93.3 was cool when it started as the Power Pig, but they sold out, and, in my opinion, now it really sucks. Not a fan.) and it all fell into place with my next release, a GEN 5 Digital Program Release (DPR) called “Era”. A 140 minute long MP3 program, Era is going to celebrate where it all began, and what it’s become. I did not want Era to become another Futura, being futuristic, but to be more nostalgic. Listening to that song, it reminded me of where it really all began, at the hotel room in Brandon, Florida on Friday, March 4, 1988. Shawn Greenwood, James Johnson, Andrea Wilford, and a lot of other people were there as I began my career as an event planner, which led to my career as a DJ two years later. Such humble beginnings in a small hotel room. That was the night that the Friday Night Party Animals, or FNPA, was created, and the organization lasted for two years, leading into the Alpha Beta Delta fraternity, and then my DJ and event planning business.
So, Era will celebrate the FNPA, the fraternity and the sorority, and my early days as DJ Wiz Kid and as DJ Frontier.
That’s not to mean that there will not be any more Futura’s, though. At the very least, there will be two more. I’ve been listening to 1994's Futura, and Futura 2, from 1996, and although both are excellent programs, there are some things which could have been done better. Both Futura RMX and Futura 3 will be worked on at the same time, and they will be the defining thrust, and theme, of the series, leading into Futura 4 and other Futura programs if I decide to keep the series going. At the very least, though, both Futura RMX and Futura 3 will be incredible programs, with a lot of work going into, and shared, by both. Unlike the first two Futura’s, though, they will not have Horizons-style diamixes (segments of edited voice tracks with a music mix), which tend to interrupt the flow of the program; diamixes will be used for other programs which are programmed to facilitate them, such as the upcoming Neo Horizons. Other things which will be thrown out will be news, announcements, and monologues about things which can become outdated (such as my predictions in Futura 2 about Virtual Reality; I’ll save such speculation for my blogs and web sites); the latter group of features not being used at all anymore.
Futura, in June 1994, was the first GEN 3 release and the debut Cassette Program Release of the new Geomedia One studio in Tampa. It was the first program after I endured the event riot of November 2, 1991, the end of my DJ Wiz Kid career and the destruction of my equipment months later, the hell that was 1992, and the rebuilding which occurred in 1993, as I started over. Futura was about learning from the past and moving on with newer and better things. Futura 2, in 1996, was about the fear of the future, and about how people are afraid of things that they do not entirely understand, as well as the possibilities of what is to come.
Futura 3 will be about retaining individuality, free-thinking, and creativity in a society where technology tends to nullify individuality and original expression; technology which also enables mass ignorance (I often refer to social media as “technologically enabled mass ignorance”, because everyone has a voice, regardless of their qualifications or if they earned the right to have a voice. As a result, there is a lot of noise on the Internet today, full of idiots and their opinions, and it is harder to find meaning). Futura 3 will have a Borg-like theme, where society, enabled by cheap technology, threatens to assimilate people and strip them of their individuality. Futura 3 will be about being yourself, and finding your own voice, using these technologies to enhance your abilities.
Futura RMX, which will be released before Futura 3, will share the theme and a lot of the elements of Futura 3, but will also incorporate elements of the first two Futura releases. Futura RMX will be faster paced, too. Regarding Futura and Futura 2, though, I will retro-apply the theme of the other two, and current technology, where I can, such as the cover designs, so that there will be as much continuity as possible in the series.
Of course, the two new Futura releases, being as strong as they will be, will set the stage for the possibility of a Futura 4, and other Futura releases. I have not decided yet if I will do any more after Futura 3, though, as it will take me several years to get through the programs that I am scheduled to do, and I will not get the chance to even start resuming my DJ career until 2012, as I’m really tied up with my photography career right now. It will take everything that I can do to finish converting all of my Cassette Program Releases to MP3 releases this year (even with some of those releases not being converted, leaving fewer than the full 30).
