News Australia faces Afghanistan in its final Super 12 match of the T20 World Cup 2022 in Adelaide. | Photo Credit: AP Australia takes on Afghanistan in its last T20 World Cup 2022 Super 12 match in Adelaide on Friday. Live Streaming details When will Afghanistan vs Australia Super 12 Group 1 match of T20 World Cup 2022 be played? The Australia vs Afghanistan Super 12 T20 World Cup 2022 match will be played on November 4, 2022, Friday. What time will Australia vs Afghanistan Super 12 Group 1 match of the T20 World Cup 2022 start? The Afghanistan vs Australia Super 12 T20 World Cup 2022 match will start at 1:30 PM IST. What time does the toss between Afghanistan vs Australia Super 12 Group 1 match of T20 World Cup 2022 take place? The toss between Afghanistan vs Australia Super 12 T20 World Cup 2022 match will take place at 1:00 PM IST. Where will Australia vs Afghanistan Super 12 Group 1 match of T20 World Cup 2022 be played? The Australia vs Afghanistan Super 12 T20 World Cup match will be played at the Adelaide Oval in Adelaide. Which TV channel will telecast Afghanistan vs Australia Super 12 Group 1 match of T20 World Cup 2022? Star Sports Network will telecast the Afghanistan vs Australia Super 12 T20 World Cup 2022 match in India. When and where to watch Australia vs Afghanistan Super 12 Group 1 match of T20 World Cup 2022 online? Disney+ Hotstar will live stream the Australia vs Afghanistan Super 12 T20 World Cup 2022 match. Read more stories on News. Follow Us Follow Us Follow Us Follow Us Follow Us Follow Us TRENDING TODAY TRENDING THIS WEEK LATEST NEWS SECTIONS
EQ Creperie and Burger Bar plans to open its doors to Denverites looking for a fast yet delicious handheld meal in March. Hailing from eastern Europe, owners Nils Gjoca and Kris Lamlika will continue their westward expansion in early 2023. In 2018, the pair brought a decade of restaurant experience to employ their family’s secret recipes in Omaha, Nebraska, enticing locals with fresh, local ingredients wrapped into sweet and savory crepes at the Sofra Creperie. The fast casual options have been a hit in the Cornhusker state ever since. “We’ve got people who drive from three hours away for our crepes,” Gjoca said. “It’s a different concept than what people are used to. Our crepes are like a Chipotle burrito, but not as messy and much healthier, lighter, and nutritious than Chipotle.” Named “EQ” in honor of a partner that passed away from COVID-19, Gjoca sees “Denver clientele as perfect for a crepe.” They’ll also be adding burgers to the menu for more American tastes. Located at 1517 Wynkoop St., the restaurant is just a short walk from Ball Arena and sits right under Denver’s Amazon Tech Hub. EQ will welcome visitors and commuters to the growing downtown with a quick, hot wrapped meal for breakfast, lunch, and dinner. Meals will be either wrapped to go or available to eat at the approximately 3,000-square-foot restaurant that will feature a long, communal table for dining. What Now Denver is assembling Denver’s leading organizations to the restaurant, retail and real estate industries to help you take your business to the next level.
