This post was contributed by a community member. The views expressed here are the author's own.
STUDIO 131 OPEN HOUSE
SATURDAY, SEPTEMBER 17th 1-7PM & 7-9PM After Party
Come by the studio for an all-day open house and after party to showcase our new event venue and featured vendors.
Live music by Saltwater Rockers on the outdoor courtyard
Indoor DJ by Local Music Lives
Raffles will be held throughout the day and after party!
Hook Line and Drinker for Bartending Services
Pay-by-plate by Belly Up with Bellyrubbers
Videography by Davey Rockwell Postproductions
Décor and Design by Karen Aucoin
Events will run throughout the day and evening including:
Kid’s crafts, bounce house, sidewalk chalk, face painting, outdoor games, make your own bubbles station, hula hoop contest, all day raffle, movies, car wash and more!
✔️Group Class Dance Demonstrations:
✔️Lady Firecracker Fitness with Tisha Robertson
✔️Baby Ballet
✔️Kids Hip Hop
✔️Miami Style Salsa and Bachata with Karen Aucoin and Mike Robinson
Group Yoga Sessions with Autumn Lee and Kirana Peters
Breathing and Meditation Session @ The Red Tent with Karen Ledesma
$5 Professional style headshots by Jasmine Melander
$10 Paint The Night Away class with Melissa Simpson: includes canvas and painting materials
$1 per minute Chair Massage with Kai Eckley
$5 Launching a Social Media Video Campaign
Valet parking and $20 Car Wash: hand wash, wheels, & rims
Outdoor vendor market will run 1-7 PM
Set Up @ 11 AM
Additional Fee for Afterparty 7-9 PM
$20 table fee for 10×10 ft space
Extra $10 to upgrade for double space
Limited indoor spaces available $55 & UP
Tampa, FL
Tampa, FL
Tampa, FL
Tampa, FL
Tampa, FL
Tampa, FL
Tampa, FL
Sep 17 | Studio 131 Open House & Block Party | Tampa, FL Patch – Patch
Best pitch correction plugins and apps 2022: software to improve or … – MusicRadar
When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.
Get your vocals in tune or nail that incredibly popular Auto-Tune® sound with 13 free and paid-for plugins from Antares, iZotope, Waves and more – includes PC, Mac and mobile options
If singing is at the heart of your music production, then you’ve probably considered using the best pitch correction plugins and apps to either tweak your vocals so they are in tune, or to produce the synthetic vocal effect made famous by Cher on the track ‘Believe’ back in 1998.
Tuning vocals is now easy with software and many tuning apps are also capable of that Auto-Tune effect which is still incredibly popular across many music genres. In this round-up we have the best pitch correction plugins and apps, all capable of both naturally tuning your vocals to perfection or for creating that distinctive synthetic vocal sound.
The Auto-Tune effect was originally produced on the aptly-named Auto-Tune plugin by Antares. With well over two decades of popularity, it’s not surprising that the effect can now be produced by a host of other plugins and apps from many other developers. Where the original Auto-Tune is still right up there in terms of features and slick workflow, the growing list of similar plugins can massively range in price and feature set; some are dedicated to just that effect while with others it is just one of many audio processing features.
In this best vocal tuning plugins and apps buyer’s guide we’ll be looking at plugins for both types of automatic tuning scenarios: those which excel at natural, invisible vocal tuning, and those that can produce the more robotic effect.
Some DAWs come with these kinds of plugins built-in. Logic has Flex Pitch, for example, which delivers great results. Steinberg’s Cubase also has its own plugin, VariAudio, which can easily handle all your tuning needs. However, in our buyer’s guide we are only including third-party plugins that are available for every DAW or those which can run as mobile tuning apps.
If you want that Auto-Tune effect then the original is still, in many ways, the best, with Antares Auto-Tune (opens in new tab) still doing its thing in an even more slick environment some 24 years after Cher made it famous. The Pro version gets you all the bells and whistles and ‘live’ tuning for onstage, and instant tuning on vocal recordings.
Brainworx bx_crispytuner (opens in new tab) and Waves Tune Real Time (opens in new tab) are the best of the rest when it comes to Auto-Tune pretenders, the latter often on sale for silly money.
For another cheap route to robotic vocals – and some other neat effects along the way – Soundtoys Little AlterBoy (opens in new tab) impresses us with its simplistic but beautiful approach to not only Auto-Tune style effects, but brilliant male to female and female to male formant editing and more.
For more refined pitch editing, Celemony’s Melodyne (opens in new tab) will always be the black magic plugin that impresses with its abilities. But it does cost, so if you are after its basic functionality and a whole lot more, we have to throw iZotope’s Nectar 3 Plus (opens in new tab) in as a great option, which gives you module upon module of vocal editing options, the miraculous Vocal Assistant feature and even a version of Melodyne!
For mobile voice manipulation, one of the best to audition – and it’s free to start with – is Voloco (opens in new tab). It offers a lot of mobile fun and is cross platform so is available for desktop music production too.
It’s operated in either of two modes: Auto and Graph, the first enabling real-time automatic re-pitching, the latter for detailed manual editing. You also get two views: Basic and Advanced. With Basic, choose a voice type, select the target key and scale, set specific pitches for removal (or leave unchanged). You can also use the Auto-Key plugin to detect the key and scale of the audio in your track, and transmit the results to all running instances of Auto-Tune.
Advanced view has a few extras like Create Vibrato, ideal for adding a bit of wobble via an LFO, plus options to set minor and major modes, edit across multiple octaves, and MIDI input editing features.
Auto-Tune Pro is the most powerful, usable incarnation of this standard yet, and easily maintains the software’s position as one of the best retuning solutions available, and may well prove to be the ultimate pitch-manipulating toolbox.
Read the full Antares Auto-Tune review
bx_crispytuner works best with bx_crispyscale (included free of charge), the latter allowing you to determine and apply a scale to the former, although crispyscale is by no means essential. Using the two in tandem, however, will allow you to apply a scale to multiple instances of crispytuner, which is great for large vocal sessions.
bx_crispytuner is very similar to Auto-Tune in that it has similar timing controls to make your tuning more natural or more synthetic. They even retail for the same price, although crispytuner is perhaps the slicker looking plugin of the two. And in terms of creating that synthetic vocal effect, it almost outdoes Auto-Tune. Subtle it isn’t, but that might be just what you are aiming for.
In order to perform this live tuning, the plugin operates with ultra low latency, so that even though the audio needs to go through your DAW and computer’s routing, it can still be monitored in real time. This means you as the singer, or your monitoring engineer, can hear what is happening as it happens and can make adjustments accordingly.
While some of the UI features are shared with Waves Tune, which is its non real-time sister plugin, the interface is somewhat more modern and slicker. It features a live tuning meter which shows the pitch as the vocal passes through, and as with Waves Tune, there are controls for Speed, Transition Tolerance and vocal Range. The central keyboard also indicates the notes of the audio passing into the plugin and here you can set the range of ‘allowed’ notes.
The Speed dial can, as with so many plugins of this ilk, be set to fast (zero) for the robotic Cher effect should you wish. Used in conjunction with the Transition dial, both can easily be used to create that effect, only this time you are doing it on live vocals. Waves Tune Real Time is therefore probably the first choice of the Waves Tune plugin range for that more unnatural effect, whereas the standard Tune will get you more natural results with ease.