I was in the same situation with Waveform 3. When I made it in 1995, I had already done the original Waveform, in the summer of 1991, and Waveform 2, which was my last release as DJ Wiz Kid, in late 1991. The original Waveform was supposed to be about new wave music, as I had some Devo tracks in the program. The second one was more of a mixed bag, and wasn’t nearly as good. With Waveform 3, I set out to have a new direction for the series, which was a beach theme. Waveform 3 was about a character named Washout and his adventures at Clearwater Beach in 1995. The “story” was loosely told with monologues, with Washout, played by myself, breaking the fourth wall and telling the story to the listener. Each monologue was mixed as an environment, with waves and other effects in the background (weirdly, there are no Seagulls, which I now find odd; I guess that you can say that the story occurred in the evening and night, especially with a beach party bonfire being described towards the end. Waveform 4 and Waveform RMX will have those effects). There were sample sets taken from beach/ college movies (Beach Blanket Bingo, Beach Party, Fast Food, and Under The Boardwalk, among them) and other sources at the beginning of most of the music tracks, too, which were in the context of where the program was in the story. Waveform 3 was brilliant, and it was a program unlike any that I had done before, only made possible with the technology of GEN 3 production tools.
Well, Waveform 3 was a major hit, and set the tone for the entire series. Luckily, the music of the previous two releases could be taken out of context and fit the new theme, and it was not difficult to retro apply the new theme into the new covers.
The Waveform series will continue, too, from the premise established in Waveform 3. Waveform 4 will continue to the story of the main character, Washout, and his friends as they have fun at Clearwater beach, and Waveform RMX will be more of a beach party dance mix with the established theme, and characters, from Waveform 3 and Waveform 3. There is also a spinoff program in the works, Sandbar, which will also feature the characters established in Waveform 3 and in Waveform 4, as well as another spinoff program Daytona (read the original Daytona script, which the new one will be based on).
While I am thinking about beaches and parties, too, I can’t help but bring up the Sharks.
For the past two decades, I’ve had these phantom, legendary programs in limbo, and it is going to be very difficult to do justice to the legend that I’ve built up with these cool urban myths when I actually have to make them reality. These two programs, which are still just really cool concepts, are Mako and Hammerhead.
Mako started out as a dating tape concept in early 1990. I met this really cool, really attractive red-headed girl at a store at the Tampa Bay Center mall one day, and on the way during my walk home (careful to avoid the homo bunnies hopping around Horizons Park, as I did not swing that way), I was really inspired to make a romantic mix tape for her. I I never did, but the idea was there. Oh, and her name was Felicia. She explained to me that her name meant “happiness” as she was writing down her number. She was very, very inspiring, though, and if there was ever a time when love at first sight meant anything to me, that would have been it.
I was very young, though, so those romantic notions tended to carry me away.
As the years went on, that dating tape concept evolved a bit. I began experimenting with subliminals as I began creating tapes as DJ Wiz Kid, and the results of those experiments proved to be interesting. The subliminals worked. One day, though, I thought that it would be interesting to combine subliminals with a a dating program that you could play, you know, during a date.
I never got around to making that dating tape during my days as DJ Wiz Kid, or during the GEN 3 era as DJ Frontier. It’s good that it worked out that way, too, as even with GEN 3 technology, it would have been hard to pull off. I came up with a cool name, though, Mako, which was a play on the term “Make Out”, and the shark analogy fit, too.
As the years went by, I wrote about the Mako dating tape concept, and talked about it. I also thought of another program that could be used after Mako served its purpose, and that program was called Hammerhead. Yes, the shark theme was still there, and it fit, and no, I’m not going to go into details of what that program is supposed to be used for, but you may certainly guess by the name, and you would be right. I’m not going to state the obvious here, though, because it’s not that kind of blog.