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Home • Audio Software • FL Studio Vs Logic Pro X (Which DAW is Best – Logic Pro X vs FL Studio?) FL Studio Vs Logic Pro X – which one would you pick? Whether you’re a music producer looking to make some great mixes or a DJ that just wants to get into production, investing in a solid digital audio workstation (DAW) software setup is something every musician should take seriously, regardless of whether they’re only a beginner or have become a master in their craft. If you’re just starting, and don’t know where to turn, there are a couple of different software options to choose from that can help you put together some incredible music. These are Logic Pro X Vs FL Studio. Both the FL Studio and Logic Pro X software options perform exceptionally well for music producers and bedroom musicians as they both offer incredible features that can be used to create professional-sounding music right from the comfort of their homes. But just because both of these software options are good doesn’t mean they’re both good for you and your situation. Both have their very own specific pros, cons, and features. Though both software platforms are exceptional, one may have more to offer you, personally as an artist, than the other. Which should you pick? Which is the best choice for you? Here, we’re going to go over both Logic Pro X as well as FL Studio, breaking down what both options have to offer, so that you can best determine which of the two is right for you and your musical journey. Read this next: Music Production for Beginners: The Basic Set-up 101 Logic Pro X is a Mac-based software program that offers a strong and versatile set of features that work well with virtually any and all types of musical genres out there. While that much variety can somewhat work against it, leading to a steeper learning curve, what it offers is truly impressive and hard to discount or ignore. It is a true production heavyweight and arguably the best out there. Read this next: Ableton vs Logic Pro: Which is best? The first big feature you can expect to enjoy from the Logic Pro X is its sequencer ability. Like many other DAWs, Logic’s sequencer allows you to make beats, create basslines, record vocals, and play melodies. If you’ve been a fan of DAWs in the past, you’ll feel right at home here with how the user interface is set up. In addition, the Logic Pro X uses something known as a “Cell System”. This works by allowing you the ability to create smaller loops and ideas before putting them in their separate section. From there, you can put a series of drum loops and melodies together in one section while putting a song together in a whole different section next to it. This essentially allows you to operate and compose your music in a way that’s not wholly linear, thus not requiring you to commit too much upfront. Next up, the Logic Pro X’s loops have, and continue to be, an incredibly useful feature that makes it stand out from the pack. Here, to perform a loop, you only need to drag and drop them onto your sequencer to get something really good going. This makes it great for producers looking to create a base for composing a song. When it comes to Logic’s plug-in options, they are fairly extensive. Plug-ins are a software tool that directly connects to whatever system you’re using. This can range from FX racks to samplers to synthesizer instruments. As far as the Logic Pro X is concerned, its plug-in features a variety of different instruments and effects. These include various samplers and vintage synth noises, to a veritable suite of FX sounds and drum machine sounds. This is all while ensuring that each of these sound options can work regardless of the genre of music you plan on playing. Read this next: Producer Tips (Making Studio Life Simpler) One of the Logic Pro X’s biggest perks is its incredibly seamless integration with all Apple products and iOS devices. In terms of remote control access, whether you’re using your Mac itself, an iPhone, or an iPad, you’re going to have complete control over the software’s faders, knobs, and triggers. The Logic Pro X comes at a set flat price of $200/£175. This price includes all of its features. One thing that sets the Logic Pro X over the FL Studio is that, while it only has one price option, it is the cheapest of the two while still offering all of the essentials of a DAW.
Once known as the “Fruity Loops” of the DAW world, FL Studio has managed to grow and evolve, becoming a full-blown audio software that can easily hold its own with the best of them. It really is a serious piece of studio production kit and has been around since 1997. Unlike Logic Pro X, FL Studio operates on all computer platforms and is known for having a very simplistic and easy-to-use interface that is very beginner-friendly. It does slightly veer off into being a more electronic-based genre software, however, because the said genre is so extensive, it can be argued that it makes that genre truly excel as a result. Read this next: DJ vs Producer? (Or Do You Need To Be Both) Probably the biggest thing going for the FL Studio (or at least one) is its vector-based user interface (UI). Whereas the Logic Pro X offers a lot at the expense of an interface that has a bit of a learning curve, FL Studio prides itself on a user-interface setup that is incredibly easy to use with a highly versatile set of different effects available. Though it used to be PC-only, the DAW has managed to cross platforms recently, becoming compatible on Mac, making it a compelling buy no matter your computer preference. FL Studio’s sequencer, on its own, looks