You get three main modes from left to right: the main controls for Pitch and Formant, three Mode options (Transpose, Quantize and Robot) and then a Drive and Mix area. The Pitch control alters the incoming audio by semitones but the beauty of AlterBoy is that you don’t get the kind of high-pitch chipmunk effects you get with some pitch shifters – it’s a far more natural shift (unless you want to make it more extreme).
The Formant option can, again very naturally, sweep a male vocal into a female, or vice versa. It’s pretty incredible to hear it in operation because one of AlterBoy’s main attractions is the fact that it does it with no nonsense, one dial with all the science bits hidden away. It just gets on with it, with brilliant results.
The central Modes are where things get even more interesting. After a simple Transpose option, you get Quantize, where notes are forced to the nearest semi-tone for that Auto-Tune like effect. It works well and incredibly simply, although you’ll probably get more finesse and tweakability out of the real-deal Auto-Tune.
However, for no nonsense results, this is great. Finally here you also get Robot Mode, where the pitch is frozen to one note, no matter what the original input is singing. This pitch, and indeed the formant, can still be changed with the left hand dials.
Add in saturation via a Drive option and AlterBoy is a wonderful, diverse vocal tuning plugin that does the job and does it very well. Great for beginners and superb value.
Recent additions include a Melodic algorithm that allows editing of noise-based sibilants to be carried out separately from pitch-based parts. Vocal pitch editing is also now incredibly natural due to features like a Levelling Macro that balances quiet and loud elements, and even the tiniest of pitch deviations can be tweaked.
Melodyne 5 Studio offers the full panoply of multitrack polyphonic editing options, but, if you mainly work with monophonic material, the more affordable Melodyne 5 Assistant still delivers many of the essential features. Whatever version, Melodyne is powerful and remains an exceptional tool for manipulating vocals and other audio in functional and creative ways.
Read the full Melodyne 5.1 review
One of Nectar 3’s many highlights is a machine-learning driven system for automatically setting the plugin up based on analysis of the input signal. Called Vocal Assistant, it creates a custom preset to make your vocal sound objectively ‘better’ and more mix-ready.
Select Assist mode, point the algorithm in the right direction by choosing Vintage, Modern or Dialogue as the source ‘Vibes’, and Light, Moderate or Aggressive as the processing ‘Intensity’. The input signal is analysed for a few seconds, during which the modules are set up in the background to correct for dynamic fluctuations, resonant peaks, sibilance, and even adjust pitch correction and reverb mix.
In Unmask mode, Vocal Assistant clears space for the vocal by applying equalisation to any other track that’s fighting with it for space. The results are invariably well- judged and thoroughly effective, giving the vocals a perceived lift that’s almost always beneficial. This feature has also been enhanced for Nectar 3 Plus, the latest incarnation of Nectar.
With many other great features and modules plus a souped up EQ, Nectar 3 sounds incredible and flows beautifully, and we can’t recommend it highly enough to any vocal-wrangling producer. However, if you are just after simple tuning or that robotic vocal tuning effect, it may deliver much more than you need and there are cheaper alternatives out there.
Read the full iZotope Nectar 3 review
You can go from simple noise removal through harmonisers and alien effects to some of the most famous vocal tuning styles. Here you get everything from Daft Punk to T-Pain, although artists are not named directly (Bon Hiver, Duft Pank and P-Tain anyone?). Once done you can then apply some decent effects – compression, reverb and EQ – to the results for extra polish.
On top of this you get a free beat library, rudimentary multi-track recorder and the ability to import your own beats and export any creations you produce as WAV or AAC files, or share your efforts with other users.
Voloco is a huge amount of fun and also yields impressive results. It’s free but various subscriptions – up to $50 (£35 approx) a year – unlock extra import, multitrack and effect features, although what you get for free is still impressive.
APT (Automatic Performance Transfer) lies at the heart of what makes Revoice Pro so special. Having done your tuning work on the selected tracks, you simply call up the APT dialogue and select one of the presets (you can also make your own), tell it which is the guide and apply it to any track you wish to edit. This is great for backing vocals, for example, where you can add tracks and align not just the pitch and timing but also the dynamic.
Compared to the simpler plugins here, both VocAlign and Revoice Pro are perhaps aimed at the more professional user; pro producers and mixers will save countless hours in the studio with both tools. They do cost that bit more than other plugins here, so if you are just after simple tuning and the Auto-Tune effect, you will find simpler and less expensive alternatives in this guide.
The software has three core processors – Match Timing, Match Pitch and Formant Shift – each accompanied by a parameter control to determine how loose or tight the matching processing is. It has great visual feedback with the three zoomable views – waveform, pitch and signal energy – allowing you to see timing and pitch both before and after processing. The display can be used to add manual Guide/Dub sync points or establish protected areas that won’t be processed – handy for more creative applications.
You can use VocAlign Ultra without delving too deeply into the advanced features. In that respect, we managed to tighten all manner of doubled and layered vocals. The results are very impressive and in many cases pleasantly transparent. It’s also very easy to adjust the amount of timing and pitch correction, and loosening things a bit is often the key to getting the most natural results.
VocAlign Ultra is a great vocal and audio processor. It’s a bit pricey but if you do a lot of editing and aligning it will improve your productivity considerably.
Read the full Synchro Arts VocAlign Ultra review
You insert the plugin on an audio channel just like any other effect, play your audio and it will map it across a piano keyboard after scanning it. (This is as opposed to the real-time processing of Waves Tune Real Time – see above.) An orange line shows the original recording and you can then drag and drop the constituent parts onto the correct notes. Once done, a green line shows the corrected notes.
Controls allow you to select vocal type, root of the scale and scale type. There are also a couple of speed controls that determine how quickly the plugin takes effect so you can go natural or robotic, your choice.
There’s also an LT version of Waves Tune that greys out some of the features of the main plugin. It retails for less (often around £30/$37), but since the full version is usually on sale (at the time of writing just $36/£29), we’d recommend shelling out the extra on it. It does the job of tuning without any fuss and very accurately, and focusses well on natural vocal tuning – although you can get more extreme effects should you wish.
There are two knobs, Pitch and Formant, controlling the central tone of the human vocal and the resonant frequencies that shape the timbre of the vocal. A Flatten button allows you to force the input to snap to a predetermined note, a speedy tool for building up augmented choruses and harmonies.
Experiment with the modulation and automation options, and vast creative scope presents itself. Automation can be a superb way of introducing vocal effects (such as sudden pitch drops) that activate based on the volume of the input signal, so the intensity of your performance can be the triggering factor.
The aim of the game with Vocal Bender is really getting that professional-sounding vocal manipulation at speed and with no processing lag. It is certainly one of the slickest vocal plugins we’ve experimented with – best in class for quick-fire, modern pitch manipulation.
Read the full Waves Vocal Bender review
One of its big draws is that you can play the instrument with your voice, or if that is shaky, play within set pitch parameters with tuning set up for you with its Auto Pitch Tracking.
There are an incredible number of presets to get you going – over 250 covering harmonies, tuning effects, formant shifting, alien vocoder voices and more rhythmic effects. These all utilise Voice Synth’s more pro-end effects like a 24-band EQ, auto-gain compressor, 8-octave pitch shifter, arpeggiator and analogue modelling vocoders.