Both Mako and Hammerhead will be done as GEN 5 releases, and each program will probably run longer than 140 minutes; Hammerhead should run for at least 240 minutes, don’t you think? (Well, it should, at least for me! Any longer, and you should seek medical attention, according to commercials) I don’t want the audience to be in too much of a rush, and don’t want them to be interrupted. Because of the nature of the programs, too, as well as the blown-up legend that I have to match, I will be putting a lot of planning, and a lot of work, into each one. Much more than a typical release. I have to make sure that they are perfect. These will probably be the most difficult programs that I've ever had to do.
Additionally, I will not be doing the monologues for those two releases. My voice is not right for them. I will be casting a voice actress to record the monologues, as well as additional actresses for supporting content, such as the subliminals. I will be doing the music selection, the mix, and the execution. I will also do the testing, which will be a hard job, I’m sure (pun intended).
So, Mako will be the program that you play during a date, and it starts with dinner. Hammerhead... Well, you know. That’s all I have to write about this subject at this time. Again, it’s not that kind of blog.
Both programs are still very much a secret, and are classified, as they will be the most sophisticated programs that I’ve ever done. They will be enigmatic even after they’ve been released, and if I do my job right, they will become the stuff of legends, like audio program versions of the mythical Funky Cold Medina, with psychoactive-sexual results.
You know, that gives me an idea. How about a new type of release called “Groupie”?
With that, I have to stop laughing, and it is on to the next subject; it is difficult for me to write about those two programs and keep a straight face, and the name “Hammerhead” is just too funny.
Anyway, how about that 3D audio, which was used in the GEN 3 era?
There are some who might say that using subliminals is gimmicky, and I guess that the same can be said for 3D audio technology. I can say that both work, with the results of subliminals being proven in tests, and, well, the 3D audio obviously works.
In the early 1990's, starting with the fraternity, we were developing new type of parties, such as theme events. As Interactive Theme Event (ITE) technology and formats emerged, so did supporting technologies, such as Artificial Environment Technology (AET). A part of the AET that I developed, back in those analog days, was 3D audio technology, some of it off of the shelf, and some of it engineered.
When I was developing the standard for the then-new GEN 3 studio production technology, I wanted something really good to push the analog mastering process to its limits. So, I began researching applying the audio component of my ITE specs, the 3D Audio, to the GEN 3 line. I began to research a lot of the different technologies out there for 3D audio, with the justification and promise of being able to use the 3D audio components for my Interactive Theme Events, as well as my GEN 3 releases.
In a video game magazine, of all places, I read an article about a lab which had spun off of Hughes Aircraft which was doing military applications with its technology. One thing that they had developed was a new type of 3D audio, SRS, also known as the Sound Retrieval System. SRS was unique because, once encoded with the process, an audio program was in 3D sound, and the 3D could be replicated through playback on any stereo set-up. Another cool thing about SRS was, unlike technologies like Q Sound (used in the Super Street Fighter 2 coin-op arcade game, as well as a variety of Sega CD games) or RSS (Roland Sound Space, used in the Sega CD game Snatcher), there was no “sweet spot”. SRS could turn any stereo source into surround sound with no sweet spot, and which could be played back in 3D from any stereo.