much like your standard linear timeline. It is only when you add in its mixer, however, do things start to excel. Not only do you have access to the expected mixing and mastering functions that come with a mixer, but you are also given a list of additional features. These include things like side-chain compression, advanced automation, and latency compensation. Not only that, but you also have something known as “Piano Roll”, which is, not only just a standard MIDI addition but can be used to offer and assign different automation actions to different instruments and sequences available. The FL Studio software has with it an impressively extensive playlist variety. The DAW software has a browser that offers a flexible and detailed overview of the different sequence elements, helping with different fine-tune adjustments and experimenting you may do on a particular sound arrangement or composition. Read this next: Pioneer DJ VM-70 Monitor Speaker: A Win-Win for DJ and Producers? Though not quite as extensive as what the Logic Pro X has to offer, FL Studio’s plug-in options shouldn’t be readily or easily dismissed. Even if it’s not to the same level, you’re still getting a pretty big bang for your buck. Particularly for EDM and fans of the electronic genre, you’re getting a pretty nice setup. This is most clearly seen via its overall sonic array as well as the fact that it is VST compatible. You also are offered a ton of presets, many of which have hints of electronic sound tied to them. And if you aren’t a huge fan or DJ of electronic music, you can always tweak things out with the EQ and sound compression, helping you cater to whatever genre you’re interested in. FL Studio’s DAW comes in several differently priced options, all of which have increasingly added-on options. Read this next: Serato Studio: Whats It All About Then? When it comes down to which of the two is best, you must know what you are looking for and what is important to you. From an objective standpoint, I’d have to give the win ultimately to the Logic Pro X. While the FL Studio offers a lot in its favor – particularly with its user interface and wide, cross-platform capabilities – they ultimately lose out to the high-end sonic capabilities, extensive and varied sound sequencer, and overall competitive price of the Logic Pro X. Still, if you’re a beginner that needs an interface that isn’t quite as daunting, you’ll benefit a lot from the FL Studio. It may not beat the Logic in terms of its sequencer or sonic capabilities, but the difference is hardly significant and can be shifted more in FL’s favor if you’re a fan of EDM and electronic music. The only place where it ever truly “loses” to the Logic Pro X is in the price, and that’s only because the FL Studio DAW has so many options that have such a large range. If you’re going to just start, getting the software at the $99 option isn’t too bad. At that point, once you know what’s what, you can consider either upgrading to the next tier edition (if you’ve got a PC) or switching over to Logic Pro X (if you’re using a Mac). Read this next: 8 Best DJ Software Options It’s important to realize that, regardless of what type of performance you plan on putting out (whether it be DJing or just music producing) it’s important that you’re using a DAW to help move things along via the different sounds and sequences available. By checking out one of these two beginner options, you can optimize your music performance so that, no matter how experienced you are, you’re able to put out something truly impressive to your audience at large. Dexter has worked in the music business since the early 1990s. He has been a keen tech writer for many years and is still regularly involved in promoting prominent electronic music events in Ibiza and the UK. Dexter also specializes in managing and growing digital marketing platforms for leading international DJs, event brands, and venues. He relocated to Croatia from Ibiza six years ago but has continued his industry involvement whilst living on the electronic music party Island of Pag. Alongside music, Dexter is a cat nut and a through-and-through family man! Your email address will not be published.Required fields are marked *
Relationship will continue to utilize EQ’s data and technology platforms to unify data, media and measurement across their organization TORONTO, ON / ACCESSWIRE / November 15, 2022 / EQ Inc. (TSXV:EQ) (“EQ Works”, “EQ” or the “Company”), a leader in geospatial data and artificial intelligence driving software, is proud to announce a multi-year extension to continue servicing one of Canada’s largest diversified media companies (the “Corporation”). This relationship will extend even deeper than the initial engagement, with both companies providing unique proprietary data assets. In combination with EQ’s sophisticated tools, platforms and algorithms, the resulting data provides analysts, marketers and advertisers with best-in-class and unique analytics, targeting and measurement tools. Historically, this Corporation has accounted for significant revenue to EQ on an annual basis, with the initial engagement totaling over $6 million. EQ’s strong performance over the last 3 years, and its continued investment in data and technology solutions, were the main factors for extending this relationship for an additional 3 years. “Our focus on combining data and technology to provide clients with effective and actionable solutions is working.” said Geoffrey Rotstein, President and CEO of EQ Works. “Clients continue to look to EQ for first party data solutions and technology that will enhance their strategies. Through our