You certainly get a huge variation in sound and, even though it’s a decade old, Voice Synth still has a lot to say – or you can say it too with its integrated sampler. That all said, the iOS version scores much better than the full desktop Mac version on their respective App Stores, so this is a good mobile but less attractive desktop proposition.
You get 500 beats included with the app which will play in time with your vocals – yes it sorts both your timing and pitch out – and in this respect it delivers the goods fast. It’s a bit geared towards that one-trick synthetic style, with hip-hop and R&B being its focus, but it is free so well worth a download.
There is a Pro version, but at just $3.99/£3.59 it’s not much of an outlay for extra multitrack recording features, more effects and, of course, less ads.
When it comes to buying a plugin specifically for vocals (check out our guide to the best vocal plugins for more insight), you need to decide what your needs are from the many issues vocalists have. It might well be that a simple EQ is all you require, just to bolster certain frequencies to give your vocal more body, or remove mid and high frequencies to reduce overall harshness.
Some of our buying choices, particularly the mobile entries, also focus on other more out-there effects. Some of the other vocal processes you will come across in these include formant shifting, where you might turn a male voice into a female (or vice versa); harmonising or doubling, where a single voice is doubled or more to produce a group of voices singing together; and vocoding, where a standard voice becomes a more robotic voice not dissimilar to the extreme pitch and time settings in automatic tuning software.
However, aside from these more extreme vocal effects, it’s more likely that you will have tuning issues with your singing and that’s where this buyer’s guide really comes into its own. Vocal tuning is, of course, an essential application. Even if you are – or are recording – the world’s best vocalist, you or they will always have an off day, and it might not be possible to do a vocal retake. Vocal tuning applications to help tweak the vocal into tune post-recording are therefore incredibly popular, and this process can be very straightforward and transparent. You, your vocalist and audience need never know such processing has taken place.
Or you might want the opposite! You might want everyone to know just how much processing you’ve done by utilising the famous and much more obvious automatic tuning effect. The effect, made famous by Cher in the late ’90s and the producer T-Pain the 2000s, is essentially derived from the mother of all tuning plugins, Antares’ aptly named Auto-Tune. This software was originally intended simply to help vocalists or producers get voice recordings in tune.
The almost robotic-like vocal effect is produced when that (or a similar) plugin is used in a more extreme setting. Here its tuning effect – produced in Auto-Tune’s case by way of the Return Speed parameter – is at its quickest setting. It therefore retunes any incoming vocal signal at the fastest speed resulting in an inhuman effects where you can hear the jolt as it knocks the vocals in tune. You suspect that Auto-Tune was never really intended to be used at this setting on purpose but, as with many music production principles, if used at an extreme setting, happy accidents occur!
So when buying your pitch correction plugin, you simply need to decide whether you want to go natural or robotic, or would prefer a plugin that is capable of both. In our best pitch correction plugins buyer’s guide we have plugins capable of both, and some like iZotope’s Nectar that are capable of much more.
Finally, of course, decide on your desktop or mobile needs. Most of our recommendations run as third party plugins within standard Mac and PC DAWs, although we have also included app options for the mobile Android and iOS platforms. Only one, Voloco, sits in both mobile and desktop camps so could be used to transfer your mobile vocal experiments to desktop with ease.
Don’t miss the latest deals, news, reviews, features and tutorials
Andy has been writing about music production and technology for 30 years having started out on Music Technology magazine back in 1992. He has edited Future Music, Keyboard Review, MusicTech magazines and currently runs Computer Music which he helped launch back in 1998. He owns way too many synthesizers.
MusicRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab).
© Future Publishing Limited Quay House, The Ambury, Bath BA1 1UA. All rights reserved. England and Wales company registration number 2008885.
Novation's Bass Station and V-Station synth plugins are now free to … – MusicRadar
When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.
Get your ‘90s and noughties kicks for nothing… assuming your system is compatible
Built to emulate two of the company’s ‘90s/noughties hardware synths, Novation’s Bass Station and V-Station plugins are now pretty long in the tooth themselves. In fact, the company has now discontinued them as commercial products and made them available for free as ‘legacy’ software.
Bass Station is designed to create the monophonic 1993 hardware of the same name in your DAW. Like the original, which was used on countless dance records in the ‘90s, it offers two digital oscillators and an analogue filter. The plugin ships with all the presets from the original plus quite a few more, giving you a total of 100.
V-Station, meanwhile, is an emulation of the K-Station synth that was released in 2002. It has a 3-oscillator sound engine with noise and FM capabilities, an arpeggiator, effects, 200 user programs and 200 factory presets. Polyphony is eight notes.
Both plugins can be downloaded now from the Novation (opens in new tab) website, though it’s worth bearing in mind that there’s no guarantee that they’ll be compatible with your OS and DAW. They’re available in VST/AU formats for PC and Mac, but there’s no M1 support.
As such, it’s very much a case of sucking and seeing, but you’ve got nothing to lose by trying, right?
Don’t miss the latest deals, news, reviews, features and tutorials
I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.
MusicRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab).
© Future Publishing Limited Quay House, The Ambury, Bath BA1 1UA. All rights reserved. England and Wales company registration number 2008885.
SCN Review: DJI Mic Offers Versatile Wireless Audio Recording … – AV Network
When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.
The DJI Mic worked effectively for an outdoor interview on a windy day using a smartphone as the camera.
The new DJI Mic audio system is small but is packed with features. It contains two wireless transmitters with built-in recorders, two windscreens, 3.5mm TRS-to-USB adapters, lighting and USB–C connections, cabling, wireless receiver, charging case, and carrying pouch. It’s designed to work with smartphones and digital cameras, but can also be used for meetings, lectures, or anywhere a wireless microphone with an internal recorder might be useful.
One of the biggest issues with wireless technology is the potential for interference between the transmitter and receiver. While you have the benefit of not dealing with wires, potential audio break-up has created a stigma with using this technology for some. DJI has solved part of this problem by having a reliable backup recorder built in each transmitter. This “safety” relieves much of the stress associated with hoping interference between the microphone and receiver doesn’t occur.
Looking at one of the miniscule (less than 2 inches on its longest side), 100mW RF output transmitters, the 24-bit, 48kHz device records an adjustable level mono WAV file. It operates in the 2.4GHz frequency band and boasts an 820-foot line-of-sight operating range. Each transmitter includes 8GB of storage and is powered by a 320mAh lithium battery, which delivers more than five hours of use on a 70-minute charge.
[SCN Hybrid World Review: 4 Selling Points for the Shokz OpenComm UC Headset] (opens in new tab)
The top of the transmitter houses the electret condenser omnidirectional microphone, which accepts an included twist-on windscreen and includes a 3.5mm mini-input for attaching an external microphone. A USB-C port allows for charging or retrieving recorded data from the internal drive.
When you hold the power button, it activates a single vibration and lights a green power LED. The other side of the unit houses the linking button to pair the transmitter and receiver. Directly below is the record button, which activates another vibration and lights a red LED. Pressing it again stops the recording. The bottom features a charging pad, while the back includes a clip with an incredibly strong magnet.
The 50Hz-20kHz receiver (also less than 2 inches on its longest side) contains a five-hour lithium battery with a 160-minute charge time. The 9-ounce device features an organic LED (OLED) touchscreen that displays pertinent information, including recording mode, audio level, left and right transmitter signal strength, receiver battery charge, and receiver gain and battery level on each transmitter. Swiping down on the screen reveals the battery charge, volume, record mode (stereo, mono, and mono safety track), receiver gain, headphone/monitor volume, and other general settings.