Futura and Party Zone 2, the first two GEN 3 releases, were completed without SRS encoding. In late 1994, though, from my office at the bank where I worked at, I called up SRS Labs in California, and negotiated my way into acquiring a prototype AK-100 SRS system from their warehouse. The AK-100 had been developed for the consumer market, but it was never released for the consumer market, as SRS Labs decided to focus on licensing their technology in consumer electronics (and if you need any further proof that it works, that licensing program was an outstanding success. Today, almost two decades later, you can find SRS as a feature in high-end televisions, such as HD TV, computers, audio systems, and countless other consumer electronics. Remember this, too, because it has implications for a decision which I just made about GEN 5 standards. Back then, though, SRS was very, very new). I told SRS Labs that I was a production company which wanted to evaluate their SRS technology, and talked them into letting me buy one of their AK-100 prototypes for $200.00, which was a great deal considering that the AK-100 had not been mass produced for sale, was not for sale for the consumer market or to anyone else, and if it had been, that the MSRP was $700.00. So, I bought one of the few units that they had, and they shipped it to my home studio.
It took me a while to learn how to use the AK-100, and, as I expected, I confirmed that once my programs were encoded in the 3D sound, that the 3D audio would be reproduced accurately when played back in any stereo equipment, from a Walkman to a home stereo system. The first GEN 3 release to be encoded, or “rendered”, in SRS 3D sound was Horizons RMX. The next release, Waveform 3, benefitted greatly from SRS, too, as it had a beach with waves mixed into the background of all of the monologues of the main character, Washout, and the sound was amazing. So, for environmental effects, it worked quite well. For music, the effect was less pronounced. During my run of the remaining GEN 3 Cassette Program Releases, I used SRS 3D audio, and even combined it with Q Sound and RSS. For my theme events, I even created a hybrid of SRS and Q Sound that I called “Super Q”, which I still have available today for use in my indie films, video games, and Interactive Theme Events. Super Q allows me to utilize the 3D audio field of SRS, giving me surround sound from two stereo speakers, along with the flexibility of Q Sound for moving sounds around in that field.
Looking back, using SRS 3D audio for my GEN 3 releases made sense. It was an analog world, and having pre rendered 3D sound in a program was perfect for analog tape decks which had little EQ or processing ability.
Today, though, not so much. In the digital world, most electronic devices include signal processing in the playback, and SRS is very common in a lot of playback devices. Realizing this, I have decided not to use 3D audio in GEN 5 releases. It’s a very different world.
So, 3D audio could be seen as gimmicky, and it was for music. For some of my programs, though, it was well worth it. These days, I’m more interested in the execution of the program, as well as in the audio quality. Although I do not currently plan to use 3D audio in my GEN 5 releases, I am continuing to do research into 3D audio technology, and I still have my mint-condition AK-100, which is now 17 years old, and it works perfectly.
Of course, I don’t know, yet, if I will render my GEN 1 and GEN 2 releases, along with my first two GEN 3 releases, in SRS 3D audio like I had been planning. I might as well, since most of my GEN 3 releases are already rendered in 3D sound, and I could easily retro-apply the SRS to the older releases. It would be good for continuity in my vintage line of programs.
Which brings us to that conversion project.
I will begin by converting my DJ Wiz Kid Cassette Program Releases next weekend, and should be able to convert about three of the 90 minute tapes a week. That means that the conversion project should be done in 10 weeks. The conversion project should be done in October 2011. Regarding the GEN 5 DPR (Digital Program Releases) releases, I should be starting production of those late in 2011.
Now, for branding.
Eventi Events and Eventi Stage have been renamed. Eventi Events will now be known as Frontier Event Planning, and Eventi Stage will be known as Frontier Stage Productions. Both companies will have web sites operational in August 2011, and Frontier Event Planning will begin producing events, such as the Tampa Shootouts, and a series of photography workshop and modeling events, this fall.
The DJ Frontier and the DJ Wiz Kid sites will be launched as new Celebrity Class sites this fall. I went over the format of those new sites a while back in an earlier post. The Tampa DJ Blog will also be relaunched as a Celebrity Class site, so that it will be compatible with the DJ sites.
And, with that, that’s it for now. I’m going to go back to proofing an article that I recently wrote while I enjoy listening to Waveform 3. Good stuff!