platforms, we have been able to provide invaluable insights, audience creation tools, attribution measurement and media that deliver unprecedented levels of performance at the local and national levels.” “Once again, we sought to find a partner who could best leverage and enrich our first-party data assets with tools and technology, and EQ fit the bill.” said the Corporation’s Director of Data Monetization. “EQ’s focus on first party data and proprietary tools that make data actionable, while continuing to work in a privacy centric environment, were key components to our decision. We are excited to continue working with EQ and providing industry leading data and media solutions to our clients.” “We are thrilled to continue to grow and evolve this partnership.” said Mark Ditkofsky, EVP Data Platform and Strategy of EQ Works. “Our team has worked extremely hard to build a world-class platform and it is rewarding to see our partners recognize our value.” About EQ Works EQ Works (www.eqworks.com) enables businesses to understand, predict, and influence customer behaviour. Using unique data sets, advanced analytics, machine learning and artificial intelligence, EQ Works creates actionable intelligence for businesses to attract, retain, and grow the customers that matter most. The Company’s proprietary SaaS platform mines insights from movement and geospatial data, enabling businesses to close the loop between digital and real-world consumer actions. Neither the TSX-V nor its Regulation Services Provider (as that term is defined in policies of the TSX-V) accepts responsibility for the adequacy or accuracy of this release. Forward-Looking Statements This news release may contain forward-looking statements that are based on management’s current expectations and are subject to known and unknown uncertainties and risks, which could cause actual results to differ materially from those contemplated or implied by such forward-looking statements. EQ Inc. is under no obligation to update any forward-looking statements contained herein should material facts change due to new information, future events or otherwise. EQ Inc. [email protected] www.eqworks.com SOURCE: EQ Inc.
Share this article Reminder, this is a Premium article and requires a subscription to read. Jock Nowell-Usticke, aka Baynk, from Napier, a nominee in the Grammy Awards. A former pupil of Hereworth School in Havelock North who turned from an engineering degree to a global electronic dance music career has now become New Zealand’s only surviving nominee in the 2023 Grammy Awards. Having started practicing piano at the age of four, he was at Napier Central, Hereworth, Whanganui Collegiate, then Canterbury University, and was then known as Jock Nowell-Usticke. But now, turned 30 on November 4, he is also known as musician and producer Baynk, based in London, not long finished a 28-stop, three-months US tour, and now claims two-and-a-half million Spotify listeners a month. Nominations in all 91 Grammy Awards categories were announced last week, including Baynk’s “Adolescence” in the best engineered album (non-classical) category, with fellow producers Ryan Schwabe, from Philadelphia, who worked on all 10 tracks, and Australian George Nicholas, who worked on one. According to an online list, Baynk becomes the 11th nominee from New Zealand dating back to Dame Kiri Te Kanawa’s win in the best opera recording category in 1984, and is up there with such other names as Lorde and Keith Urban. There are understood to have been more than 500 nominations in the category, which is now down to five contenders including mastering engineer Randy Merrill for Harry Styles’ Harry’s House album. He is the son of Wineworks director Tim Nowell-Usticke and wife Jules, who recently drove the bus for part of the US tour, and told Hawke’s Bay Today while packing-up in Islington, London, for a trip home at the end of next week he had nominated for a “multitude” of categories. “But I wasn’t expecting anything,” he said. “It was just a shot in the dark.” It was only during the tour that he met Schwabe for the first time, although they’d been working together online for about five years, but as it happened Schwabe was in a seminar in London at the time the listed nominees were announced and they were able to break out the champagne. The next meeting will probably be at the awards on February 5 (February 6 New Zealand time), and his parents are also hoping to be there. “We are very excited,” said Tim Nowell-Usticke, recalling how when their son rang with the news Jock video-called so he could record the response, leaving his parents wondering whether that will now become part of a future music video. “We are over the moon. We’ll certainly be there – if we can get a ticket.” The musical career started moving in 2015 when Jock uploaded his first bedroom-mastered song, using Ableton production software after having to mix music for his university band on a computer when studio time became too expensive, during his engineering studies before graduating from Canterbury University. The first track, Sundae, a result of experimenting with music creation during his studies, did little until months later when it caught the attention of an internet blogger. Subsequently, while in Europe, he was invited to play at (Saint Jerome’s) Laneway Festival, also did a stint at Rhythm ‘n Vines near Gisborne in 2016, and in 2019 was a finalist in the breakthrough artist of the year at the New Zealand Music Awards. Share this article Reminder, this is a Premium article and requires a subscription to read. Kia had been missing before firefighters rescued her from a 40m drop.