[Review: How to Produce an Affordable Podcast with Multiple Mics] (opens in new tab)
Facing the receiver, the left side has both the 1/8 inch mini-3.5mm output and headphone/monitor jacks. The right side features the power button and USB-C port that is used for charging, receiving firmware updates, and as a computer microphone. As on the transmitter, the bottom contains the charging pad.
Weighing slightly over a pound is the carrying case. The front of the case has LEDs that indicate the level and status of the charge. The receiver is housed in the center of the case, with a transmitter to either side. The case also holds a hot shoe mount and USB-C and Lightning audio adapters. On the back is a female USB-C port for charging with the included cable. 
I have to attend many meetings, and I don’t like to rely on my own scribbled notes from a speaker who talks rapidly. What a perfect use for the DJI Mic, I thought. With two people discussing the intricacies of a new system they were installing, I wanted to preserve the discussion so I could better digest smaller chunks of information later. Others in the meeting had their phones on the table recording the presentation, but every time someone coughed or hit the table accidently, that “noise” would drown out what was said (the magic of automatic gain control). But I had both speakers wear a DJI omnidirectional microphone, so I could hear each of them as well as comments from others at the meeting, and the files from each microphone easily transferred to my computer.
[SCN Product Review: 3 Things to Know about the Jabra Engage 55 Headset] (opens in new tab)
One of the guest lecturers in my class was losing her voice and requested a PA system in our TV studio. We don’t have a system like that in place; instead, I clipped one of the DJI mics to her collar and connected the receiver to our XLR breakout box, which fed our audio mixer in the control room. She could now move freely through the studio and her voice was heard through the speakers. Luckily, we had the right connectors to accept the 3.5mm output and convert it to an XLR male.
Using his Android smartphone as a camera, one of my students, Tom, needed to record an outdoor interview, but the audio from the phone alone was unusable because of the wind. Instead, we connected the DJI receiver via the USB-C connector to the bottom of his phone. We attached the windscreen to the mic and were able to monitor the recording by attaching headphones to the side of the receiver. A great feature of the DJI Mic is that the transmitter records a backup audio track, so if something had gone wrong on the phone, we still had the audio.
My last use of the DJI Mic was to make audio notes of a freelance installation I was doing for a client. With the transmitter clipped to my shirt pocket, I walked through the client’s office asking what he specifically wanted, took many measurements, selected the equipment he desired, and answered all his questions. In the past I had taken notes, especially when taking measurements. The reliability of recording the measurements and selection of equipment helped to ensure the accuracy of the process. I asked the client if he minded if I recorded our discussion and he said, “I would prefer that you record everything.”
With its small size, portability, redundancy of transmitting and recording, omnidirectional pickup pattern, on-board recording, long line-of-sight range between transmitter and receiver, and extended battery life, the DJI Mic is a winner. Of course, it’s not the most discreet wearable mic on the market, and there is always room for improvement.
[AV Network’s top stories, product news, and expert insights] (opens in new tab)(opens in new tab)
For example, the record button is too easily activated. I’m not sure what a better solution would be, but the vibration alert does help. Also, the magnet on the transmitter’s clip is far too strong. I appreciate the feature, but when you need to use a tool to separate it, that’s too much.
The swiping action of the receiver’s touchscreen takes several attempts to accurately advance the settings. Finally, and this one is also minor, is the removal the Lightning or USB-C connectors from the carrying case. You need needle-nose fingers to remove them when the hot shoe mount falls out (which is every time I remove the receiver). Despite the nitpicks, DJI has a hit with this wireless microphone/recorder package.
Sign up below to get the latest from AV Network, plus exclusive special offers, direct to your inbox!
Chuck Gloman, Associate Professor, has more than 40 years of experience as a producer and director of photography with more than 900 TV commercials, 250 corporate videos, and 100 documentaries to his credit. His films have aired on HBO, Cinemax, and network television. He is the author of Placing Shadows: The Art of Video Lighting, 2nd Edition (Focal Press: 2000); No Budget Digital Filmmaking (McGraw-Hill: 2002); 303 Digital Filmmaking Solutions (McGraw-Hill: 2002); 202 Digital Photography Solutions (McGraw-Hill: 2003); Placing Shadows: The Art of Video Lighting, 3rd Edition (Focal Press: 2005); Scenic Design and Lighting Techniques (Focal Press: 2006); Working with HDV (Focal Press: 2006); Placing Shadows: The Art of Video Lighting, 3rd Edition (translated in Japanese Language Focal Press: 2007); and Placing Shadows: The Art of Video Lighting, 3rd Edition (translated in Chinese Language Focal Press: 2017). He has published more than 500 articles.
AVNetwork is part of Future plc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab).
© Future Publishing Limited Quay House, The Ambury, Bath BA1 1UA. All rights reserved. England and Wales company registration number 2008885.
Sep 17 | Studio 131 Open House & Block Party | Tampa, FL Patch – Tampa, FL Patch
This post was contributed by a community member. The views expressed here are the author's own.
STUDIO 131 OPEN HOUSE
SATURDAY, SEPTEMBER 17th 1-7PM & 7-9PM After Party
Come by the studio for an all-day open house and after party to showcase our new event venue and featured vendors.
Live music by Saltwater Rockers on the outdoor courtyard
Indoor DJ by Local Music Lives
Raffles will be held throughout the day and after party!
Hook Line and Drinker for Bartending Services
Pay-by-plate by Belly Up with Bellyrubbers
Videography by Davey Rockwell Postproductions
Décor and Design by Karen Aucoin
Events will run throughout the day and evening including:
Kid’s crafts, bounce house, sidewalk chalk, face painting, outdoor games, make your own bubbles station, hula hoop contest, all day raffle, movies, car wash and more!
✔️Group Class Dance Demonstrations:
✔️Lady Firecracker Fitness with Tisha Robertson
✔️Baby Ballet
✔️Kids Hip Hop
✔️Miami Style Salsa and Bachata with Karen Aucoin and Mike Robinson
Group Yoga Sessions with Autumn Lee and Kirana Peters
Breathing and Meditation Session @ The Red Tent with Karen Ledesma
$5 Professional style headshots by Jasmine Melander
$10 Paint The Night Away class with Melissa Simpson: includes canvas and painting materials
$1 per minute Chair Massage with Kai Eckley
$5 Launching a Social Media Video Campaign
Valet parking and $20 Car Wash: hand wash, wheels, & rims
Outdoor vendor market will run 1-7 PM
Set Up @ 11 AM
Additional Fee for Afterparty 7-9 PM
$20 table fee for 10×10 ft space
Extra $10 to upgrade for double space
Limited indoor spaces available $55 & UP
Tampa, FL
Tampa, FL
Tampa, FL
Tampa, FL
Tampa, FL
Tampa, FL
Tampa, FL
Britney Spears tweets audio recording detailing life under her … – hotpress.com
In a lengthy voice recording – now since deleted – the pop singer opens up about the struggles of her controlled life, harsh comments made about her appearance and more.
Britney Spears tweeted out the link to a 22-minute audio broadside detailing the painful reality of her controlled life under her former, thirteen-year conservatorship. The link to the audio file was originally shared by the singer without context before being deleted, yet remains available online.