COMMENT ABOUT POST - SEND ANNOUNCEMENT - REPORT SCAM - CONTACT TAMPA DJ BLOG

PREVIOUS DJ BLOG POST - TAMPA DJ BLOG POST INDEX - CONTACT DJ FRONTIER - NEXT DJ BLOG POST

---

PREVIOUS DJ BLOG POST - TAMPA DJ BLOG POST INDEX - CONTACT DJ FRONTIER - NEXT DJ BLOG POST

COMMENT ABOUT POST - SEND ANNOUNCEMENT - REPORT SCAM - CONTACT TAMPA DJ BLOG

Tuesday, June 28, 2011 - 9:00 AM - Tampa DJ Blog log entry by DJ Frontier

Event Planning Company and Stage Production Company Renamed. Conversion Of Cassette Program Releases To Digital Masters Begins In July 2011. First Events Detailed.

I’m sitting here right now, writing, listening to an early beta of an MP3 program of Party Zone 2 , itself produced on analog cassette using analog equipment in July 1994, and converted to an MP3 in the summer of 2010 using Audacity.
It’s good stuff, flaws and all.
The beta MP3, because of the limitations of the old computer that I had in the studio at the time, has data drops and glitches, as well as a track and an entire section on the second part which have to be removed, which make it un releasable in its current form. Although I will not be releasing these programs to the public for legal reasons, still, I will be doing the conversion project for personal use, as well as event support. With a new computer in place and some other odds and ends, the conversion project resumes from scratch . I should have all “30" of those 90 minute programs, minus a few, done this fall; 18 of my GEN 1 and GEN 2 releases as DJ Wiz Kid from 1990-1991, and all 10 of my GEN 3 releases as DJ Frontier from 1994-1998. That would be 28 releases (remember, DJ PJ released a release, the 17th release, in 1991, and DJ Foxx released her release, the 21st release, Smooth Love, in March 1992, which was the last GEN 2 release. My 19th release, too, may require so much editing to avoid violating obscenity laws that it may not be viable for release; I’m not even going to go into the title right now because some may find it to be offensive).
Of course, since I’m tooling up for GEN 5 work right now, with software and hardware being procured as I write, I may even expand on some of those converted releases by adding new commentary sections to the end of each one. The commentary sections would be recorded in the studio this fall, and would be the first time that I’ve spoken in a program as DJ Frontier in over 13 years. Take a 90 minute program, add a 10 to 20 minute commentary track at the end, and each program will be about 100 to 120 Megs in size.
Each program will also have a 300 X 300 pixel iPod-optimized cover image (GEN 5 releases and commercial releases will have 600 X 600 pixel high resolution versions of the covers, as well, for the iPad, as well as wallpaper versions of the covers for the PC), instructions, program notes and dedication, and an HTML file linking to support files on the Internet.
So, after I finish interfacing the studio sound equipment with the computer and calibrating official settings and formats (including file formats; so far, I’m going with “djrelease0001djwizkidfreshmx”, for example, as a format, so that the releases would be listed in order. This is tentative until it is finalized, though), the conversion project will commence this weekend, with about six releases converted a week. Each release will be converted to a master file about 1 Gig in size, and will be archived. From those master files, I will make a working copy to work with, and I will take my time and edit them for content. I’ll design a cover and write supporting content while I work on each release. I’ll record new commentary with Ableton Live 8 and a new microphone connected to the computer, and will add those commentary tracks, each one relevant to the specific program, and I will then add them to the back of the programs. I will then finalize them as a 100-120 Meg MP3 program.
And that, is that. The conversion project should be completed by October 2011, and will be done above and beyond my usual crazy schedule. It will be a true labor of love.
Of course, too, I need to officially launch my DJ Frontier and DJ Wiz Kid sites this fall, too, especially as my event planning company and stage production company web sites will also launch this fall. The DJ Frontier and DJ Wiz Kid sites will be new Celebrity Class web sites, taking design elements from the old Diana Class Eventi Events web site; I love those menu buttons! This Tampa DJ Blog will be relaunched as a Celebrity Class web site. The DJ Frontier site will be my current, and most promoted, site, and the DJ Wiz Kid site will be mostly an archive and museum site interconnected with the DJ Frontier site. I’ve been wanting to get the DJ Frontier site up for a while now, especially since there seems to be more and more people out there calling themselves “DJ Frontier”. All that it takes is a few seconds of an online search, and it’s easy to see that the name is already taken, that I own it, that I’ve been using it since 1993, and that I will continue to use it. I own DJFrontier.Com, too, which is the default, and absolute best, domain name for that name! I also write a lot and have a ton of web sites linking to that domain name and promoting me, which means that the others will not be able to compete with me or my DJ Frontier domain name online. As for all of these other “DJ Frontiers”out there, well, thanks for the free promotion. When your “fans” go online to find you and they find me, is there a point to misappropriating my name? I’m going to be using the name a lot, and will be promoting is so much that it cannot be ignored. The brand is useless for you, you’ll find out the hard way, and I suggest picking another name, unless you like promoting me to people.