Jimi Jules is a Swiss musician and DJ who made his statement in the music scene when releasing his song ‘Pushin On’ on Defected Records together with Oliver Dollar. This record peaked at number 15 in the UK charts and was the kickstart for his professional career. Jimi’s currently signed to the Berlin-based label Innervisions which made it possible to release a sample pack together with Production Music Live. We’re excited to talk you through all the included samples. Have a look down below.
Jimi Jules his sample pack includes professional samples that he used in his records for labels such as Defected Records, Innervisions, Zukunft, Watergate, Rumpelmusig, Hive Audio, and Rebirth. More than 300 samples are forming this sample pack including kickdrums, claps, basses, percussions, rides, hats, and much more. These sounds are ready to use, 100% royalty-free, and available in 44.1 kHz Wav files. A total of 146 One-Shots and 163 Loops are included. Down below you’ll see which specific samples are included: Several previews of his samples are available at PML’s website, alongside a Masterclass Jam record made by Jimi himself with the samples of his pack. His sample pack is currently discounted from €47 to €29,90 during this Black Friday Sale. Have a look insight the pack:
– DJ/Producer from the Netherlands. – Graduated from the Conservatory in Amsterdam. – Currently working as the technical writer at We Rave You [email protected]
Only a few more days until Black Friday and we’re already enjoying a lot of amazing sales so far. FL Studio discounted their Producer Edition and All Plugins Edition, up to 25% off. This is an excellent chance if you want to upgrade your FL Studio version in order to get access to more possibilities. See below to find out what this Black Friday sale holds onto. Also make sure to check out our professionally curated Black Friday landing page where we list the best deals on plugins, sample packs, courses, and more.
This year’s Black Friday sale of FL Studio includes 2 editions alongside a range of free plugins and samples. Be able to save 25% off and strengthen your music production catalog with some amazing sounds. What’s included:
The FL Studio Producer Edition is an all-in-1 studio program including all of the tools you need in order to record, produce, mix, and master professional tracks. This software edition is discounted from €199 to €149 and offers you lifetime free updates. Besides the already included Maximus and Sytrus plugins you’ll receive the XTT Vinai, Multi FX, plugin for free. This plugin is a collaboration between the Italian DJ-duo, VINAI, together with W.A. Production. XTT is a multi-band compressor, limiter, and gain stager. Apply upward, and downward compression, select the right time and use the multi-band visualizer to gain stage up to 5 different bands. Furthermore, you will receive up to 5 sample packs: Trap Aura, Tech House, The Morning After, 3AM, and Disco Pop.
This edition includes all of FL Studio’s features and native plugins such as Gross Beat, Harmless, Harmor, Toxic Biohazard, and Transient Processor. This edition is discounted from €499 to €399, including lifetime free updates. As a bonus, you’ll receive the 90s classic synth UVI Digital Synsations, VINAI’s XTT, Pumper 3, distortion unit FireCharger, and the MVibratoMB. At last, a total of 5 sample packs are included: Heatwave, Red Light, Nu Soul, Dreaming About You, and Rumble.
I’ve to mention that these 3rd party plugins must be registered and activated at the partner’s website and that the redemption codes & instructions are available under your Image-Line Account > My Licenses section. This Black Friday sale will be running until November 30, 2022.