“I woke up this morning and I realised there’s a lot going on in my head that I haven’t shared with anyone,” says a worn-down, authentic Spears at the start of the recording.
She then goes on to detail the constraints placed on her by her father, who oversaw a majority of the conservatorship, which included being forced to work unwillingly on tour, cutting off contact with friends and not being allowed to drive her own car, and knowing that her phone was tapped. The singer explained this same lifestyle to a California courtroom last year during her trial.
In the audio clip, Spears further reveals that those in control of her life would shame her over her appearance or weight, admitting, “They made me feel like nothing, and I went along with it. It was demoralising.”
The conservatorship, largely controlled by her father Jamie Spears, was finally terminated by the Los Angeles Superior Court in November of last year, following online scrutiny by the #FreeBritney movement and the Framing Britney Spears documentary by The New York Times spotlighting some hidden truths about her life.
The southern-born pop star shot into the public eye in her early teen years with novice hits like ‘…Hit Me Baby One More Time’ and more, of which famously chronicled the teen years of young girls around the globe.
“You also have to understand, it was, like, 15 years of touring and doing shows,” she added in the audio file. “And I’m 30-years-old, living under my dad’s rules.”
In 2007, the singer’s life took a downhill turn when she went through a paparazzi-fueled public breakdown, crumbling under the weight of the spotlight and unable to receive privacy. Shortly thereafter, in 2008, the conservatorship went into place.
Guardianship enforced that Spears remained under her father’s primary control for over thirteen years. It wasn’t until last year, in September of 2021 that a Los Angeles judge dissolved the conservatorship, granting Spears her long-awaited independence.
Following the court’s decision and the public judgement against her family, Spears wrote on Instagram, “I was so scared and nothing is worse than your own family doing what they did to me. I’m lucky to have a small circle of adorable friends who I can count on.”
Coming up on one year since tasting freedom again, Spears is now married to Sam Asghari and just last week released new music for the first time in six years. Her duet with Elton John, ‘Hold Me Closer,’ entered the world last Friday, August 26, and it’s a celebratory pop moment for pop’s princess.
Okie dokie … my first song in 6 years 🎶 !!!! It’s pretty damn cool that I’m singing with one of
the most classic men of our time … @eltonofficial 🚀!!!! I’m kinda overwhelmed… it’s a big deal to me !!! I’m meditating more 🧘🏼♀️ and learning my space is valuable and precious !!!
— Britney Spears 🌹🚀 (@britneyspears) August 25, 2022
John himself announced the duet with his longtime friend a week before its release, sharing a photo on Instagram of the pair when they were young, which is also the cover art for the track.
Listen to ‘Hold Me Closer’ by Britney Spears and Elton John below.
The funniest music producer memes of October 2020 by The FL … – We Rave You
Slowly we are entering the last straight of this year. Due to the enormity of the events that have taken place over the last 10 months and the still prevailing COVID-19 pandemic, it is hard to see any positives in 2020. Practically overnight, our lives have moved to the Internet. The lack of concerts, cultural events, social distancing, and ever-changing restrictions, have a negative impact on all of us. Music is a very good way to forget about the problems we are experiencing, but when it comes to the express need to get into laugh & better humor, there is no better choice than memes. And because we all love music, it has to be memes connected with the electronic music world, in this case focusing on music production.! Continuing the series The funniest music production memes of September 2020 by The FL Studio Memes started last month, we come back with a second installment – the funniest music producer memes of October 2020 by The FL Studio Memes.
Disclaimer: The following content is intended just for entertainment purposes only and not meant to offend anyone.
TOP 5 music producer memes of October 2020:
? . Credits @milinormusic . . . . . . . . #soundgoodizer #flstudio20 #flstudiomemes #flstudio #musicproduction #musicproducer #musicproducerlife #musicproducermemes #typebeat #mixing #masteringengineer #mastering #djmemes #djmusicproducer #ableton10 #abletonlive10 #futurebass #audioengineer #producermeme #samplepack #edmmeme #edmmemes #theflstudiomemes #flstudio12 #flstudio11 #imageline #producermemes #bestmemesever #flsmemes
A post shared by theflstudiomemes ? (@theflstudiomemes) on
As befits sitting at home all the time, someone really must have been bored. Nevertheless, we sincerely congratulate the artistic sense!
Which one do you use the most? . . . . . . . #instaguitarist #musicjokes #bandsofinstagram #bassitmemes #musicianproblems #rockmemes #musicianship #instaguitars #guitarre #musichumor #musicianslife #bandmemes #musicmeme #weplaybass #makingbeats #makemusic #producersbelike #pop #guitargram #metalforlife #guitarra #musicismylife #drum #guitarist #musicians #9gag #metalhead #singer #guitarre #guitarplayer
A post shared by theflstudiomemes ? (@theflstudiomemes) on
One of the hardest choices any electronic manufacturer would have to face. Oldschool vs Newschool?
I’m the whole orchestra baby! – Credits – @prod_by.damu – #soundgoodizer #flstudio20 #flstudiomemes #flstudio #musicproduction #musicproducer #musicproducerlife #musicproducermemes #typebeat #mixing #masteringengineer #mastering #djmemes #djmusicproducer #ableton10 #abletonlive10 #futurebass #audioengineer #edmproducer #producermeme #samplepack #edmmeme #edmmemes #theflstudiomemes #flstudio12 #flstudio11 #imageline #producermemes #bestmemesever #flsmemes
A post shared by theflstudiomemes ? (@theflstudiomemes) on
This meme is relatable to almost every single music producer out there. Perfect simulation of how producers go about adding live instruments in their DAW.
Tu ru ru tu… . Credits @shroomerzmusic . . . . . . . . #soundgoodizer #flstudio20 #flstudiomemes #flstudio #musicproduction #musicproducer #musicproducerlife #musicproducermemes #typebeat #mixing #masteringengineer #mastering #djmemes #djmusicproducer #ableton10 #abletonlive10 #futurebass #audioengineer #producermeme #samplepack #edmmeme #edmmemes #theflstudiomemes #flstudio12 #flstudio11 #imageline #producermemes #bestmemesever #flsmemes
A post shared by theflstudiomemes ? (@theflstudiomemes) on
Let enjoy the development of technology and its latest child – the “hum to search” feature by Google.
| Baby Audio All Plugins Giveaway – Click here to Participate
Tag a pianist. – Credits – @upvocals_ – #soundgoodizer #flstudio20 #flstudiomemes #flstudio #musicproduction #musicproducer #musicproducerlife #musicproducermemes #typebeat #mixing #masteringengineer #mastering #djmemes #djmusicproducer #ableton10 #abletonlive10 #futurebass #audioengineer #edmproducer #producermeme #samplepack #edmmeme #edmmemes #theflstudiomemes #flstudio12 #flstudio11 #imageline #producermemes #bestmemesever #flsmemes
A post shared by theflstudiomemes ? (@theflstudiomemes) on
These Trump memes are just too funny and this meme definitely is our top pick from this music producer memes series. On another note, if you are a US citizen, don’t forget to vote.
Don’t forget to check The FL Studio Memes‘ Instagram profile for more funny production content!
Read next: The best places to download samples, presets, & loops
Image Credits: @milinormusic & The FL Studio Memes on Instagram
22-year-old electronic dance music enthusiast born & raised in Poznan, Poland. Bass music and event management fiend, sincerely in love with trap music from the 2012-2015 era.