Which brings us to the future.
Last Friday, on June 24, I spent a lot of time online researching trademarks and domain names. I finally came up with a strong brand for both the event planning and the stage production companies, but currently the new names are classified. The names will be revealed when the new web sites launch this fall, at which time the name change will be official.
Again, although I cannot go into the new name at this time, the branding is strong, and I shouldn’t have to re brand again. This is a brand that I can build on for the next 20 or 30 years, and it should last a lot longer than I do, although I will be working my careers for the rest of my life.
I can, however, go into the first few event properties, which will begin this fall.
The first event series by my event planning company will be a series of modeling photography shootout events, all interconnected and with a variety of brands. The shootouts will be marketed from TampaShootouts.Com, which will launch soon, and they will be covered from that site. The Tampa Shootouts site will be interconnected with the event planning company site, as it will be produced by that company (not quite a theme event or a party, but an event all the same). Additional events will be a series of underground film festivals, which will be marketed and covered by their TampaFilmFestivals.Com web site, a Tampa Bay Film site. There will be more conventional film festival events next year, too. The underground film festivals and photography and modeling shootout events will be produced by the event planning company, with their web sites interconnected with, and featured on, the event planning web site. Larger, more conventional film festivals and modeling and photography events, however, will be produced by the stage production company, as it will be a non profit, which is important for sponsors. The same interconnectivity with web sites will apply for that, too.
That’s it for now, although I did think about something regarding the film festivals this morning. What I like about film festivals, underground and conventional alike, is that it has a lot in common with my DJ career. How so? Well, a DJ breaks, or introduces, new music to their audience. There is not a difference with playing indie films at a film festival, because introducing and exposing those films to the target audience is the point. That’s probably why I am so motivated with my film festival properties, as I do like to expose people to new and cool things. It is, after all, the reason that I became a DJ.
And with that, I’m done for now. I did want to write some about modeling runway shows and some of the things that I noticed that could be improved, such as working out the details of the event to support the entire objective, but I need to finish writing an article for Tampa Bay Modeling. I will take the time to write, right now, that I haven’t been too happy with the last two runway shows that I’ve been too, especially as a DJ. The music program seemed to be added to these runway shows as an afterthought, and didn’t really integrate too well into the programs. There was so much lost potential there. Additionally, there are no programs with the fashions being shown noted; I couldn’t even tell you what some of them were. When you have a runway show, at the very least you have the MC introduce the models and what they are wearing.
Alas, though, that’s why I am an event planner. Runway shows in the Tampa Bay market will never be the same again once I begin doing them.

COMMENT ABOUT POST - SEND ANNOUNCEMENT - REPORT SCAM - CONTACT TAMPA DJ BLOG

PREVIOUS DJ BLOG POST - TAMPA DJ BLOG POST INDEX - CONTACT DJ FRONTIER - NEXT DJ BLOG POST

---

TAMPA DJ BLOG ARCHIVE

Related Links

Tampa Modeling Agency - Tampa Talent Agency - Tampa Photographer - Tampa Photography - Tampa Design - Tampa Bay Modeling - Tampa Bay Acting - Tampa Bay Film - Tampa Bay Photographers - Tampa Photography Society - Tampa Online Film Festival - Tampa Film Showcase - Florida Modeling Career - Independent Modeling - Independent Acting - Dream Nine Studios - Tampa Photographer Blog - Tampa Photography Blog - Advanced Model - Tampa DJ - DJ Frontier - Frontier View - Frontier Society - C. A. Passinault Blog - Tampa DJ Blog - Tampa Film Blog - Tampa Boudoir Photography - Tampa Glamour Photography - Passinault.Com - Tampa Casting - Tampa Film Review - Tampa Model Search - Tampa Model Testing - Tampa Talent Scams - Tampa Video Games - Tampa Headshots