– DJ/Producer from the Netherlands. – Graduated from the Conservatory in Amsterdam. – Currently working as the technical writer at We Rave You [email protected]
A music production intern of God of War Ragnarok states that she wasn’t credited for her work on the game despite its huge success. Update 11/21: A previous version of this article incorrectly identified Mao as God of War Ragnarok's music producer. A music production intern of God of War Ragnarok states that despite the game's production value and her contributions to it, she was not credited for her work. The game has recently launched to positive reception, with fans and critics stating this to be one of the best games of 2022. This release has been one of the most widely anticipated games of 2022, alongside juggernauts such as Elden Ring, Pokemon Scarlet and Violet, and other similar big-name titles. Despite this, it appears not every single member of the team ended up being credited for their work. This was stated by God of War Ragnarok music production intern Jessica Mao in a thread that was posted on her Twitter page. She started off positively, noting how she was in charge of the music in certain aspects. This includes the Freya chase scene along with the boss fight with Thor in the game. Mao notes that Thor's boss theme was one of her favorites in terms of arrangement, especially considering the bombastic nature of the theme and the fight associated with it. However, she notes that she wasn't acknowledged for this once the credits rolled. RELATED: God of War Ragnarok Side Quest Has Touching Tribute to Late Dev Mao states that she was disappointed to hear this news, noting that when she asked why she wasn't included, it was revealed that her contribution didn't meet the "minimum criteria" to be credited. She notes that she is still unsure of what that minimum requirement could be and notes that her credits can't be retroactively added with a patch update to God of War Ragnarok. Mao ends her thread off with her disappointment in this and hates for other aspiring game developers joining the industry to also potentially go uncredited. Her last tweet calls upon other game development studios to credit everyone who had been a part of the project, as "it only makes sense." This got the support of other fans and developers, including Sean LaValle, a senior audio designer at Sony Santa Monica, to see if she could be added to the game's credits. This issue with game development members going uncredited for not meeting a certain criterion is a widespread problem in the industry. Many fans also called foul on Mao's exclusion and thought that the credits could be updated in a patch to credit all the developers. Many expressed their sympathies for Mao, calling for Sony Santa Monica to do the right thing and credit the team members that helped make the game special. God of War Ragnarok is available now for PS4 and PS5. MORE: One Small God of War Ragnarok Detail Makes the Ending Even More Heartbreaking Freelance writer and enthusiastic gamer regarding all things Sonic, Mario, Yakuza, Persona, and much more.
10.25.2022 By Michael Bohn My first encounter with saving a building landed me in handcuffs and a trip to the Long Beach Police Department. A friend and I were frustrated that our hometown was demolishing good buildings—because they did not conform with the current style of architecture—only to replace them with parking lots! All in the name of “progress.” In 1988, when we learned that the Jergins Trust Building, a Beaux-Arts beauty, was slated to be torn down with no plans for the site, we jumped into action and chained ourselves to the building to stop the wrecking crew. Our efforts kept it up another four hours. And then it was gone forever. Saving older buildings and adapting them to a new use is not a new concept. In college, I studied art at the Les Ecoles d’Art Américaines in Fontainebleau, France, and made excursions to Paris every weekend I could. While visiting cultural institutions, I kept encountering amazing buildings that had changed use over time. I learned that the Louvre was converted from the royal residence to a museum in 1793, and that the conversion of a train station to the Musee d’Orsay occurred in 1986. Both museums are highly popular with Parisians as well as tourists. The adaptive reuse of existing buildings is becoming increasingly relevant in the U.S. and can provide many benefits. For a developer, it may provide a route to quickly gaining community support, thus reducing the time needed to entitle a development. The existing structure may accommodate greater density than if it were demolished and replaced with new construction, and may also be more cost-effective than new construction. Reuse can create unique places commanding higher interest and value. For neighborhoods and the public, adaptive reuse allows for existing buildings to be restored, sometimes many times over in mature neighborhoods, contributing to a unique sense of character and history that can remain intact. This kind of authentic visual and cultural continuity cannot be recreated from scratch. Perhaps most important, renovated buildings minimize the impact on the environment: demolition requires tons of