[email protected]
GET THE MAGAZINE!
We Rave You Ltd. All Rights Reserved © 2022
John Prados, Master of Uncovering Government Secrets, Dies at 71 – The New York Times
John Prados, Master of Uncovering Government Secrets, Dies at 71 The New York Times
source
Lees-McRae College expands graduate studies with two new online … – Lees-McRae College
The academic offerings at Lees-McRae College have grown, and the addition of two new online graduate degree programs—Healthcare Administration and Criminal Justice—will create even greater opportunity for students who are seeking to continue their education. With the previously instated Master of Arts in Teaching (MAT) program, Lees-McRae now offers three graduate-level academic courses of study.
“Our two new online graduate programs underscore our commitment to providing our students with educational offerings that not only broaden their career options, but also support their individual growth,” Provost Alyson Gill said. “In preparing our students for diverse careers and environments, these programs are mission-aligned and will give our students the opportunity to climb even higher while balancing their current responsibilities.”
The Master of Science in Criminal Justice program expands upon the undergraduate criminal justice program already offered at Lees-McRae, focusing on criminal justice administration to help students build a strong foundation for leadership roles following graduation. This new course of study will allow students to pursue an advanced skillset in the field of criminal justice and can be completed in as little as one year.
The Master of Healthcare Administration is a new academic offering at Lees-McRae, but one that pairs well with a variety of undergraduate programs within the May School of Natural and Health Sciences. In this program, students will combine principles of medicine and business, preparing them to become expert problem-solvers and leaders in the medical field. With a focused and intensive course map, students can complete this degree in three semesters.
Continued growth in academic offerings is an important part of the advancement of the college. By offering students the opportunity to continue their education at Lees-McRae with higher-level graduate programs, the college continues to pursue the values and core strategies laid out in the strategic plan, INEXPRO 2030.
“The new online master’s degrees in Healthcare Administration and Criminal Justice position Lees-McRae for a bright future,” Dean of Online and Distance Learning Natasha Watts said. “Both degree programs have a faster-than-average expected growth, allowing Lees-McRae to meet the market demand for professionals in both fields of study.”
The Master of Science in Criminal Justice and the Master of Healthcare Administration programs are now accepting applicants for the 2023 Fall semester. New cohorts start twice a year, so students can choose to enroll in either the fall or spring semester.
The Healthcare Administration program offers a 25% discount to any Lees-McRae alumnus, as well as any professionals currently employed in the healthcare field. The Criminal Justice program offers a 25% discount to those who are either alumni or current law enforcement and corrections professionals.
Learn more about the online Criminal Justice master’s program
Learn more about the online Healthcare Administration master’s program
December 14, 2022
December 07, 2022
December 01, 2022
The Nintendo Switch becomes an MPC-style music production … – MusicRadar
When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.
“When the kids head off to bed, flip their Switch into a fully functioning MPC”
We’ve seen plenty of ingenious uses for the Nintendo Switch – not least from Nintendo itself with its Labo series of cardboard controllers – but this new music production concept from design house Alquemy is something else.
It’s based around the premise that you could replace the standard Joycons – the gaming controllers that attach to the side of Nintendo’s console – with Akai Pro MPC-style music-making modules. The Switch could then run the appropriate software, which could be managed via its touchscreen.
We think it’s a great idea, and one that’s been stunningly visualised. In Alquemy’s design, a bank of nine MPC-style pads is positioned on the left, along with various control buttons. The right controller is occupied by more buttons and a strip of rotaries, while I/O is split between both of the attachments.
You could argue, quite reasonably, that an iPad and a companion Bluetooth controller would be a more flexible and powerful portable touchscreen production studio than this, but there’s something about the modular nature of the Switch – and the fact that the controllers literally become part of the console – that means that this concept makes sense. Now all we need is for Akai Pro to build it.
If you want to start making music on your Switch right now, check out Korg Gadget, a port of the iOS and Mac music production studio that pushes our nostalgia buttons by featuring a Sega Genesis drum machine and Taito arcade synth. 
I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.
MusicRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab).
© Future Publishing Limited Quay House, The Ambury, Bath BA1 1UA. All rights reserved. England and Wales company registration number 2008885.
EQ Office Names Parker-Wallace To Lead Southeast Region – CoStar Group
CoStar News
Sara Parker-Wallace has joined EQ Office, the owner of high-profile properties around the country, to lead its southeastern U.S. region from Atlanta.
EQ Office plucked Parker-Wallace from CIM Group, the Los Angeles-based company that’s developing the $5 billion Centennial Yards project in downtown Atlanta.
Parker-Wallace, who will have the title of senior vice president, will focus on the expansion of EQ Office in the markets of Atlanta; Nashville, Tennessee; Charlotte, North Carolina; and Raleigh, North Carolina.
“My experience investing over the years in the Southeast and relationships with local owners and brokers will help us deliver inspiring workplace environments to our tenants in this dynamic region,” she said in a statement.
In Atlanta, EQ Office owns the Anthem office tower complex, located in Midtown and occupied by Anthem Blue Cross Blue Shield.
EQ Office, a Chicago-based unit of Blackstone Group, also owns 3 Ravinia in Atlanta’s Central Perimeter market and, in Nashville, the downtown office tower Fifth Third Center.
The company owns Willis Tower, the 1,451-foot Chicago office building previously known as Sears Tower.
EQ Office's other properties include U.S. Bank Center in Seattle and the Playa District in Los Angeles.
Parker-Wallace, who earned her undergraduate degree from Williams College and her Master of Business Administration from the Wharton School of the University of Pennsylvania, worked for Exeter Property Group before joining CIM Group.
It's the latest strategic move by CEO Alex Vouvalides since joining EQ Office in May.
Vouvalides, a former Hudson Pacific Properties executive, signed a new lease in June with Dutch trading firm IMC for Willis Tower, Chicago's tallest skyscraper.
The company recently promoted Britton Derkac to a newly created role, national head of leasing, based in Boston.
17 Best Free DAWs for Mac in 2023!
Here are the best fr
https://distrokid.com/vip/seven/584756
Global Music Production Software Market Report (2022 to 2026 … – Business Wire
DUBLIN–(BUSINESS WIRE)–The “Global Music Production Software Market 2022-2026” report has been added to ResearchAndMarkets.com’s offering.
The publisher has been monitoring the music production software market and it is poised to grow by $ 369.87 million during 2022-2026, accelerating at a CAGR of 7.31% during the forecast period.
Companies Mentioned
The report on the music production software market provides a holistic analysis, market size and forecast, trends, growth drivers, and challenges, as well as vendor analysis covering around 25 vendors.
The report offers an up-to-date analysis of the current global market scenario, the latest trends and drivers, and the overall market environment. The market is driven by the rising number of musicians and artists, growing demand for digital audio content, and increasing adoption of DJ software to produce music.
The music production software market analysis includes end-user, type segment, and geographic landscape. This study identifies the growing use of AI for music production as one of the prime reasons driving the music production software market growth during the next few years. Also, rising number of partnerships and agreements and rising popularity of online video streaming services will lead to sizable demand in the market.
The publisher presents a detailed picture of the market by the way of study, synthesis, and summation of data from multiple sources by an analysis of key parameters. The report on music production software market covers the following areas:
The study was conducted using an objective combination of primary and secondary information including inputs from key participants in the industry. The report contains a comprehensive market and vendor landscape in addition to an analysis of the key vendors.