materials to be dumped into landfills and into the waste stream. New construction requires more energy to create materials, distribute them, and erect them. At Studio One Eleven, where I am a partner, our interest lies in repurposing existing buildings when the opportunity arises, because that is how neighborhoods and cities are built over time. As we see it, there is so much opportunity in recrafting existing buildings to help contribute to solving today’s urban issues. Office-to-housing conversion is an important topic right now. With the demand for housing strong nationwide and the use of currently leased office space at less than 50% occupancy, the opportunity for older office buildings to convert to housing is greater than ever. Conversions can focus on affordable, student, or luxury housing, depending on location, demand, and the characteristics of the structure itself. Many cities are considering incentives for office conversions. In fact, a new community plan in Los Angeles is close to adoption. Known as DTLA 2040, it would make it easier to build housing downtown, including property conversions. In June, state officials set aside $400 million to offer developers incentives to convert offices to affordable housing over the next two years. Likewise, we see opportunities to convert retail spaces into creative offices. Despite the work-from-home revolution, offices are not dead. But in today’s climate, offices need to be more than just offices. Today’s work spaces need to be comfortable, flexible operations that can be used for different purposes and become places for community. Retail spaces that were once places of consumption can be reimagined into creative offices and places of production. This kind of transformation can be catalytic for a neighborhood. When our firm converted a defunct retail space in downtown Long Beach into a new office space in 2017, the vacancy rate for adjacent retail plunged from 60% to 4%. There’s also an increasing opportunity to convert underutilized institutional structures into housing for vulnerable populations. The city of Los Angeles returned more than $150 million in federal funds recently because it was unable to spend the money due to the protracted timeline for construction and completion. But what if we were able to leverage existing underutilized structures, like warehouses, to house the unhoused? There are hundreds of outdated prewar and postwar warehouse facilities, sprinkled in or adjacent to residential neighborhoods, that no longer meet today’s standards. Building within an existing industrial structure, at least in California, means that architects and contractors can use the “self-certification” process, eliminating the need for plan check. Due to self-certification, one of our projects was able to move from ideation to completion and move-in in only five months; as a direct result, the homeless population in the city of Bellflower declined by nearly 90%. The sad fact is that empty or outdated structures equate to blight for most people, who then surmise that demolition and new construction are the only options. This is a short-sighted view. There are important benefits that come from reusing existing building stock, like preserving the past and creating a rich layering that ultimately makes our cities more interesting and unique. Taking an adaptive reuse approach can instill neighborhood pride and helps build more interesting, resilient cities. Not to mention that in some cases, it can be faster and ultimately leave a smaller carbon footprint. So whatever happened to the Jergins Trust Building site in Long Beach? Thirty-four years later, it is still empty and an eyesore in a revitalized and bustling downtown. Some of the historic elements and pieces were saved and stored in the city yard, where they lay forgotten for almost three decades. When rediscovered by a neighborhood group representing the next generation of residents, the community demanded that the city share these pieces with the public by incorporating them into a gateway that leads to the Los Angeles River, illustrating the community’s point of view on the importance of our past. So, yes, as an architect, I love to design buildings. But in the long run, I think architects could build better cities if we didn’t build new buildings all the time. Featured image: Studio One Eleven converted underutilized retail into their creative work space, for 135 employees; adjacent local and crafted retail can now better flourish. The project spurred the city of Long Beach to rejuvenate Harvey Milk Park, allow for multiple street decks for outdoor dining, and encouraged several high-quality public art installations by POW! WOW!. Photo courtesy of Studio One Eleven. Michael Bohn is a Partner at Studio One Eleven, an integrated practice of architecture, urban design, and landscape architecture dedicated to repairing cities. His award-winning work has been included in publications, such as Forbes, Fast Company, Monocle, the Wall Street Journal, and BBC. Get smart and engaging news and commentary from architecture and design’s leading minds. Donate to CommonEdge.org, a Not-For-Profit website dedicated to reconnecting architecture and design to the public.