The publisher presents a detailed picture of the market by the way of study, synthesis, and summation of data from multiple sources by an analysis of key parameters such as profit, pricing, competition, and promotions. It presents various market facets by identifying the key industry influencers. The data presented is comprehensive, reliable, and a result of extensive research – both primary and secondary.
The analyst’s market research reports provide a complete competitive landscape and an in-depth vendor selection methodology and analysis using qualitative and quantitative research to forecast the accurate market growth.
Key Topics Covered:
1 Executive Summary
1.1 Market overview
2 Market Landscape
2.1 Market ecosystem
3 Market Sizing
3.1 Market definition
3.2 Market segment analysis
3.3 Market size 2021
3.4 Market outlook: Forecast for 2021-2026
4 Five Forces Analysis
5 Market Segmentation by End-user
6 Market Segmentation by Type
7 Customer Landscape
7.1 Customer landscape overview
8 Geographic Landscape
9 Drivers, Challenges, and Trends
9.1 Market drivers
9.2 Market challenges
9.3 Impact of drivers and challenges
9.4 Market trends
10 Vendor Landscape
10.1 Overview
10.2 Vendor landscape
10.3 Landscape disruption
10.4 Industry risks
11 Vendor Analysis
12 Appendix
For more information about this report visit https://www.researchandmarkets.com/r/yfz26w
ResearchAndMarkets.com
Laura Wood, Senior Press Manager
[email protected]
For E.S.T Office Hours Call 1-917-300-0470
For U.S./CAN Toll Free Call 1-800-526-8630
For GMT Office Hours Call +353-1-416-8900
ResearchAndMarkets.com
Laura Wood, Senior Press Manager
[email protected]
For E.S.T Office Hours Call 1-917-300-0470
For U.S./CAN Toll Free Call 1-800-526-8630
For GMT Office Hours Call +353-1-416-8900
Former YouTube exec Alex Piper will build Night Studios “one great idea at a time” – Tubefilter
On May 10, Deadline revealed a new gig for Alex Piper, previously the Head of Unscripted Originals at YouTube. Piper is joining the talent management firm Night, where he will lead a newly-minted venture called Night Studios.
As its name implies, Night Studios will be a content production operation that will work with the big-name creators who are partnered with Night. The company’s roster of talent includes MrBeast, Aphmau, and LankyBox, all of whom make regular appearances in our Top 50 charts.
Piper joined YouTube in 2019, but the FOX and NBC alum never really got a chance to settle into that role. At the time of his arrival, YouTube original content head Susanne Daniels was already rumored to be on her way out. Three years later, the rumors came to fruition. Daniels departed her post and YouTube shifted its programming priorities once again, leaving Piper in a tough spot.
Now that he’s starting with a clean slate at Night, Piper will have the opportunity to build an original content division from the ground up. As of this post, Night Studios hasn’t revealed any specific programs it’s working on, but we wanted to get an idea of the approach Piper and Night Media CEO Reed Duchscher will utilize as they cultivate their new venture. Here’s what those two execs told Tubefilter:
Alex Piper: Night Studios will be a multi-platform, multi-genre independent content studio. We want to meet the world’s best content creators where they are, and we know firsthand that their interests are across all genres: from scripted to unscripted, from animated to live-action, from live events to long-form documentaries. We plan to have a slate as diverse as the creator community’s passions.
AP: One great idea at a time. Not only do we have the great pleasure of working directly with the best digital talent in the industry, but also the tremendous advantage of being able to use their IP as a proof of concept and launching pad for premium ideas. The creators’ proven ability to migrate their engaged Gen Z audiences across platforms gives us an edge in working with buyers and brands to find the right home for every idea.
Reed Duchscher: We understand the important role that YouTube has played in the growth and success of so many in the larger creator community, but Night Studios is tasked with finding the best home for every project to succeed. The premium content we are developing and producing will be tailored to that platform and reflect the audience they are trying to reach. So YouTube will always have a key place in our ecosystem, but in general we will be agnostic to the home as long as it’s the right fit for the project.
RD: Night is the premier creative outpost for the most popular digital creators in the world, and every element of the company is focused on helping our creators reach their full potential. Night Studios can offer them premium opportunities as entertainers, while Night Ventures can help them support their entrepreneurial aspirations. Long story short, Night wants to add as much value to our talent as possible and we hope that the launch of Night Studios provides an additional way of doing just that.
Stay up-to-date with the latest and breaking creator and online video news delivered right to your inbox.
Subscribe for daily Top Stories
© Copyright 2007 – 2022 Tubefilter, Inc.
What countries and cities will disappear due to rising sea levels? – Livescience.com
When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.
And will they become submerged within our lifetime?
Sea levels are rising rapidly. The rate at which they are rising has more than doubled, from 0.06 inch (1.4 millimeters) annually throughout most of the 20th century to 0.14 inch (3.6 millimeters) per year from 2006 to 2015, according to the National Oceanic and Atmospheric Administration (opens in new tab) (NOAA).
NOAA predicts that sea levels will likely rise by at least 1 foot (0.3 m) above the levels seen in 2000 by the start of the next century, while the United Nations Intergovernmental Panel on Climate Change (opens in new tab) estimates that they will rise by 16 to 25 inches (40 and 63 centimeters) by 2100.
Should sea levels rise to this extent, it could wreak havoc around the globe. As many as 250 million people, spanning all continents, could be “directly affected” by 2100, according to a 2019 study in the journal Nature Communications (opens in new tab).
So, will any of these countries, cities or states disappear entirely in our lifetime, and is there anything that can be done to avert disaster?
“Whether cities or countries disappear depends on whether we as humans are doing something to counteract the threat,” Gerd Masselink, a professor in coastal geomorphology at the University of Plymouth in the United Kingdom, told Live Science in an email. “Most of the Netherlands is already below sea level but is not disappearing, because the Dutch are building and maintaining their coastal defenses.”
Related: How will sea levels change with climate change?
First, let’s look at the countries with the lowest elevations.
According to the Union of Concerned Scientists (opens in new tab) (UCS), the Maldives, made up of 1,200 small coral islands and home to around 540,000 people, is the flattest country on Earth, with an average elevation of just 3 feet (1 m) (opens in new tab). Should the Maldives experience sea level rise on the order of just 1.5 feet (45 cm), it will lose around 77% of its land area by 2100, according to the UCS.
Another country with an extremely low average elevation — around 6 feet (1.8 m) above sea level (opens in new tab) — is Kiribati. This small island in the heart of the Pacific, with a population of close to 120,000, could lose two-thirds of its land if sea levels rise by 3 feet.
Sea level rise has already led to the disappearance of at least five “vegetated reef islands” that were previously part of the Solomon Islands, with “a further six islands experiencing severe shoreline recession,” according to a 2016 study in the journal Environmental Research Letters (opens in new tab).
These Pacific islands, though very much in jeopardy, tend to have relatively small populations. So what larger nations might be hit hardest?
The country where the most people will potentially be affected by sea level change is China, with 43 million people in precarious coastal locations. Other countries subject to face major issues related to rising sea levels include Bangladesh, where 32 million people will be at risk by 2100, and India, with 27 million, according to the European Union-funded Life Adaptate project (opens in new tab).