For those who are looking at a first record player or a bump up from the experience of a record player-in-a-suitcase, the choices can be daunting. And expensive. Entry-level systems are often underwhelming in audio (and overall) quality. Some are built around cheap needles with heavy tracking force that wear out quickly and can physically damage records. Start looking at a record player or turntable with decent capabilities and features like a name-brand cartridge, and costs quickly rise. Then there is the expense and complexity of connecting to an amplifier and speakers, or a set of powered bookshelf speakers. Electrohome — a brand that has been making consumer audio products (including turntables) since 1907 — has a compelling offering. The Electrohome Montrose Record Player + McKinley Powered Bookshelf Speakers is a rare entry level vinyl-lovers bundle that delivers in a big way, yet still slides in under $200 for the entire system. I covered the combo in Volume 16 of my Record Roundup and now I’ve had the opportunity to go hands-on with it. For $199, the Electrohome Montrose Record Player + McKinley Powered Bookshelf Speakers bundle has no … [+] business looking this good. I’ve unboxed my fair share of entry level audio systems and record players. I’ve learned to expect a lot of plastic and signs of poor construction. Loose screws rattling around in a box and chipped paper “wood” finish is not uncommon. This Electrohome bundle was a big step up. MDF takes the place of a lot of plastic in cabinets and it features a teak finish that looks really smart and quite convincing. Thought was put into giving the record player and speakers a bit of a retro look, but it’s a classic style. Think 1970s rather than a 1940s cabinet vibe. That being said, there’s no escaping plastic at this price point. The record player’s platter in particular is thin plastic, but at least it’s covered with a felt mat. And Electrohome chose to step it up by including an Audio-Technica AT3600L MM diamond-tipped conical cartridge along with an adjustable counterweight. This means a very decent cartridge out of the box, plus the ability to upgrade later if you want — very unusual at this price point. Note the built in stands that angle the McKinley speakers upward slightly for better sound … [+] dispersion. Setup is very straightforward. The record player comes almost completely pre-assembled. All you need to do is remove packing tape then pop on the counterweight and platter mat. Wire the speakers together, connect to your phone with Bluetooth (for streaming), connect the record player to the speaker with included RCA cables, then power the systems up. The minimalist Montrose record player. The combination is an attractive bookshelf system that lets you listen to records, plug in other external sources (like a CD player or a TV) and play tracks from your favorite streaming service using Bluetooth. In true, two-channel stereo. I’ll start with the Montrose record player. It offers the basics, with two-speed operation, a cue lever, and auto-stop. There is a hinged dust cover and shock absorbing feet. You can even connect it to an amplifier with PHONO input by switching off its built-in preamplifier. The Montrose record player is equipped with an Audio-Technica AT3600L cartridge for superior sound. What makes the Montrose stand out in terms of audio quality is the use of the Audio Technica cartridge. Yes, it’s low in the AT range, but the AT3600L is a solid performer with a diamond tip and it’s been offered for decades. Many record players and turntables in this price range use a molded cartridge and proprietary stylus (often with a cheaper sapphire tip instead of diamond). The Montrose sounds better than most of these by virtue of that superior cartridge. And you know that the AT cartridge (with a recommended 3g tracking force) is not going to be chewing up your record collection. Records sounded great. Warm, with solid bass and upper frequencies that don’t get too harsh. I also found it was quite forgiving of older records that might have scratches. No one will mistake this for an audiophile turntable in terms of detail, accuracy, frequency response and sound stage, but it makes records sound the way you expect them to sound and seriously outperforms other record player systems in this price range. McKinley speakers also support Bluetooth streaming. The McKinley powered speakers deliver energetic sound, with decent low end oomph. The 4-inch woofers and rear bass ports help here. If you’re accustomed to a portable speaker, this configuration is almost certainly going to sound better — especially when you factor in the true stereo setup. Total power is 30 watts (15W per channel) so they don’t get crazy loud, but there’s enough volume to fill a mid-sized room without distorting. There is onboard volume control (and source switching), but the included remote is needed for bass or treble adjustment. A handsome pair of powered bookshelf speakers delivers true stereo sound. This electrohome bundle is obviously going to be outperformed by more expensive systems, but for $199? It looks good and sounds great.
Already have a turntable you’re happy with, or just want the record player and not the speakers? Not to worry, Electrohome sells them separately as well. In addition, you can buy a version of the record player (the Montrose R36) that is equipped with built-in Bluetooth so you can stream directly to a wireless speaker or headphones. Electrohome Montrose Record Player + McKinley Powered Bookshelf Speakers bundle is a great value. To tell the truth, I wasn’t expecting much from this bundle. Not at that price. However, Electrohome managed the near-impossible and delivered an audio system that includes retro good looks, quality construction (including an Audio Technica cartridge), easy setup, Bluetooth audio streaming, and enjoyable stereo sound — all for what I would expect to pay for an entry level turntable alone. Electrohome Montrose with Audio Technica cartridge is a great starter turntable at the heart of an … [+] affordable bookshelf stereo system bundle. If you’re looking for a record listening starter system that maximizes enjoyment while keeping to a very reasonable budget, the Electrohome Montrose Record Player + McKinley Powered Bookshelf Speakers bundle should be at the top of your list. Disclosure: Electrohome provided a Montrose Record Player + McKinley Powered Bookshelf Speakers system for evaluation purposes but had no input into this review.