So, while various countries around the world are set to see the consequences of rising sea levels firsthand by the end of the century and many millions will be affected, it seems unlikely that any countries, even those with very low elevations, will disappear entirely by 2100 — though it could be just a matter of time before some are consumed by the ocean.
While no country is likely to be devoured by 2100, numerous major cities are at very serious risk of being inundated. One of the most clear-cut examples of rising sea levels causing significant, real-world difficulties is Jakarta, the capital of Indonesia.
Jakarta, home to around 10 million people, has been dubbed the “fastest-sinking city in the world” by the BBC (opens in new tab); it is sinking by 2 to 4 inches (5 to 10 cm) each year due to “excessive groundwater drainage,” according to Earth.org (opens in new tab), a nonprofit environmental organization based in Hong Kong.
When coupled with rising sea levels, this is a recipe for disaster. According to the World Economic Forum (opens in new tab), much of Jakarta could be underwater by 2050. In fact, Jakarta’s situation is so dire that it is being replaced as Indonesia’s capital by Nusantara (opens in new tab), a soon-to-be built city on the east coast of Borneo, around 1,200 miles (2,000 km) from Jakarta.
But Jakarta is far from the only city with an uncertain future. According to the World Economic Forum (opens in new tab), by 2100, Dhaka, Bangladesh (population 22.4 million); Lagos, Nigeria (population 15.3 million); and Bangkok, Thailand (population 9 million) could also be entirely drowned or have vast tracts of land underwater and unusable.
According to NOAA, “in many locations along the U.S. coastline, high-tide flooding is now 300% to more than 900% more frequent than it was 50 years ago,” which suggests that sea levels are a valid cause for concern.
New York City is most at risk, according to research from Climate Central (opens in new tab). The report states that, by 2050, nearly half a million (426,000) New Yorkers will be living on “threatened land.” New York’s vulnerability to flooding was seen clearly in 2012, when the city was heavily impacted by Hurricane Sandy. At least 43 people in the city died as a result of the superstorm, around a quarter of a million vehicles were destroyed, and there was at least $32 billion worth of “damage and loss,” then-Gov. Andrew Cuomo said at the time, according to Politico (opens in new tab).
However, in terms of susceptibility to flooding, Florida seems certain to be the state that is hit hardest. According to Climate Central’s research, 36 of the 50 U.S. cities that are most vulnerable to coastal flooding are in the Sunshine State.
So, what can be done? Are these cities and countries doomed, or can they be saved?
Countries that invest in infrastructure, such as the Netherlands, may be able to avoid some effects of flooding. But some investments, such as those being proposed in Florida, cannot be applied everywhere. For example, the restoration of mangroves, as suggested by The Nature Conservancy (opens in new tab), and the expansion of coral reefs (opens in new tab), are viable only in certain climatic regions. Moreover, such measures are expensive.
Officials in Miami-Dade County, Florida, recently announced a mitigation strategy that will involve “elevating homes and roads,” as well as creating open space that will allow flooding to take place without damaging infrastructure, according to The New York Times (opens in new tab).
However, these plans have not been greeted with universal praise. Some experts, such as Rob Moore, a senior policy analyst with the Natural Resources Defense Council, told the New York Times that he’s “not sure if it’s really owning up to the problems that are in Miami’s future,” while others have implied that the proposals have “downplayed the magnitude of the threat.”
Elsewhere in Florida, there have been conversations around whether it is economically viable, or indeed worthwhile, attempting to protect all infrastructure, with suggestions that it could be better to accept defeat in some regions, according to an article published by Yale Climate Connections (opens in new tab), a nonpartisan media outlet focused on climate change. 
So, a key factor in determining whether a city or country will disappear is not necessarily the rate of sea level rise, but more the capacity of a city or country to address the problem and develop long-term defenses.
—How would just 2 degrees of warming change the planet?
—Could climate change make humans go extinct?
—When did scientists first warn humanity about climate change?
“A low-lying but politically stable and prosperous country might be fine for decades to come, but a low-lying, unstable and poor country will not be able to keep the sea at bay,” Masselink said. “This, therefore, particularly exposes low-lying cities and countries in developing nations.”
With that in mind, what will our planet look like in 100 years?
“This is really difficult to foresee, as in addition to the uncertain rate of sea level rise — which depends strongly on our greenhouse gas emissions — the main factor is how nations and society intend to mitigate against rising sea level.”
Originally published on Live Science.
Joe Phelan is a journalist based in London. His work has appeared in VICE, National Geographic, World Soccer and The Blizzard, and has been a guest on Times Radio. He is drawn to the weird, wonderful and under examined, as well as anything related to life in the Arctic Circle. He holds a bachelor’s degree in journalism from the University of Chester.
Live Science is part of Future US Inc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab).
© Future US, Inc. Full 7th Floor, 130 West 42nd Street, New York, NY 10036.
Mercedes wants to charge you $1,200 per year for faster acceleration – Fortune
Another luxury automaker is leaning into microtransactions, but the dollar amounts are anything but small.
Mercedes-Benz has started charging owners of its Mercedes-EQ EQE and Mercedes-EQ EQS electric cars $1,200 per year for faster acceleration of their vehicles. The feature does not require any sort of physical upgrade. The car is factory equipped with the capability of this 20-24% performance improvement, but Mercedes-Benz has locked it behind a pay wall.
Subscribers to the “Acceleration Increase” service will see their 0-60 mph acceleration speed up by 0.8 to 0.9 seconds. The EQE starts at $84,900 and the EQS begins at $104,400 before the annual upgrade charges.
The automaker is the latest in a growing line of car and truck manufacturers who are launching subscription-based services to protect revenues as buyers hang onto their vehicles for longer periods of time. Earlier this year, BMW began charging South Korean customers $18 a month for heated seats, $10 per month for a heated steering wheel and $8 per month for high-beam-assist headlights, a driver safety feature.
While automakers seem eager to make these subscription packages a part of the car-buying process, consumers (so far) have been vocally opposed to them. An April study from Cox Automotive found that three-quarters of consumers said they were not willing to pay an annual or monthly subscription fee for most items on their new vehicle.
“Safety and comfort features should be part of the purchase price, they said overwhelmingly,” the study reports. “Specifically, 92% said heated and cooling seats should be part of the purchase price; 89% said remote start should be as well. Both items have been discussed by some automakers as subscription features. As for safety features, the response was almost as overwhelming; 89% said lane-keeping assist should be part of the price and 87% said automatic emergency braking should be too.”
BMW learned this first-hand in 2018, when it attempted to make Apple CarPlay into a subscription service (with an $80 per year price tag). It scuttled those plans after buyers pushed back.
Our new weekly Impact Report newsletter will examine how ESG news and trends are shaping the roles and responsibilities of today’s executives—and how they can best navigate those challenges. Subscribe here.
© 2022 Fortune Media IP Limited. All Rights Reserved. Use of this site constitutes acceptance of our Terms of Use and Privacy Policy | CA Notice at Collection and Privacy Notice | Do Not Sell/Share My Personal Information | Ad Choices
FORTUNE is a trademark of Fortune Media IP Limited, registered in the U.S. and other countries. FORTUNE may receive compensation for some links to products and services on this website. Offers may be subject to change without notice.
S&P Index data is the property of Chicago Mercantile Exchange Inc. and its licensors. All rights reserved. Terms & Conditions. Powered and implemented by Interactive Data Managed Solutions.